Definition of ode and its varieties. What is an ode? Oda is a song of praise

If the consciousness of mankind could compare the eternal with the transient, then there would be glimmers of understanding of the Cosmos, for all the values of mankind are based on an eternal foundation. But mankind was so imbued with respect for the transient that it forgot about the Eternal. Meanwhile, how significant that the form changes, disappears and is replaced by a new one. The transience is so obvious, and each transience points to eternal life. Spirit is the creator of every form, but is rejected by humanity. When they understand that the spirit is eternal, then both Infinity and Immortality will enter into life. Thus it is necessary to direct the spirit of peoples to the understanding of the Higher Beginnings. Humanity is absorbed in consequences, but the root and beginning of everything is creativity, but it is forgotten. When the spirit is revered as the sacred Fire, then the great ascent will be confirmed.

Facets of Agni Yoga

1960 Aug. 28. River of life. If the spirit entered the stream and became a part of it, the stream would take it away with it. But the stream is brought past, going into the past, and the spirit remains to contemplate the stream of new streams, also rushing past. To understand this separateness of oneself from the stream passing by will already be an achievement of the spirit. To identify with it means to merge with it and become a part of it. The Silent Watcher cannot become part of what he looks at. The Silent Recorder, like the film of a movie camera, fixes the tape of life in memory without becoming it. Life is one thing, the Silent Watcher is something completely different. And feelings, and thoughts, and everything that flows through the consciousness of a person, will not be looking at them. One must separate oneself, Looking at the stream within oneself, from the stream and not merge with it. I suffer, I worry, I worry - it is only the astral that vibrates, but not the Silent Witness. I think, I think, I create thought forms - this is the mental in action, but not the Witness, by whom this mental stream constantly flows. I move, I walk, I speak, I eat, I drink - it is the body that works, but not He, who stays in the body for a while. It is necessary to separate Him, the Eternal One, from the temporality of the three streams in itself - physical, astral and mental. We must accustom ourselves to look at everything that happens inside and outside, as something that is outside, as temporary and transient and not being the imperishable essence of the spirit. Here something was, has passed and has sunk into oblivion. But I stand on the shore of the eternal and again look at the new jets of the stream that rush past and pass just as everything that happened before passed before them. This permeability of the present hour must be affirmed in the consciousness as a basis, for only the stream that silently looks at life does not pass. Thus are affirmed the elements of the immortality of the spirit, which are not of the temporal, but of eternity. The temporal serves only as a way of approaching the Eternal, and without it, without the experience and knowledge it brings, one cannot approach the Eternal. Through the temporal and transient - to the imperishable and Eternal, Existing in Infinity. Phenomena of longer duration are closer to it than those of short duration; the chain of incarnations is closer than one single life, or a day, or a short hour, torn from the sphere of the transient. Therefore, drawing a longer line will be the decision of life. And through the brevity of each hour, you can lead this long line of life, far beyond this hour, and days, and years of an individual life, and even a segment of several lives, because infinity contains them all, and even more than what time contains and hugs himself. After all, the very concept of time contains the temporal. My kingdom is not of this world, nor of the temporal and its elements. Something in itself, standing in the middle between the rushing stream of the transient and the silent Witness, can be brought closer to any pole of life or moved away from it. When consciousness approaches the flow, it enters it, merges with it and identifies itself with the transient. When it rushes into the sphere of the Beholder forever, it emerges from the stream and rises above it, affirms itself on the stone of the eternal foundation of life. Nothing that happens to a person in the sphere of his three shells can affect the Silent Recorder, although it sometimes seems to a person that everything is lost and he dies. The unborn of three cannot perish, for he is from the beginning of time and before the beginning. Whatever the consciousness aspires to, it will remain with it. If to the temporal - with the temporal, if to the eternal - with the eternal. And if with Me, then with Me.

