M.V. Lomonosov wrote "Ode to put on the accession to the All-Russian throne of Her Majesty the Empress Empress Elisaveta Petrovna in 1747." The genre of the ode allowed him to combine lyrics and journalism within the framework of one poetic text - to the author of the question, 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
In the flock of galloping deer
Catch the cry did not disperse;
Where the hunter did not mark with a bow;
With the ax farmer's thud
Singing birds did not frighten.

The abundance of natural resources is the key to the successful development of the Russian people. The central themes of the ode are the theme of labor and the theme of science. The poet appeals to the younger generation to devote themselves to the service of science:

Be emboldened now
Show with your care
What can own Platos
And quick-witted Newtons
Russian land to give birth.

Lomonosov writes about the benefits of science for all ages. The ode creates an ideal image of a ruler who cares about the people, the spread of education, and the improvement of economic and spiritual development. The high "calm" of the ode is created by the use of Old Slavonicisms, rhetorical exclamations and questions, ancient mythology.

1) Genre originality of the work.
Ode is a solemn poem glorifying some significant person or historical event. The ode is characterized by a strict logic of presentation.

2) Features of the composition of a lyrical work. The ode has a three-part composition:

Part 1 - poetic delight, praise to the addressee, a description of his services to the fatherland.

2nd part - glorification of the past successes of the country, its rulers; a hymn to modern educational successes in the country.

3rd part - the glorification of the monarch for his deeds for the good of Russia.

3) Features of the "calm" of the ode.
The ode is written in a "high calm". This work is dedicated to the empress, the author uses, along with Russian words, Church Slavonic vocabulary: joy, use, wanderings, etc.

How can young people weaken Russia? (hard work)

What should science be for a person, according to M.V. Lomonosov? (joy, food for the mind, help in difficult situations, etc.)

The personality of G.R. Derzhavin.
Gavrila Romanovich Derzhavin was the largest representative of Russian classicism. He was born on July 3, 1743 in the family of a small Kazan nobleman. The entire fortune of the family consisted of a dozen souls of serfs. Poverty prevented G.R. Derzhavin to receive a systematic education.

Only in 1759 (at the age of 16) he was able to enter the Kazan gymnasium, but he did not study there for long either.

In 1762, Derzhavin was called up for military service. Poverty also affected here: unlike most noble youths, he was forced to start serving as a private and only in 1772 received an officer's rank. Derzhavin served in the Preobrazhensky Regiment in St. Petersburg. Together with the regiment, he participated in the palace coup that put Catherine II on the Russian throne. The young poet began to write poetry while still in the soldier's service; two notebooks of that early period of creativity have been preserved.

In 1773 G.R. Derzhavin began to publish. Gavrila Romanovich was an adherent of an enlightened monarchy, he believed in the reason and justice of the supreme ruler; sharply negative attitude to peasant uprisings and participated in the suppression of the Pugachev rebellion. Derzhavin was dismissed several times for his too decisive and bold character.

Glory came to the poet only in 1783 after the appearance of his famous ode "Felitsa", dedicated to Catherine 11. The queen, flattered by the ode, returned the poet to the service. G.R. Derzhavin reached the highest government positions: he was a senator, state treasurer, and minister of justice. But the bureaucratic career of Gavrila Romanovich did not work out. The reason for this was Derzhavin's honesty and directness. Alexander I, removing him from the post of Minister of Justice, explained his decision by the inadmissibility of such a "zealous service."

Literary fame and public service made G.R. Derzhavin is a rich man. He spent the last years of his life in prosperity and tranquility, living alternately either in St. Petersburg or on his own estate near Novgorod. The poet died in 1816.

The personality of M.V. Lomonosov is unique. He can rightfully be called a Renaissance man, although he lived almost two centuries later. Faith in the limitless possibilities of man, his will and mind permeated all the many-sided and varied activities of Lomonosov. Literary creativity occupied a special place in it.

