Features of ode as a genre. "Ode: the evolution of the genre

Introduction 3

1. Features of the development of the ode genre 4

2. Ode in the works of M.V. Lomonosova 6

Conclusion 15

References 16

Introduction

Poetry M.V. Lomonosova grew up on a strong folk foundation. The extraordinary feeling of Russian national language, in all its shades, allowed Lomonosov to clear and renew the paths of Russian poetry, to point it in the right direction.

Lomonosov managed to find in the Russian folk language many precise and apt words that turned out to be suitable for denoting scientific concepts. Lomonosov correctly grasped the historical necessity of using different poetic vocabulary in different genres or types of poetry. This explains the relevance of the chosen topic.

Lomonosov introduced the oratorical element of ancient Russian preaching art into a new direction. He seemed to secularize rhetoric, putting it in the service of secular, civil eloquence. Lomonosov's laudatory words were an example of new, secular eloquence, almost unknown before.

Of all the poetic genres cultivated and developed in the literature of that time, the ode genre was most suitable for Lomonosov to solve the problems facing him. Scientific reasoning was written in Latin, and only a few were familiar with it.

Journalism in the Russian press was just beginning to take its first steps. Handwritten poetry was practiced love experiences, she did not touch upon social topics.

The purpose of our work is to study Lomonosov’s creativity, namely his innovation and traditions in the ode genre.

To do this, it is necessary to set the following tasks:

1. Features of the development of the ode genre

Ode is a lyrical poem dedicated to the praise of a heroic event, human feat, majestic natural phenomena.

The odic genre is associated with the category of the sublime; it is characterized by solemnity and pathos in the expression of feelings. Receiving embodiment in all elements of the poetic structure.

In his " classic version“The ode is a product of the era of classicism. Ode (from Greek - song) is a poetic genre that developed in the era of classicism.

Historically, the genre is associated with solemn choral lyrics Ancient Greece(among the Dorians), which combined religious hymns with chants in honor of individuals.

In Pindar’s “epinicia”, myths and family traditions are used to glorify the hero (winner at the Olympics); the thematic parts are arranged in disorder, obeying the figurative structure of the song, which, combined with the solemn tone, reflected the poet’s priestly self-awareness.

Praise individual woven into the complex fabric of mythological tales and poetic associations, which disrupted the harmony of the chant and introduced “lyrical disorder” into it.

Even in ancient times, the name “Ode” was assigned to Horace’s lyrics, characterized by a parting address to a specific person; the Epicurean motifs prevailing in it formed the basis of the future Horatian Ode. There was no grandiloquence in his odes.

Thematically they are very diverse. Horace, the chronicler, deals with not only political, but also everyday issues.

Many of his odes are addressed to the Gods - Venus, Bacchus, or to specific individuals - Lydia, Chloe. Horace's odic poems often deviate from the norms of description.

In European literature, Ode appeared as high-style poetry associated with the establishment of a national absolutist state.

In the “Odes” of P. Ronsard (1550-1552), which gave the genre its name, the features of Pindar’s songs are artificially stylized in relation to the task of glorifying official representatives of the state.

An abundance of mythological images, logical disorder, and an affected tone have since become attributes of Ode.

In Italy, G. Chiabrera writes Odes, in England - A. Cowley (“Pindaric Odes”), J. Dryden; The ode was introduced into German literature by G.R. Weckerlin (“Odes and Songs”, 1618).

The ode receives a classicistic expression from Malebrae, who contrasted Ronsard’s ode (criticism of “Pindarization”) with a rationalistic poetic system, consistent in style and language, permeated with a single lyrical aspiration.

This is answered:

Avoiding Epic Retreats

Single strophic division (3-part: stanza, antistrophe, epod)

Regulation of verse (up to the prohibition of transfer)

Lyrical disorder is allowed as a manifestation of art, and not the willfulness of the creator. The ode informed about events in political life (military victories, diplomatic receptions, etc.) and was intended for solemn pronouncement.

Rhetoricism, due to the narrow-word nature of the content, finally wins in the Ode by the mid-18th century (after J.B. Rousseau), depriving it of poetic meaning.

The founder of the Russian ode was Lomonosov, although its first examples belong to the pen of Kantemir and Trediakovsky.

In Russia, the Ode (the term was introduced by V.K. Trediyakovsky - “Solemn Ode on the Surrender of the City of Gdansk,” 1734) is less associated with classicist traditions; it represents a struggle between contradictory stylistic trends, on the outcome of which the direction of lyric poetry as a whole depended.

Both Trediakovsky and Lomonosov were innovators. Their theoretical and Practical activities played a big role in the development of Russian poetry.

But Trediakovsky’s poetry remained a kind of “laboratory experiment” that stretched over a long life.

2. Ode in the works of M.V. Lomonosov

During the time of Lomonosov, the nascent Russian poetry was cluttered with elements of “Slavonic” - the bookish Church Slavonic outdated language.

Solemn Ode by M.V. Lomonosova (her origins in Russia are laudatory verses, known since the end of the 16th century) developed a metaphorical style with a distant associative connection of words; the opposite school is A.P. Sumarokova, striving for the “naturalness” of the syllable, put forward an Anacreontic Ode, close to a song.

Lomonosov justified the titanic images of his odic lyrics by citing the example of ancient poetry.

However, the ancient tradition itself, used in the ode, goes back not only to the poetics of classicism, but also has a more ancient basis, and is to some extent the result of an independent national reception of the ancient heritage through Byzantium and the ancient rhetoricians beloved in Rus'.