The planet is rushing through space. Where? To the future. It is inevitable, like fate. This means that it is possible to direct the spirit into the future. In the present, the merging of consciousness with the Silent Watcher is unattainable. But in the future it is possible. If, however, we consider the present as a stage of approach to the future, then, knowing what the spirit wants, one can begin to affirm at this hour the present in oneself that in the future, in which everything is possible, will become the desired stage of achievement. Now, now, the possibilities of future achievements are affirmed, which are impossible in the environment of the present night. The principle of the seed is universal: there can be no sprouts without a seed. Sowing in the present grains of future shoots is necessary. And the sower, which is a man, and the field of sowing - his consciousness, and the seeds of sowing - thoughts - are those conditions that, if applied wisely and with knowledge of the law, can give a number of shining achievements in the future. The basis and the engine is thought. The focus is on her. And everything is achievable. And let the impossible now not confuse the daring spirit, for in the future everything is achievable, if the seeds of possibilities, now unattainable, impossible and achievable in the future, are planted in the mind now, at the present hour. That is why boldness is affirmed by Me. Daring boldly, vehemently striving for the future, he will reap. I give a guarantee of victory. Not Magic, but the operation of an immutable law. How to explain even better that the affirmation and negation accepted by consciousness in the present are the seeds of sowing gigantic seedlings in the future. For everything is cause and effect. We will reap what we have sown. Wouldn't it be better to sow consciously, choosing the seeds of the best opportunities and with the knowledge of the immutability of the operation of the law. Thus, I affirm the achievements that follow Me along the victorious path, and I point the way to victory. I say, I told you, affirm.

An important definition of existence is going beyond the limits of existence, the possibility of striving for something most significant, absolute, transcendent. In the life world that arises as a result of an existential act. Encke, man exists in psychological time, passing away. Childhood, youth, maturity pass, the time of suffering and trials passes, a joyful moment of inspiration and reciprocity passes. But there is more. True,. Justice,. Good ro. God,. The beauty,. Love. These main, highest values, regardless of how each person calls them, cannot but influence the development of the personality, symbolizing the eternal, imperishable soul.

In the life experience of each person there are situations when he feels openness to the beyond, otherworldly, something greater than herself. This may be an insight under the influence of experiencing severe trials or, conversely, a feeling of being part of the cosmic abyss, wise and harmonious, as a result of immersion in a state of happy love. Such sensations are familiar to the mother immediately after the birth of the child. They also arose in the artist, who thinks that he is only an obedient instrument in his hands. Higher. Forces. A state of religious ecstasy also leads to them, especially after an exhausting fast. Sometimes just being somewhere in nature, in the mountains, on the seashore, in the forest helps to feel your deep kinship with everything that surrounds you, with the beautiful and eternal that will remain here even when you have long been gone from this world. it would be good.

Let's remember. Skovoroda, who valued being precisely as transient. Everything that exists in time, he called a shadow, not true, but he recognized that the transient is the only reality for a person that needs to be put on the pound of the eternal, so that it shines with all the colors of life. God's man - in thousands of our lives, because these are thousands of images of transient sorrow, transient, past-flowing shadows. The frying pan leaves faith in the immortality of the best in man. its basis is permanent, eternally existing. Everything of ours disappears, and the place of the shadow is occupied by eternity "(VARomeneciomenets).

The transient, if considered outside the eternal, becomes absurd, accidental, superficial, uninteresting. The eternal, which is in no way embodied in everyday life, is not compared with the transient, becomes abstract, unreal to them, artificial and therefore also uninteresting. The transient always begins in the eternal, represents a certain fraction of the eternal, embodies the eternal, develops it. The eternal is imperceptibly, implicitly present in the Nai-Roman, in the ordinary, with the extraordinary. A person, in the whirlpool of life, remembers the uniqueness of his every moment, which constantly strives for eternal values, until they are brought into the sphere of the temporal, with measles, and for which, step by step, he approaches himself, becomes free.

Since the late Middle Ages, there has been a Christian legend about. Agasfera, "Eternal Jew" When exhausted by the weight of the cross. Jesus walked on. Golgotha and needed to rest. Ahasuerus, who stood in the crowd, said: "Go, go," for which he was punished - he was forever denied eternal - in peace of the grave. Age in a century is doomed. Ahasuerus travel the world, waiting for the second coming. Christ, who alone can deprive him of his boring immortality. As noted. SSAverintsev. Ahasuerus - "this is an enemy of Christ, but at the same time a witness of Christ, a sinner who strikes with a mysterious curse and frightens with his very appearance as a ghost and an evil sign, but through the curse itself is correlated with. Christ, whom he must certainly meet in" this world", and in repentance and for sure is able to turn into a good sign for these logos of the world. The structural principle of the legend is a double paradox, when dark and light change places twice: immortality, the desired goal of human efforts, in this case turns into a curse, and a curse - a performs (with a chance of redemption) kuti)".