As you know, M.V. Lomonosov is the author of the “theory of three calms”, which for many years ahead determined the division of Russian literature into genres. Lomonosov himself tried himself in many poetic genres. He was equally successful in both high lyrics and satire. Following the custom of his time, M.V. Lomonosov addressed the Russian monarchs with odes that were distinguished by a deep social content, since their main meaning was not in praise. Lomonosov wrote about what worried him as a patriot and citizen. Characteristic in this respect is the "Ode on the day of accession to the All-Russian throne of Her Majesty the Empress Empress Elisaveta Petrovna in 1747."

Timed to coincide with the next court holiday, this ode was a direct response to changes regarding the Academy of Sciences, of which Lomonosov was a member. In 1747, its new charter was approved, and the position of domestic scientists was improved. In his ode, Lomonosov defends the program for the further development of Russian science and at the same time praises peace, "silence", thus responding to the attempts of some Western powers to drag Russia into the war against France and Prussia. With an appeal to "silence", peace, the ode begins:

Beloved silence!

If you are useful and red!

The poet praises the charms of a peaceful life, smoothly moving on to the immediate topic - Elizabeth's accession to the throne. It is with the accession of the new empress that Lomonosov connects his hopes for the establishment of peace. The poet expresses the hope that the daughter of Peter I will become his worthy successor. He compares the virtues of a daughter and the virtues of a father. This is how the image of the "Man" - Peter the Great - appears in the work, and the ode turns into a story about the fate of Russia.

Peter in the image of Lomonosov is an enlightened sovereign who cares about the welfare of his subjects. This idealized image was to serve as an example for the Russian tsars. The poet recalls the deeds of Peter, who managed to “raise his country to the skies”, about military campaigns. Separate lines of the ode are devoted to the creation of the Russian fleet:

And Neptune wondered with trepidation,

Looking at the Russian flag...

In the walls suddenly fortified

And surrounded by buildings

Doubtful Neva ad:

"Or have I now forgotten

And leaned from that path

Which before I flowed?

Then divine sciences

They stretched out their hands to Russia...

From the point of view of the poet, the death of Peter I became an irreparable loss for Russia. From now on, Elizabeth, his daughter, will have to plant science. For the wise rule of the empress and attention to the sciences, the Russian land, according to the poet, will reward a hundredfold.

We will glorify your gift to heaven

And we will put a sign of your generosity ...

But the wealth of the Russian land is hidden not only in its depths. The earth is rich in talents, nuggets. It is they who will glorify the Empress and Russia with their deeds and discoveries.

Thus, dedicating an ode to Elizabeth Petrovna, Lomonosov unfolds a whole program of useful activity in front of her. He speaks about the need to develop the spaces of Russia and the development of domestic science. The ode contains not so much the glorification of the enlightened monarch (this is exactly what the canons of classicism required), but the glorification of the sciences, a call to Elizabeth to introduce education throughout Russia.

Lomonosov created spiritual odes as philosophical works. In them, the poet transcribed the Psalter, but only those psalms that are close to his feelings. At the same time, Lomonosov was attracted not by the religious content of spiritual chants, but by the opportunity to use the plots of psalms to express thoughts and feelings of a philosophical and partly personal nature. It is known that Lomonosov had to defend his views in a fierce struggle with pseudo-scientists, with religious fanatics. Therefore, two main themes develop in spiritual odes - the imperfection of human society, on the one hand, and on the other, the greatness of nature. Lomonosov sees that he lives in an evil world, that he is surrounded by enemies - petty flatterers, intriguers, self-interested people who envied his genius:

Spreading lies the language of enemies,

Their right hand is strong with enmity,

The mouth is full of vanity;

Hides an evil cove in the heart.

And yet he does not lose heart, but hopes to overcome evil, because the poet has truth and justice. In Lomonosov, the personal theme rises to a general philosophical generalization - man is fighting evil everywhere. In spiritual odes, Lomonosov admires the grandeur of nature and at the same time experiences "piitic horror" in front of her. These two feelings - acute and sacred awe - give rise to "soaring thoughts." The poet seeks to comprehend the inner harmony of nature and bows before its power. He wants to understand the laws of nature:

Who held the sea with shores

And put a limit on the abyss

And her fierce waves

Didn't order the share to strive?

