Lomonosov entered the history of Russian literature primarily as an ode writer. Contemporaries called him the Russian Pindar. Oda is a lyric genre. She passed into European literature from ancient poetry. Russian literature of the 18th century the following varieties of the ode are known: victorious-patriotic, laudatory, philosophical, spiritual and anacreontic. In the system of genres of Russian classicism, the ode belonged to the "high" genres, which depicted "exemplary" heroes - monarchs, commanders, who could serve as an example to follow.
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1. The place of the ode in the system of genres of classicism, genre features of the ode.
Lomonosov entered the history of Russian literature primarily as an ode writer. Contemporaries called him the Russian Pindar . Oh yeah- lyrical genre. She passed into European literature from ancient poetry. Russian literature of the 18th century the following varieties of the ode are known: victorious-patriotic, laudatory, philosophical, spiritual and anacreontic. In the system of genres of Russian classicism, the ode belonged to the "high" genres, which depicted "exemplary" heroes - monarchs, commanders, who could serve as an example to follow. In most cases, the ode consists of stanzas with repeated rhymes. In Russian poetry, the ten-line stanza proposed by Lomonosov most often took place.
Oh yeah- lyrical genre. It, according to Trediakovsky, "describes ... noble, important matter, rarely tender and pleasant in speeches that are very poignant and magnificent." Its origins are the choral lyrics of the ancient Greeks. Solemn odes were created, glorifying a great event or a great hero; Anacreontic - named after the ancient Greek poet Anacreon, who sang of the joys and pleasures of earthly existence; spiritual - "additions" of the psalms; at the end of the XVIII century. moralizing, philosophical, satirical odes, odes-messages and odes-elegies appeared. But the main place among all types is occupied by solemn odes.
A solemn ode in Russia has a special fate. Her poetics is connected with the national tradition of panegyrics (eulogies), as well as with the traditions of ancient and Western European odes. The solemn ode became the leading genre in Russia in the 18th century, which is associated with the personality of Peter I and his reforms. "The incomparable deeds of Peter the Great cannot be exceeded by human strength," wrote M. V. Lomonosov in one of his odes.
solemn ode in Russia in the 18th century. - this is not only a literary text, not only a word, but an action, a special rite. It is like fireworks or illuminations that accompanied solemn events in the life of the state in St. Petersburg. The odes were commissioned by the government and their reading was part of the festive ceremony.
M.V. Lomonosov wrote odes dedicated to Anna Ioannovna, Ioann Antonovich, Elizaveta Petrovna, Peter III and Catherine II. However, the content and significance of Lomonosov's commendable odes is immeasurably wider and more important than their official court role. The laudatory ode seemed to Lomonosov the most convenient form of conversation with the tsars. In each of them, the poet developed his ideas and plans related to the fate of the Russian state. Most of the odes were addressed to Elizaveta Petrovna. This is explained not only by the fact that twenty years of the life of the poet himself coincided with her reign, but also by the fact that she was the daughter of Peter!, who, according to Lomonosov, was primarily supposed to continue the work of her father.
RUSSIAN ODE. - Elements of the solemn and religious O. are already 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 first attempts to introduce the genre of “classical” opus into Russian poetry belong to Kantemir, but the very term was first introduced by Tredyakovsky in his “Solemn Ode on the Surrender of the City of Gdansk.” Subsequently, Tredyakovsky 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 tender matter” (“New and a short way to compose Russian poetry”, St. Petersburg, 1735). However, the true founder of Russian poetry, who established it as the main lyrical genre of feudal and noble literature of the 18th century, was Lomonosov. 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 reverence.
Main signs: chanting of the monarch and the relics of his homeland, lofty vocabulary (i.e. all sorts of pathos expressions), severity, almost no personal emotions.
The ode is not so much a compliment to the authorities as an instruction. The ode, especially reflecting the accession to the throne of a sage, is always somewhat utopian. She advocates change for the better, while the elegy focuses on the eternal and repeating from generation to generation. In the optimistic mood, the ode elegy brings a share of skepticism.