This legend has many literary incarnations. New and new interpretations, which change each other from age to age, testify to the eternity of the problem, the absence of a final, absolute solution, the necessary awn within each individual life to begin its own, separate search. Do you need a life that has nothing to cherish, since it will still have no end or edge? based on today's understanding of the finiteness of one's own existence?

A multi-valued variation on the theme was given by our contemporary - an Argentinean writer. Jorge. Louis. Borges. The hero of his story, the military tribune of the Roman legion, goes to. West in search of a city. B. Bessmertnykh, and after severe trials that almost cost him his life, reaches the goal. The city turns out to be boundless, ugly and meaningless, its architecture oversaturated with symmetry causes nothing but horror and disgust. The people who built this stunning labyrinth, lost in the desert, are given out to the Roman as cruel. And primitive troglodytes. They live in caves, eat snakes, and are as naive as children in their arrogance, because they have no compassion for anyone. Taught by the experience of history, they have abandoned any moral and rational criteria, they are not interested in either someone else's or their own dollar share.

"Life. The immortal is empty, except for man, all living beings are immortal, because they do not know about death, but feel themselves. Immortal - divine, terrible, incomprehensible to the mind" Borges notes: "death (or the mention of death) fills people with sublime feelings and makes life valuable. Feeling themselves to be short-lived creatures, people behave accordingly; every perfect deed can be left unfinished. "

In life, is not true, which is aimed at the tasks of the present, as one believes. Kierkegaard, the ability to synthesize the transient and the eternal disappears. Human existence is a drama, which testifies to the struggle to bring eternal values of them into everyday life familiar to everyone. We must return to the method. Socrates, to be, like him, a "stimulator of souls" Freedom provides for the opportunity to remain oneself, remembering the eternal, not feeling dependent on the requirements of society, public opinion, family expectations. And slavery is a capitulation to the transient, to the phantom world, about which. Skovoroda wrote about a rouged monkey, and also a decorated coffin.

A distinctive feature of human existence is longing, longing for absolute being, longing for eternal values, beyond. God. It is this longing that is the source of activity aimed at searching for true, authentic being, at approaching the eternal. But most people, looking for completeness, get bogged down in trifles.

Man cannot find himself in sensual pleasures, lustful desires. Kierkegaard analyzes fate. Don. Juan, trying to show the eternal dissatisfaction of those who are looking for the illusory ideal of earthly love. His. Don. J. Juan strives for great love and always gets tired of yet another disappointment, yearns for the ideal and is fed up with the ritual of sensual pleasures. This is a tragic figure, the image is broken, humiliated, although "Feeling in ingenious" Sensual love by its very nature, as he believes. Kierkegaard cannot be true, because it is love not for one person, but for everyone, it is a temptation of taste.

A person cannot find himself in labor for the sake of his relatives, society, contemporaries. It dissolves itself in numerous duties, functions, assignments, tasks, losing its own individual life in all its uniqueness. A person suffers, her conscience is restless, and the only way out is to understand her destiny, to find a truth that would be her own truth, to find an idea for which one could live.

By. Kierkegaard, there is only one force that can unite the torn human "I", this is love for God. We find the meaning of life when we begin to believe in. God, and faith becomes revelation. A person only then lives a true life when she tries to realize the eternal in the fleeting, illumined. God's grace. The realization of the abyss between the transient and the eternal is at the same time the realization of the truth about the infinity of the distance between the real, sinful, natural man and. God, between the real and the ideal "I" What could be more meaningful than the path above this abyss?

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

Elements of a solemn and religious ode are already present in the literature of southwestern and Muscovite Russia at the end of the 16th-17th centuries. (panegyrics and verses in honor of noble persons, the "welcome" 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, the ode is less associated with classicist traditions; it carries out a struggle of contradictory stylistic tendencies, 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 belong 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. In this ode, the Russian army and Empress Anna Ioannovna are sung. In another poem, "Praise to the Izherskaya land and the reigning city of St. Petersburg", the solemn praise of the Northern capital of Russia sounds for the first time. Subsequently, Trediakovsky composed a number of “odes laudable and divine” and, following Boileau, gave the following definition to the new genre: the ode “is a high piitic kind ... consists of stanzas and sings the highest noble, sometimes even tender matter.”