In “Morning Reflections on the Majesty of God”, Lomonosov captured in a visible picture the sun, which presented itself to the gaze of a person who looked at him point-blank:

There, the fiery shafts strive and find no shores;

There whirlwinds are fiery spinning,

Struggling for many centuries;

There stones, like water, boil,

The rains are burning there.

Elemental dialectics in this description manifested itself with surprising force. The stringing of contrasting juxtapositions of the smallest and the grandest conveys the hyperbolism of the experiences of a person amazed by the harmony and spontaneous creative power of nature:

A grain of sand, like in the waves of the sea,

How small is the spark in the eternal ice,

Like fine dust in a strong whirlwind,

In fire as fierce as a feather,

So I, deepened in this abyss,

I'm lost, I'm tired of thoughts!

But, experiencing delight and sacred horror, Lomonosov, in the spirit of the age of enlightenment, depicts a person not as a powerless contemplator, depressed and drooping. In the Spiritual Odes there is a different theme: man is given reason, thought, and he wants to penetrate the secrets of nature. When Lomonosov wrote “I am at a loss, tired of thoughts!”, He did not mean the confusion of a person who lowered his hands, but the lack of knowledge to explain the omnipotence of nature. He is “tired of thoughts”, because he firmly believes in the cognizability of the world, but still cannot comprehend the laws of the Universe with a bright mind. The poet is constantly attracted by the pathos of knowledge:

Creator, covered with darkness

Forgive wisdom rays

And anything in front of you

Always learn to create ...

The power of a bright mind is undeniable for Lomonosov both in the future and in living modernity. The poet did not get tired of standing up for serious research, for the development of education. The scientist devoted inspired poetic works to the successes of domestic and world science. Genuine joy and pride sparkle in the Letter on the Benefits of Glass. This epistle, belonging to the genre of "didactic poetry", becomes a laudatory ode to glass, the natural properties of which were revealed thanks to the successes of scientists, and glass is evidence of the victory of science over nature. Not a dry treatise on the properties of glass, but the excitement of a poet-scientist embody the lines of this work. Lomonosov conveys the pathos of scientific discoveries and admiration for their practical results. He is not interested in the presentation of scientific theories, although the poet does not avoid the traditions of his time, but in the poetic side of science - inspired creativity and a flight of fantasy, giving a person enjoyment of the riches of nature and the possibility of their rational use. It is noteworthy that in Derzhavin's ode "God" the power of the human mind is also sung. Lomonosov! That's who became for Derzhavin a true model of the poet! While serving in the Preobrazhensky Regiment, the young poet tried to create odes similar to Lomonosov’s, but it was not so easy to follow Lomonosov’s poetic rules: Derzhavin continually burst into colloquial words into the sublime style of the work dedicated to the solemn event, and the required for the ode “high calm" fell apart. Having inherited from Lomonosov civil pathos and breadth of poetic outlook, Derzhavin enriched the ode with a combination of sublime style with lyrics and satire, introduced the rural and urban landscape into poetry, and managed to see the beautiful in the ordinary. Ode "God" Derzhavin considered his highest creation. She made a stunning impression on her contemporaries: for the first time in Russian poetry, the infinite spiritual world of a mere mortal was expressed so grandiosely and so sincerely poignantly. To use Lomonosov's word, these verses sang "God's majesty" in man. At their foundation lies a thought too proud not to be blasphemous. It is no coincidence that the ode "God" caused protests from churchmen. This poem has been translated into many languages ​​of the world. Without faces, in the three faces of the deity, Derzhavin explained: “The author, in addition to the theological concept of our Orthodox faith, understood here three metaphysical faces, i.e.: infinite space, uninterrupted life in the movement of matter and the endless flow of time, which God combines in himself ".

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Ode - a lyrical work that originated in Roman and Greek poetry, dedicated to important topics of religious and philosophical content. In the 18th century, the first odic works appeared in Russia, which were addressed to the rulers of the state.