Written by M.V. Lomonosov in 1747 "ode on the day of the accession to the throne of Elizabeth Petrovna" became a canonical example of the genre. Resorting to the hyperbole and mythologems inherent in the genre, the poet glorifies the future merits of the queen to the fatherland, among which the most important are the humaneness of laws, peacefulness, generous patronage of art, crafts and sciences:
Silence, fiery sounds,
And stop shaking the light:
Here in the world to expand science
Elizabeth deigned
You impudent whirlwinds, do not dare
Roar, but meekly divulge
Our times are wonderful.
In silence, listen to the universe:
Here the lyre walks admiringly
Say great names.
The ode is written in iambic tetrameter, feminine and masculine rhymes alternate, the ten-line stanza is divided into two quatrains, in the first the rhyme is crossed, in the second it is circular, and between them is distich.
On Russian soil, the ode acquired a number of distinctive features. The traditional ode of classicism had an impersonal character, it was devoid of an individual beginning, the lyrical hero was practically absent in it. In the Russian ode, the poet, glorifying victories on the battlefield, welcoming the accession to the throne of a new empress or the birth of a porphyry-bearing child, is involved in what is happening. The event concerns him personally, he connects state events with his own biography, for even promotion or resignation directly depended on big politics.
We have all heard about such a genre of literature as ode. So what is it? What is the origin of this genre? Who is considered the founder of the ode? What is the genre theory? All these questions can be answered in this article.
Definition of the concept of "ode"
An ode is an old song on any topic that was performed in ancient Greece by a choir with musical accompaniment. Later, they began to call it a laudatory verse dedicated to the glorification of important historical events or prominent persons. Sometimes the ode praises majestic natural phenomena. The style of such works is especially solemn, it is sustained in a sublime spirit with elements of pathos.
Translated from the ancient Greek ώδή (oide), ode is a song. Distinguished laudatory, dancing and deplorable.
V. Dombrovsky, for example, defined the concept as follows: “The word " ode "is in Greek the same as our" song ". Only not every song is an ode; this name is usually called a song in which the poet, touched by something high, unusual and worthy of surprise, an object with which universal human , national or public interests, expresses his feelings with a fiery word, removed in all means of picturesqueness, expression and melody.
Signs of an ode
An outstanding sign of the ode is high spirits, a bold, irrepressible flight of fancy, an ardent feeling of inspiration and a poetic form of expression of thoughts adapted to this. Themes for glorification and exaltation are taken by a laudatory song from the sphere of high ideals, impulses, desires and human competitions. The will, the advancement of mankind, love for the native land, the struggle for the realization in life of high cliques of freedom, truth and brotherhood, ideal intentions and competitions, heroic deeds and deeds, the invincible power of song - all this can give rise to an uplifting spirit. And all this can be glorified in an ode.
Story
Oda is a genre of literature, the founder of which was the ancient Greek poet Pindar (4th century BC), who was the author of a number of laudatory songs in honor of the gods, the victories of the Greeks in wars and at the Olympic Games. His laudatory verses had a strict metrical form and composition (stanza - antistrophe - epod). The Roman lyricist Horace, who lived in the 4th century BC, composed odes in honor of Venus, Bacchus, and the emperor Augustus Octavian. In the Renaissance, the most famous composer of odes was the Frenchman P. Ronsard (mid-16th century). His odes sang of nature, which brought joy and peace to people (“To the Bellera Stream”). Some of Ronsard's odes were written in honor of love. This is an ode to a woman (“My friend, they led me to live more comfortably”).
Ode Genre Theory
Ode is a genre that has developed alongside panegyric works, primarily hymns and dithyrambs. These works were to be accompanied by playing musical instruments (harp, cithara, etc.) and dancing.
The canonical genre structure of the work, in which civic motifs clearly dominate, the ode acquired in the work of Malherbe, one of the founders of French classicism. Malherbe's odes (beginning of the 17th century) defended the inviolability of the principles of absolutist statehood, praised the monarch and his relatives, high dignitaries and generals.
The laudatory song received its theoretical justification in the poetic treatise by N. Boileau "Poetic Art". Along with tragedy, ode is a literary genre that was considered high. N. Boileau formulated the rules for writing odes regarding language, metrics, and general poetic tonality. Compositionally, the song of praise begins with a chant, followed by a presentation of “noble and important matter”, which includes various episodes, digressions, and the so-called lyrical disorder (“jumping” of the poet from one motive to another), and the ode ends with an ending. According to N. Boileau, the ode was able to touch the reader's imagination with its state solemnity.