The main role in the Russian solemn 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, can give a special rhythm and musicality to a verse. Therefore, he carried out further reformation 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 that had already come into use in many European countries, and Russian folk traditions. “I owe French version a bag, and old Russian poetry all a 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 the Russian ode there was a constant struggle between two literary trends: close to the traditions of the Baroque, the “enthusiastic” ode of Lomonosov and the “rationalistic”, adhering to the principle of “naturalness” ode of Sumarokov or Kheraskov.

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

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

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

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 involuntarily sound like a hero’s noise to me. Do not revolt Bole, Love thoughts, mind; Although I am not deprived of tenderness of the heart In love, I am more admired by Heroes with eternal glory.

The reform of Russian versification begun by Trediakovsky was brought to an end 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 the feudal-noble literature of the 18th century. The purpose of Lomonosov's odes is to serve in every way to exalt the feudal-noble monarchy of the 18th century. in the face 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 reveal the main feeling - enthusiastic surprise, mixed with reverent horror 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, a 4-foot iambic without pyrrhic (which has become the most canonical), for pure “iambic verses rise up matter, nobility, magnificence and height multiply." Solemn ode at M.V. Lomonosov developed a metaphorical style with a distant associative connection of words.

The bold innovator extended the tonic principle of his predecessor to all types of Russian verse, thus creating a new system of versification, which we call syllabo-tonic. At the same time, Lomonosov placed iambic above all poetic meters, considering it the most sonorous and giving the verse the greatest strength and energy. It was in iambic that a laudatory ode was written in 1739, glorifying the capture of the Turkish fortress 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 the ode was attributed by him to the “high calm”, due to its solemnity, elation, which stands out sharply from simple, ordinary speech. In this genre, Church Slavonic and obsolete words were allowed to be used, but only those that were "intelligible to the Russians." These words reinforced 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 writer's highest joy was to work "for the benefit of society."

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

Of the “Sumarokovites”, the most important in the history of the genre is M.M. Kheraskov is the founder of the Russian "philosophical ode". Among the "Sumarokovites" the Anacreontic ode without rhyme was especially developed. 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 - departing 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 the most specific for the genre of Russian ode as such.

It is indicative in this respect that Derzhavin substantiated his theoretical "Discourse on Lyric Poetry or an Ode" almost entirely on Lomonosov's practice. Derzhavin fully followed the code of Boileau, Batteux and their followers in his rules of odosnation. However, in his own practice, he goes far beyond them, creating on the basis of the "Horatian ode" a mixed kind 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" 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 exceptional diversity. Of particular importance are his denunciatory odes ("Nobleman", "To Rulers and Judges", etc.), in which he is the founder of Russian civil lyrics.

The heroism of the time, the brilliant victories of the Russian people and, accordingly, the “high” genre of the solemn ode were also reflected in the poetry of G.R. Derzhavin, who most of all appreciated the "greatness" of the spirit, the greatness of his civil and patriotic deeds in a person. In such victorious odes as “To the Capture of Ishmael”, “To the 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 simple Russian soldiers - "in the light of the first fighters." Continuing and developing the heroic motives of Lomonosov's poems, at the same time he vividly recreates the private life of the people, draws pictures of nature sparkling with all colors.

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

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

In "Liberty" by Radishchev, the main social function of the ode changed diametrically: instead of enthusiastic chanting of "kings and kingdoms", the ode was a call to fight against the kings and glorify their execution by the people. Russian poets of the 18th century praised monarchs, while Radishchev, for example, in his ode "Liberty", on the contrary, sings of tyrant-fighters, whose free invocative voice horrifies those who sit on the throne. But this kind of use of foreign weapons could not give significant results. The ideology of the Russian bourgeoisie differed significantly from that of the feudal-gentry, 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 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 enlightening ideas into the minds of the people, inflaming people with lofty civic-patriotic feelings, the Russian ode came closer and closer to life. She did not stand 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 a literary ideology of the feudal nobility, it began to lose its hegemony and the genre of ode, giving way to the newly emerging verse genres of ellegy and ballad. A crushing blow to the genre was dealt by satire I.I. Dmitriev's "Alien Sense", directed against the poets-odists, "pindaring" in their yawn-inducing verses for the sake of "an award with a ring, a hundred rubles or friendship with the 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 her romantic elegies). 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".

Solemn odes were also written by Dmitriev himself. Oda began the activities of Zhukovsky, Tyutchev; We find an ode in the work of the young Pushkin. But basically the genre more and more passed into the hands of incompetent epigones like the notorious Count Khvostov and other poets grouped around Shishkov, and Conversations of Lovers of the Russian Word.