Mikhail Vasilievich Lomonosov is a prominent representative of the era of classicism, Lomonosov's ode is characterized by strict adherence to the developed system of artistic norms, "solemn" sublime language, hyperbolization, the use of various tropes and artistic techniques. Following the requirements of society, Lomonosov in his works touched upon public civic topics - patriotism, heroism, the greatness of the fatherland.

In the ode “On the day of the accession to the throne of Her Majesty the Empress Empress Elisaveta Petrovna” (1748), the poet says this about his country and the empress:

"Dawn with a crimson hand
From morning calm waters
Leads out with the sun behind him
Your country's new year.
Blessed Beginning
You, goddess, shone.
And our sincerity of hearts
Burning before the throne of the highest,
Yes, it crowns your happiness
Its middle and end…”,

"When in the paternal crown
Flashed on the Russian throne
Clearer than day Elizabeth;
How the night changed to noon
How autumn compares to spring,
And the darkness gave us light...

“With one voice we all cry,
That you are a protector and mother,
We count your kindnesses,
But we can't describe them all...

For Lomonosov, the image of Elizabeth is comparable to the image of God, in her he sees greatness, a glorious future for his fatherland. With “high” words, using many metaphors, the poet glorifies the empress, thanks to which the day comes to change night in the country - it is known that Elizabeth, like Lomonosov, strove for universal enlightenment - a comparison of teaching and ignorance.

Lomonosov in his works often touched on religious and philosophical topics. So, translating the psalms, the poet found a new way to express his philosophical reflections - through the plots of hymns. For Lomonosov, a person is one who heroically fights the enemy, but at the same time, is powerless against the elements. In the ode "Morning Reflection on God's Majesty", the poet shows a man:

"A grain of sand, like in the waves of the sea,
How small is the spark in the eternal ice,
Like fine dust in a strong whirlwind,
In fire as fierce as a feather,
So I, deepened in this abyss,
I'm lost, I'm tired of thoughts!

The technique of hyperbolization helps the reader to marvel at the forces of nature, however, a person is not just a weak-willed creature, the power of enlightenment that moves the country forward also turns out to be saving for someone who is endowed with reason and a desire to learn:

"Creator, covered me with darkness
Forgive wisdom rays
And anything in front of you
Always learn to create ... "

Gavriil Romanovich Derzhavin continued the traditions of classicism - he created his works according to well-known strict canons. In his first poetic works, one can find all the features characteristic of odes - the theme of praising famous people, a “high” style, the use of many artistic techniques (metaphors, hyperbole, comparisons). In the ode “On the death of Prince Meshchersky”, Derzhavin touched on the topic of death, which is a universal law: “In order to die, we will be born; Without pity, death strikes everything: And the stars will be crushed by it, And the sun will be crushed by it, And it threatens all worlds.

However, Derzhavin's subsequent odic works differ from the classical ode. The theme of the works remained the same - dedication to rulers, significant events in history, but the language in which thoughts were now expressed was different - more personal. In the ode “to the wise Kyrgyz princess Felitsa”, dedicated to Catherine II, the poet uses a confidential joking tone with which the author refers to his heroine:

“Not imitating your Murzas,
Often you walk
And the food is the simplest
Happens at your table,

"Poetry is kind to you,
Pleasant, sweet, useful,
Like delicious lemonade in summer,

"You don't like masquerades too much,
And you won't even set foot in the clob;
Keeping customs, rituals,
Don't be quixotic with yourself."

Derzhavin continues to touch upon the themes of patriotism, heroism, religious and philosophical themes, but creates his own works by mixing poetry with life - this is how new literary genres appear - satirical, humorous works. In Derzhavin's odes, for the first time, one can see the personality of the author - a lyrical hero in whom the reader can unravel the poet himself.

Derzhavin could no longer imitate his poetic idols and teachers, as he was in constant search for new forms of expression. His works now have a more personal character - Derzhavin's man has an individuality, habits that become important for understanding the universe itself.

Lomonosov's odes are exemplary works of the genre, while Derzhavin discovered new lyrical genres, expanding the boundaries of classicism. The topics that the poets pondered remained the same, but Derzhavin was looking for new forms of expression, mixing colloquial speech and "high" style, turning to everyday life as a source of inspiration.