Outstanding ode writers in the literature of the 18th century were M. J. Chenier, Lebrun-Pindar (France), Klopstock, Schiller (Germany), Lomonosov, Kantemir, Trediakovsky (Russia). The latter introduced the term "ode" in Russian poetry. In the era of romanticism, a laudatory song occupied a significant place in the work of Byron ("Ode to the authors of the bill against the destroyers of machine tools"), Shelley, Kuchelbecker.
In the literature of the 20th century, the ode is extremely rare. As examples, it is worth recalling “Ode to the Library” by S. Kryzhanovsky, his own cycle “Odes” (“Ode in honor of a tree”, “Ode to a man”, “Ode to speed”), “Ode to a human language” by I. Muratov, “Ode to revolution " V. Mayakovsky, "Ode to Conscience" by I. Drach.
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
science. 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. 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
the 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 red-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. it
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 side by side:
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 Slavonicism
(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. Unlike
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.
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There are a large number of genres in Russian poetry, many of which are actively used by modern writers, while others have receded into the past and are rarely used by authors. The second is the ode. In literature, this is already an outdated genre, which was in demand in the era of classicism, but gradually went out of use by the masters of the word. Let's take a closer look at this term.
Definition
In literature? The definition can be formulated as follows: this is a lyrical genre of poetry, a solemn song dedicated to a person with the aim of glorifying him, praising him. Also, in some, not a person is praised, but some important event. The first author of odes in literature is the poet of ancient Hellas, Pindar, who, in his grandiloquent poems, honored the winners of sports.
In Russia, the heyday of the genre fell on the era of classicism, when the great classics - Derzhavin and Lomonosov - created their immortal works. By the 19th century, the genre had lost its relevance, giving way to easier-to-perceive lyrics.
Genre specifics
Ode in literature is a rather specific genre due to its following features:
- Use of iambic 4-foot.
- 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 departed from this canon.
- An abundance of rhetorical questions, lush tropes, long, common sentences.
- Often in solemn verses one can find an amazing interweaving of lyrical and journalistic principles, which is especially inherent in
- Most of the works are quite large in volume.
- The replacement of the pronoun “I” with “we” in the text (which is also typical for Lomonosov) indicates that the author does not express his personal opinion, but the position of the whole people.
Such works were intended to be spoken aloud, only loud emotional reading could convey all the feelings that burned in the soul of the author. That is why many odes are taught by heart.
Subject
The most frequently used themes of odes in literature are heroic deeds, the praise of monarchs. So, the first solemn ode of Lomonosov is dedicated to the capture of the Turkish. And Derzhavin in his poetic work addressed Felitsa - that is how he calls Catherine II.
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 a particular historical figure, and understand her role. That is why such complicated at first glance, but actually quite fascinating works can and should be read.
Report grade 7.
Ode is a genre of lyric poetry; solemn, pathetic, glorifying work. In literature, odes are laudatory, festive, deplorable. By their nature, Lomonosov's odes are works intended to be spoken aloud. Solemn odes were created with the intention of reading aloud in front of the addressee; the poetic text of the solemn ode is designed to be a sounding speech, perceived by ear. A certain topic was declared in the ode - a historical incident or an event of a national scale. Lomonosov began to write solemn odes from 1739, and his first ode is dedicated to the victory of Russian weapons - the capture of the Turkish fortress of Khotyn. In 1764 Lomonosov wrote his last ode. Over the entire creative period, he created 20 samples of this genre - one per year, and these odes are dedicated to such major events as the birth or marriage of the heir to the throne, the coronation of a new monarch, the birthday or accession to the throne of the empress. The very scale of the odic "occasion" provides the solemn ode with the status of a major cultural event, a kind of cultural culmination in the national spiritual life.
The ode is characterized by a strict logic of presentation. The composition of the solemn ode is also determined by the laws of rhetoric: each odic text invariably opens and ends with appeals to the addressee. The text of the solemn ode is built as a system of rhetorical questions and answers, the alternation of which is due to two parallel operating installations: each individual fragment of the ode is designed to have the maximum aesthetic impact on the listener - and hence the language of the ode is oversaturated with tropes and rhetorical figures. Compositionally, the ode consists of three parts:
Part 1 - poetic delight, praise to the addressee, a description of his services to the Fatherland;
2 part - glorification of the past successes of the country, its rulers; a hymn to modern educational successes in the country;
Part 3 - the glorification of the monarch for his deeds for the good of Russia.