The last attempt to revive the genre of the "high" ode came from a group of so-called "junior archaists". Since the end of the 20s. The ode has almost completely disappeared from Russian poetry. Separate attempts to revive it, which 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 as an ode, even if they themselves are so-called (for example, Mayakovsky's "Ode to the Revolution"), only by way of a very distant analogy.

ode poem lyrics classicism

Briefly:

Oda (from gr. ode - song) - a genre of lyric poetry, a solemn poem written to the glory of a person or historical event.

The ode originated in ancient Greece, like most lyric genres. But it gained particular popularity in the era of classicism. In Russian literature, the ode appeared in the 18th century. in the work 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, about the virtues of a high person, about the benefits of science, and so on. For example, “Ode to the blessed memory of the 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 the classic verse became simpler and closer to the spoken language only in Derzhavin's odes. Starting with A. Radishchev, solemn verses take on a different semantic sound, they contain the motive of freedom and a call for the abolition of serfdom. For example, in Pushkin's "Liberty" or Ryley's "Civil Courage". In the works of the authors of the second half of the XIX and XX centuries. ode is rare. For example, "The City" by V. Bryusov, "Ode to the Revolution" by V. Mayakovsky.

Source: Schoolchildren's Handbook: Grades 5-11. — M.: AST-PRESS, 2000

More:

The path of the word "ode" is much shorter than that of such concepts as "elegy" or "epigram", mentioned from the 7th-6th centuries. BC e. Only half a millennium later, Horace began to assert it, and since the middle of the last century it has already sounded completely archaic - like the piit that composed this healthy chant. However, the evolution of the phenomenon is not exhausted in this case by the history of the term.

Oda: the history of the genre

Even in ancient Greece, numerous hymns and dithyrambs, paeans and epinicia were created, from which the ode subsequently grows. 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 the Olympic competitions. Pindar's epinicia were distinguished by the pathetic glorification of the hero, the whimsical movement of thought, and the rhetorical construction of a poetic phrase.

The most talented heir of Pindar in Roman literature is Horace, who praised "valor and righteousness", "Italian power". He develops, but does not at all canonize the odic genre: along with the Pindaric odes, Epicurean motifs also sound in the poet's odes, civic pride in his nation and power does not obscure the delights of an intimate existence for Horace.

Opening the next page of the odic anthology, you almost do not feel the centuries-old pause that divided the ode of antiquity and the late Renaissance: the Frenchman P. Ronsard and the Italian G. Chiabrera, the German G. Wekerlin 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 the Horatian lyrics.

Such a wide range of standards could not be acceptable to practitioners and theorists of classicism. Already a younger contemporary of Ronsard F. Malherbe streamlined the ode, building it as a single logical system. He spoke out against the emotional chaotic nature of Ronsard's odes, which made itself felt both in composition, and in language, and in verse.

Malherbe creates an odic canon that could either be repeated epigone or destroyed, developing the traditions of Pindar, Horace, Ronsard. Malherbe had supporters - and among them very authoritative (N. Boileau, in Russia - A. Sumarokov), and yet it was the second path that became the high road, along which the ode then moved.

The genre of ode in the work of Lomonosov

The title of "Russian Pindar" was fixed in the 18th century. after M. Lomonosov, although we will find the first examples of Russian panegyric poetry already in S. Polotsky, F. Prokopovich. Lomonosov understood the possibilities of the odic genre broadly: he wrote both solemn and religious-philosophical odes, sang "in delight" praise not only to Empress Elizabeth Petrovna, but also to the whole of God's world, the starry abyss, simple glass. The Lomonosov ode often resembles a state manifesto, and not only the content, but also the form of its odes has a programmatic character. It is constructed as an oratorical monologue of the 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.

Another characteristic feature of Lomonosov's odes is the "conjugation of distant ideas", increased metaphor and paradox. However, associations grow in Lomonosov on a rational basis. As Boileau wrote,

Let in the Ode of the fiery bizarre thought move,
But this chaos in it is the ripe fruit of art.

The unexpectedness of metaphors is always balanced here by the desire for their deployment, demonstration, clarification.

A. Sumarokov fiercely fought against the Lomonosov interpretation of the genre, instilling moderation and clarity in the ode. His line was supported by the majority (Vas. Maikov, Kapnist, Kheraskov and others); but among the followers of Lomonosov was not only the pompous Vasily Petrov, but also the brilliant Derzhavin.