Jul 21

Analysis of the ode by M. Lomonosov "On the day of the accession to the All-Russian throne of Her Majesty the Empress Empress Elizabeth Petrovna, 1747"

Let us turn to the analysis of one of the best odes of Lomonosov "On the day of the accession to the All-Russian throne of Her Majesty the Empress Empress Elizabeth Petrovna, 1747".

Lomonosov developed in practice and approved for decades to come the formal features of the genre (poetics). In the ode we meet large-scale images; majestic style, raising the described pictures above the ordinary; "magnificent" poetic language, saturated with Church Slavonicisms, rhetorical figures, colorful metaphors and hyperbole. And at the same time - the classicist rigor of construction, the "harmony of the verse": a seasoned iambic tetrameter, a stanza of ten lines, an inviolable scheme of flexible rhyme ababvvgddg.

Let's start the analysis of the text from the first stanza:

The joy of kings and kingdoms of the earth,

Beloved silence,

The bliss of the villages, the fence of the city,

If you are useful and red!

Flowers bloom around you

And the classes in the fields turn yellow;

Treasure ships are full

Dare in the sea for you;

You pour with a generous hand

Your wealth on earth.

As if from a bird's eye view, the poet surveys villages, cities, earing grain fields, ships plowing the seas. They are all fanned and protected by "blissful silence" - in Russia there is peace and tranquility.

The ode is dedicated to the glorification of Empress Elizabeth Petrovna. In the ode, the poet expresses his main and cherished idea: peace, not war, contributes to the prosperity of the country. The empress, who enters the ode in the next stanza, turns out, according to artistic logic, to be derived from this all-encompassing peaceful silence (“His soul is quieter marshmallow”). The poet maintains the parameters of the laudatory genre (“there is nothing more beautiful than Elizabeth in the world”).

Lomonosov strives to maintain the compositional norms of the genre, that is, the principle of constructing an odic poem. In the introductory part, the subject of chanting and the main idea of ​​the work are stated (the poet changed their places). The main part substantiates, proves the stated thesis about the greatness and power of the glorified object. And, finally, the conclusion (final) gives a look into the future, into the further prosperity and power of the glorified phenomena.

The introductory part, or, as it is also called, the exposition, occupies twelve stanzas in this Lomonosov ode. The poet glorifies Elizabeth against the background of her predecessors on the throne strictly following one after another. In the royal portrait gallery, the father of the current ruler, Peter I, is especially highlighted. This is the poet's idol. It is clear to the reader from the detailed and pathos characterization of Peter that it was from him that the daughter took over the baton of great deeds.

From the fourteenth stanza, the ode enters its main part. The idea is expanding, and its artistic implementation suddenly begins to show new, non-traditional features. The lyrical pathos passes from the dynasty of rulers to the majestic image of the Fatherland, to its inexhaustible natural wealth, enormous spiritual and creative possibilities:

This is the only glory to you,

monarch, belongs,

Vast is your realm,

Oh, how thank you!

Look at the high mountains

Look into your wide fields,

Where is the Volga, the Dnieper, where the Ob flows;

Wealth in them is hidden

Science will frankly

That blooms with Your generosity.

That's where the scope for the inspiration of the lyrical hero! The virtues of the “beautiful Elizabeth” are gradually fading into the background. The poet's thoughts are now occupied with something else. The thematic direction of the ode itself is changing. And now the author himself is not just an ode writer. He is a patriotic scientist who draws the attention of readers to the burning problems for Russia. The development of sciences will help master the riches of the North, the Siberian taiga and the Far East. Russian sailors, with the help of cartographers, discover new lands, paving the way to "unknown peoples":

There, the wet fleet's path turns white,

And the sea tries to yield:

Columbus Russian across the waters

Hurries to unknown peoples

To proclaim your bounties.

Pluto itself, the mythical owner of underground riches, is forced to yield to the developers of the minerals of the Northern and Ural (Riphean) mountains.

And now Minerva strikes

In the tops of the Riphean copy.

Silver and gold run out

In all your inheritance.