All solemn odes of Lomonosov are written in iambic tetrameters. An example of a solemn ode is "Ode on the day of accession to the All-Russian throne of Her Majesty the Empress Empress Elisaveta Petrovna in 1747." The ode genre allowed Lomonosov to combine lyrics and journalism within the framework of one poetic text, to speak out on issues of civil, public importance. The poet admires the innumerable natural resources of the Russian state:
Where in the luxury of cool shadows On the flock of galloping deer Catching cry did not disperse; Where the hunter did not mark with a bow; The farmer did not intimidate the Singing Birds with his thud with his axe.
The abundance of natural resources is the key to the successful development of the Russian people. The central themes of the ode are the theme of labor and the theme of science. The poet appeals to the younger generation with an appeal to devote themselves to the service of science:
Dare now, encouraged by your zeal, to show that the Russian land can give birth to its own Platons And quick-witted Newtons.
Lomonosov writes about the benefits of science for all ages. The ode creates an ideal image of a ruler who cares about the people, the spread of education, and the improvement of economic and spiritual development. The high "calm" of the ode is created using old Slavicisms, rhetorical exclamations and questions, ancient mythology.
If in the solemn ode Lomonosov very often replaces the author's personal pronoun "I" with its plural form - "we", then this does not indicate the impersonality of the author's image in the ode, but that only one facet of the author's personality is significant for the solemn ode - namely one in which he does not differ from all other people, but draws closer to them. In a solemn ode, it is not the individual-private, but the national-social manifestation of the author's personality that is important, and in this respect, Lomonosov's voice in the solemn ode is in the full sense the voice of the nation, the collective Russian.
Another thing is the spiritual and anacreontic ode, which occupies in Lomonosov's poetic heritage not as significant as the solemn ode, but still a very important place. The spiritual and anacreontic odes are brought together by Lomonosov and express the author's personal emotion, which is reflected in the productivity of the author's personal pronoun. In these texts, Lomonosov's "I" becomes a full-fledged lyrical embodiment of the author's individual emotions. Only the lyrical emotions themselves, which determine the genre content of the spiritual and Anacreontic ode, are different. If we use the classic terminology, then the spiritual ode is a form of expression of high lyrical passion. As for the Anacreontic ode, this is a form of expression of lyrical passion for private, everyday life.
Spiritual odes in the 18th century were called poetic transcriptions of psalms - lyrical texts of a prayerful nature that make up one of the books of the Bible - the Psalter. For a Russian reader of the 18th century, the Psalter was a special book: any literate person knew the Psalter by heart, because they were taught to read from the texts of this book. Therefore, the transcriptions of psalms (actually, a poetic Russian translation of Old Slavonic texts) as a lyrical genre were very popular. All spiritual odes of Lomonosov were written between 1743 and 1751. This is the time when Lomonosov had to establish himself and assert his scientific views in the St. Petersburg Academy of Sciences, where most of the scientists and administrative posts were occupied by scientists from European countries, mainly Germans. The process of Lomonosov's self-assertion in science was far from easy. Therefore, the pathos of self-affirmation sounds in spiritual odes. For example, in the transcriptions of Psalms 26 and 143:
In anger, devour my flesh
Repugnant, rushed;
But evil advice though to start,
Fallen down, crushed.
At least a regiment rise up against me:
But I'm not horrified.
Let the enemies raise up a fight:
I trust in God (186).
I was embraced by a foreign people,
In the abyss I sank deep,
You stretch your hand high from the firmament,
Save me from many waters.
Spreading lies the language of enemies,
Their right hand is strong with enmity,
The mouth is full of vanity;
They hide an evil kov in the heart (197-198).
Questions about the report:
1) What are the features of the ode genre?
2) What types of ode can you name?
3) List the main parts of the traditional ode. What should be written about in each part?
4) What is the most famous ode to M.V. Lomonosov.
5) Did M.V. Lomonosov spiritual odes? What are they about?