The genre of ode in the work of Derzhavin

He was the first to wrest the ode from the clutches of abstraction. The life of his heroes does not consist of one state service - it also contains a lot of worldly fuss: everyday life and leisure, troubles and entertainment. However, the poet does not castigate human weaknesses, but, as it were, recognizes their naturalness.

Such, Felitsa, I am depraved!
But the whole world looks like me,

he justifies. In "Felitsa" a collective image of a nobleman of Catherine's time is drawn, his everyday portrait for the most part. The ode approaches here not with satire, but with an outline of morals. Correspondingly, the images of statesmen become secularized - and not in Felitsa alone. According to Derzhavin's scale of assessments, the praise "And there was a man in a nobleman" is almost the highest ("On the birth of a porphyry-bearing child 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 with God and eternal nature. His man is great as an earthly reflection of a deity. In this impulse to eternal ideals, and not in transient desires, the poet finds the true purpose of people - this is how the heat 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 Y. Tynyanov, it “does not disappear as a direction, and not as a genre,” and here they meant not only Katenin and Kuchelbecker, but also Mayakovsky.

Indeed, for two centuries the odic tradition has been one of the most influential in Russian and Soviet poetry. They are especially activated when abrupt changes are planned or made in history, when the need for such verses arises in society itself. Such are the era of the Patriotic War of 1812 and the Decembrist movement, the revolutionary situations of the second half of the 19th and early 20th centuries, the period of the Great Patriotic War and the middle of the last century.

Odic lyric poetry is a form for the poet to establish a connection between his moods and the general ones. What is alien becomes one's own, what is mine becomes ours. It is not surprising that the poets of the odic warehouse - these "knights of immediate action" - are interested in the widest publication of their creations, intensifying their dialogue with people. During social upheavals - "in the days of celebrations and troubles of the people" - poetry necessarily goes to the stands, squares and stadiums. Let us recall the moral resonance of the siege poems (odic and neoodic) by O. Bergholz, with which she spoke on the Leningrad radio. The poet takes on the guise of a folk spokesman in the odic lyrics, he does not just shape the experiences of many - general premonitions receive from him the strength of confidence. In this sense, one can speak of the ideological and even visionary character of the odic lyrics.

Oda M.V. Lomonosov. The place of the ode in the system of genres of classicism. Analysis of the ode "On the Capture of Khotin".

Lomonosov entered the history of Russian literature primarily as an ode writer.

Contemporaries called him the Russian Pindar. Oda is a lyric genre. She is

passed into European literature from ancient poetry. In Russian literature

18th century the following varieties of ode are known: victorious-patriotic,

laudable, philosophical, spiritual and anacreontic. In the system of genres

Russian classicism, the 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

repetitive rhyme. In Russian poetry, most often took place

ten line stanza proposed by Lomonosov.

Lomonosov began with the victoriously patriotic Ode on the Capture of Khotin. It's written

in 1739 in Germany, immediately after the capture by Russian troops

Turkish fortress Khotyn, located in Moldova. Fortress garrison with

its chief Kalchakpasha was taken prisoner. This brilliant victory

a strong impression in Europe and even higher raised the international prestige of Russia.

In the ode of Lomonosov, three main parts can be distinguished: introduction, image

military operations and the glorification of the victors. The pictures of the battle are given in a typical

Lomonosov in a hyperbolic style with a mass of detailed comparisons, metaphors

and personifications that embody the tension and heroism of battle scenes.

The moon and the snake symbolize the Mohammedan world; an eagle soaring over Khotyn, -

Russian army. The arbiter of all events was brought out by a Russian soldier, "Ross", as

admiration:

Strengthens the fatherland love

Sons of Russian spirit and hand:

Everyone wants to shed all the blood,

From the formidable sound invigorates.

The tension, the pathetic tone of the narration is intensified by rhetorical

to the enemy. There is also an appeal to the historical past of Russia in the ode. Above

the shadows of Peter I and Ivan the Terrible appear in the Russian army, having won in their

time of victory over the Mohammedans: Peter - over the Turks near Azov, Grozny - over

Tatars near Kazan. Such historical parallels will become after

Lomonosov is one of the stable features of the odic genre.