Pluto in the clefts is restless,

What is given into the hands of the Rosses

Its precious metal from the mountains,

Which nature has hidden there;

From the brilliance of daylight

He gloomy averts his gaze.

And yet, the main thing that will bring Russia into the ranks of world powers is, according to the poet, new generations of people: educated, enlightened, devoted to science Russian youths:

Oh you who are waiting

Fatherland from its bowels,

And wants to see them

Which calls from foreign countries,

Oh, your days are blessed!

Be brave, now you are encouraged,

Show with your care

What can own Platos

And quick-witted Newtons

Russian land to give birth.

The sciences feed young men,

They give joy to the old,

Decorate in a happy life

In an accident, take care;

Joy in domestic difficulties

And in distant wanderings is not a hindrance,

Science is used everywhere:

Among the nations and in the wilderness,

In the city garden and alone,

In peace sweet and in work.

The topic of the decisive role of science and education in the development of the country was stated, as we remember, by Cantemir. Trediakovsky served science with his work and throughout his life. And now Lomonosov perpetuates this theme, puts it on a poetic pedestal. Exactly so, because the two stanzas just quoted are the culmination of the ode, its highest lyrical peak, the pinnacle of emotional animation.

But here the poet, as it were, catches on, remembering that the ode is dedicated to an official event: the annually celebrated date of the accession to the throne of the empress. The final stanza is again directly addressed to Elizabeth. This stanza is obligatory, ceremonial:

To you, O mercy Source,

O Angel of our peaceful years!

The Almighty is on that assistant,

Who dares with his pride,

Seeing our peace

Rise up against you in war;

The Creator will keep you

In all ways flawless

And your life is blessed

Compare with the number of Your bounties.

In the ode, Elizabeth is represented as a peacemaker who stopped all wars for the sake of the peace and happiness of the Russians: When She entered the throne,

As the Most High gave her a crown,

I returned you to Russia

She put an end to the war;

Having accepted you, kissed you:

“I am full of those victories,” she said, “

For whom blood is flowing.

I delight Ross with happiness,

I do not change their calmness

To the whole West and East.

With his ode, Lomonosov told Elizaveta Petrovna that Russia needs peace and does not need war. The pathos and style of the work are peacemaking, not invocative-aggressive. The stanzas become beautiful and magnificent in terms of the abundance of expressive means when the poet enters the theme of the world together with the sciences and demands that the “fiery”, that is, military, sounds be silenced:

Silence, fiery sounds,

And stop shaking the light:

Here in the world to expand science

Elizabeth did.

You impudent whirlwinds, do not dare

Roar, but meekly divulge

Our names are beautiful.

In silence, listen, universe:

Se wants Lyra admiring

Say great names.

Lomonosov's metaphors are especially colorful. Lomonosov loved metaphors precisely for their ability to combine dissimilar details into a coherent grandiose picture, to bring to the main idea of ​​the work. “Metaphor,” he noted in his “Rhetoric” (1748), “ideas seem much more lively and magnificent than simply.”

Here is one example of Lomonosov's metaphor. The fifth stanza from the ode "On the day of the ascension ...": In order for the word to be equal to them,

The abundance of our strength is small;

But we can't resist

From singing Your praises;

Your bounties are encouraging

Our spirit is directed to run,

Like a capable wind in a swimmer's pont

Waves break through the ravines,

He leaves the beach with joy;

Feed flies between the water depths.

Most of the space in this stanza is occupied by a complex and ornate metaphor. More often metaphors are in several words or in one sentence. Here you are amazed at the scale of the metaphorical image. To isolate it, you have to think carefully about the text. Before us is an exquisite compliment to the Empress. The poet complains that he does not have lofty words equal to the virtues of Elizabeth, and yet he decides to sing these virtues. At the same time, he feels like an inexperienced swimmer who ventured alone “through the ravines of the wave” to cross the “Pont” (that is, the Black Sea). The swimmer is guided and supported along the way by a “capable”, that is, fair, wind. In a similar way, the poetic spirit of the author is ignited and directed by the wonderful deeds of Elizabeth, her "bounties."

Lomonosov resorted to bold combinations of words and concepts in his metaphorical style.