Scientific and philosophical lyrics of 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 transcription of achievements in poetic form

Sciences. It is indeed poetry born of inspiration, but only in

unlike other types of lyrics, here poetic delight was aroused by an inquisitive

scientist's thought. Lomonosov dedicated poems with scientific themes to phenomena

nature, especially the space theme. As a deist philosopher, Lomonosov

saw in nature a manifestation of the creative power of a deity, but in his poems he

reveals not the theological, but the scientific side of this issue: not comprehending

God through nature, but the study of nature itself, created by God. So there were

two closely related works: "Morning reflection on God's

majesty” and “Evening meditation on the majesty of God on the occasion of the great

northern lights." Both poems were written in 1743.

In each of the "Reflections" the same composition is repeated. At first

phenomena 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 worlds unknown to him. Yes, in the first line

"Morning Reflection" depicts the sunrise, the onset of morning,

awakening of all nature. Then Lomonosov starts talking about the physical

structure of the sun. A picture is drawn that is accessible only to the inspired gaze

a scientist who can speculatively imagine what he cannot see

the "mortal" human "eye" - the hot, raging surface of the sun.

Lomonosov appears in this poem as a great popularizer

scientific knowledge. Complex phenomena occurring on the surface of the Sun, it

reveals with the help of ordinary, purely visible "earthly" images: "fiery shafts",

"fiery whirlwinds", "burning rains".

In the second, "evening" reflection, the poet refers to the phenomena that appear

man in the firmament at nightfall. At first, as in

the first poem, a picture is given that is directly accessible to the eye. This is

the majestic spectacle awakens the inquisitive thought of the scientist. Lomonosov writes about

infinity of the universe, in which a person looks like a small grain of sand in

bottomless ocean. For readers 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 work.

activity. One of the evidences 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 proved.

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

fate of advanced science. The names of the great naturalists Kepler are called,

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 ancient scientific poetry. One

from the distant predecessors of Lomonosov in this area was a Roman poet

some researchers and "Letter on the benefits of glass" is also called a poem, not

given the genre originality of Lomonosov's work, we have before us precisely

a letter that has a specific addressee - Ivan Ivanovich Shuvalov, a prominent

nobleman and favorite of Empress Elizabeth Petrovna. Shuvalov

patronized the arts and sciences. With his assistance were opened

university in Moscow and the Academy of Arts in St. Petersburg. To his help

Lomonosov repeatedly applied for the implementation of his plans. "Letter about

the benefits of glass" - a kind of parallel to the odes of Lomonosov, in which the poet

sought to convince the authorities of the importance of education and science. But in

unlike the solemn odes, the "Letter" was not intended for palace

ceremonies and was an informal appeal of the poet to Shuvalov than

and explains his strict, businesslike, devoid of any rhetorical embellishments

Philological works of M.V. Lomonosov. Their significance in the development of Russian philology.

Lomonosov entered literature at a time when ancient Russian

writing related to the Church Slavonic language, with an established system

genres became a thing of the past, and it 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

enthusiastic praise of the Russian language, comparing it with European languages

and highlighting its benefits.

Lomonosov was far from thinking of abandoning the use in Russian

literary language of Church Slavonicism. Trediakovsky in the preface to the novel

"Riding to Love Island" wrote about incomprehensibility and even dissonance

Church Slavonic and resolutely avoided it in his translation. Such

the decision of the issue was not accepted by Lomonosov.

Church Slavonic, by virtue of its kinship with Russian, contained

certain artistic and stylistic possibilities. He gave speech

connotation of solemnity, significance. It's easy to feel if

put Russian and Church Slavonic words of the same meaning next to each other:

finger - finger, cheek - cheek, neck - neck, said - rivers, etc. Because of this

Church Slavonicisms, with their skillful use, enriched the emotional and

expressive means of the Russian literary language. In addition, on

Church Slavonic were translated from Greek liturgical books, in

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 is necessary. He presented his ideas in

called "Foreword on the Usefulness of Church Books in the Russian Language"

(1757). Lomonosov divided all the words of the literary language into three groups. To

first he refers to the words common to the Russian and Church Slavonic languages: god,

glory, hand, now, I read, etc. To the second - only Church Slavonic

words understandable to "all literate people": I open, Lord, planted,

I call. "Uncommon" and "very dilapidated" Church Slavonicisms of the type:

obavayu, rassny, ovogda, svene - they were excluded from the literary language. To

the third group includes words only in the Russian language: I say, stream,

which, for now, only, etc. The three groups of words mentioned above are

"material" from which three "calm" are "constructed": high,

"mediocre" (i.e., average) and low. The high "calm" is made up of

words of the first and second groups. Middle - from the words of the first and third groups. Short

"calm" is composed mainly of the words of the third group. Here you can

enter the words of the first group. In a low calm, Church Slavonicisms do not

are used. Thus, Lomonosov made the basis of the literary language

Russian language, since of the three named groups, two, the most extensive, the first and

third, were presented in Russian words. As for Church Slavonicisms

(second group), then they are only added to the high and medium "calms" in order to

give them some degree of solemnity. Each of the "calm" Lomonosov

associated with a particular genre. Heroic poems are written in high "calm",

odes, prosaic speeches about "important matters". Middle - tragedy, satire,

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 the Russian

versification, begun by Trediakovsky. Together with the "Letter" was sent "Ode

on the capture of Khotin "as a clear confirmation of the advantages of the new poetic

systems. Lomonosov carefully studied "A new and short way ..."

Trediakovsky and immediately noticed his strengths and weaknesses. After

Trediakovsky Lomonosov gives full preference to the syllabo-tonic

versification, in which he admires the "correct order", that is, rhythm. AT

Lomonosov cites a number of new considerations in favor of the syllabic tonic. Her

correspond, in his opinion, to the features of the Russian language: free stress,

falling on any syllable, how our language is fundamentally different 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 remarked that

Trediakovsky stopped halfway and decided to see it through to the end. He

proposes to write in a new way all the verses, and not just eleven and

thirteen-syllable, as Trediakovsky believed. Along with disyllabic, 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 the 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

a poem with masculine, feminine and dactylic rhymes.

In 1748, Lomonosov published a "Short Guide to Eloquence" (Book.

1 "Rhetoric"). In the first part, which was called "Invention", was put

question about the choice of topic and related ideas. The second part - "On decoration" -

giving speech "elevation" and "splendor". In the third - "On the location" -

about the composition of a work of art. In "Rhetoric" were not

only rules, but also numerous examples of oratory and poetic

art. It was both a textbook and an anthology at the same time.

A.P. Sumarokov. Personality. Socio-political views. Literary and 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, how he enriched

genre composition of Russian classicism - tragedy and comedy.

Sumarokov's worldview was formed under the influence of the ideas of Petrovsky

time. But unlike Lomonosov, he focused on the role and

duties of the nobility. Hereditary nobleman, pupil of the gentry

corps, Sumarokov did not doubt the legitimacy of noble privileges, but

believed that high office and ownership of serfs needed to be confirmed

education and social service. A nobleman must not humiliate

the human dignity of the peasant, burden him with unbearable requisitions. He

sharply criticized the ignorance and greed of many representatives of the nobility in

his satires, fables and comedies.

Sumarokov considered the best form of government to be a monarchy. But

the high position of the monarch obliges him to be just, generous,

to be able to suppress evil passions in oneself. In his tragedies, the poet portrayed

the detrimental consequences resulting from monarchs forgetting their civil

In his philosophical views, Sumarokov was a rationalist. Although he was

the sensationalistic theory of Locke 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 forward in the first place

moralistic functions. At the same time, Sumarokov was acutely aware 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

titled "Instruction to those who want to be writers" (1774). sample for

"Instructions" served as Boileau's treatise "The Art of Poetry", but in the essay

Sumarokov, an independent position is felt, dictated by urgent

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

has been resolved.

The main place in the “Instruction” 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 what you start, look for decent ones

words” (Ch. 1. S. 360). But Boileau and Sumarokov's attitude to individual genres is not

always matches. Boileau speaks very highly of the poem. He puts it even

above tragedy. Sumarokov says less about her, being content only

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 epistles "On poetry" calls them

"knickknacks", and in the "Instruction" bypasses complete silence.

Document

Etc. Local civilizations are social answers humanity to world challenges... civilization (before XVI- XVII centuries) Technogenic civilization (before ...) Post-industrial (computerization, informatization) Ticket 18. The nature and character of modern ...

Methodical development "System of control on the course of the history of Russia in the late XVII-XVIII centuries"

Methodical development

The questions are sorted by tickets (ticket= question) that students pull out. Answer given in writing... the end XVIII century(3) 10) When was I.K. Kirilov's "Atlas of the Russian Empire" published? Answers: 1) Pososhkov...

Foreign Literature Tickets