And what was previously known from the same poetry and rhetoric, from ancient authors, learned in the schools of Peter the Great’s time, passed into the new Russian poetry more easily and most likely.

The poetics of classicism dominated minds. The very genre demands placed on Lomonosov pushed him to move closer to classicism. This applies primarily to the composition of odes.

The poetics of the solemn ode is associated with Russian panegyrics (praise speeches), 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 1 and his reforms.

“It is impossible for human power to exceed the incomparable deeds of Peter the Great,” wrote M.V. Lomonosov.

Solemn odes were dedicated to Elizabeth and Catherine 2. In whom contemporaries wanted to see worthy followers of the great king. Educated people of the 18th century dreamed of the speedy cultural self-affirmation of Russia in Europe.

Ode, pathetically commenting on the successes of science and military victories. As if ahead of history, she broadcast about the celebrations taking place before our eyes.

The solemn ode in 18th century Russia is not just a literary test. Not only a word, but an action, a special ritual. It is similar to fireworks or illumination that accompanied ceremonial events in the life of the state in St. Petersburg.

The theme required special imagery and style: loud splendor and speed, due to which allegorical pictures in a solemn ode would not be combined smoothly and consistently, but in lyrical disorder.

In the ode, the absence of precise semantic connections did not create nonsense and did not violate the main thing - the unity of the impression of pathetic, oratorical speech.

Therefore, a seemingly chaotic and disordered combination of contrasting concepts, “distant ideas,” subject and predicate arose.

Paired, according to Lomonosov, “in some strange or unnatural way.”

Such combinations constitute “something lofty and pleasant” that cannot be translated into everyday language or explained in terms of everyday logic.

With the accession of Peter's daughter Elizaveta Petrovna to the throne, it seemed to many Russian people that the period of the onset of reaction was over. The leading part of Russian society hoped for further development of the “Petrov case.”

This inspired optimism and set Russian poetry in a positive mood. Kantemir's satires were replaced by Lomonosov's odes.

The ode genre made it possible to combine lyricism and journalism in a large poem, to speak out on issues of national importance, and to do it powerfully, beautifully, and figuratively.

The ode turned out to be the most efficient means of communication between the poet and his readers: there were no literary magazines yet, but Lomonosov’s odes were published in large editions for that time (from 200 to 2000 copies).

Using genres accepted and cultivated in classicism, Lomonosov in practice often breaks with the poetics and stylistics of this movement and takes his poetry beyond its boundaries.

Topical in content, posing issues of great social and national significance, Lomonosov’s odes were addressed not only to crowned heads, but also through their heads were supposed to attract the hearts of the people.

The theme of the homeland was central to Lomonosov's odes. He never tires of praising the greatness of Russia, the vastness and vastness of its territory, the abundance of its natural resources.

Thus, in the ode “On the day of the accession to the throne of Her Majesty Empress Elisaveta Petrovna, 1748,” a grandiose image of Russia is created:

She touched the clouds

He sees no end to his power,

The thundering glory is full.

Resting among the meadows,

In fields filled with fruits,

Where are the Volga, Dnieper, Neva and Don,

With your pure streams

Noisy herds induce sleep,

Sits and stretches out his legs

To the steppe, where Hina separates

A spacious wall from us;

Turns his cheerful gaze

And around the contentment he counts,

Reclining lactem to the Caucasus.

And in the ode “On the day of the accession to the All-Russian throne of Her Majesty the Empress Elisaveta Petrovna, 1747,” Lomonosov admires the innumerable natural resources of the Russian state.

These are the “treasures” “of which India boasts.” These are virgin “deep forests”, “crowded in density for animals”:

Nature creates miracles,

Where the density of animals is cramped

There are deep forests

Where in the luxury of cool shadows

On the flock of galloping fir trees

The cry did not disperse the catchers;

The hunter did not aim his bow anywhere;

The farmer knocks with an ax

Didn't frighten the singing birds.

The abundance of natural resources is the key to the future well-being of the Russian people, and Lomonosov more than once, starting from his early odes, creates tempting pictures of the contentment of Russian citizens.

In the same ode from 1747, descriptions of Russian abundance are equally attractive:

Flowers are colorful around you,

And the fields in the fields turn yellow;

The ships are full of treasures

They dare to follow you into the sea;

You sprinkle with a generous hand

Your wealth on earth.

However, in these pictures the “should” and not the “real” were depicted, the desired and not the actual state of affairs. Lomonosov was well aware of the true state of the Russian people.

But what needs to be done for the homeland to become truly prosperous, and for its people to live in contentment and prosperity? For this, first of all, persistent, intense work of all segments of the population is necessary. And the theme of labor becomes one of the central ones in Lomonosov’s odes.

Already in the first victorious “Ode for the Capture of Khotin” (1739), Lomonosov shows that the victory over Turkey was won “through the labor of our chosen people.” In later odes, labor for Lomonosov is the source of all kinds of national abundance.

And Lomonosov calls for active work, putting this call into the mouth of the “gentleman” for greater persuasiveness (in an ode of 1757):

In the seas, in the forests, in the bowels of the earth

Throw away your hard work,

I will reward you generously everywhere

Fruits, flock, shine of ores.

Lomonosov is haunted by the desire to make this “hard work” easier, to make it more productive, to ensure that industry develops faster, the depths of the earth reveal their riches, and the “ratai” is able to reap a “hundred-fold fruit” - a harvest.

Here science and enlightenment should come to the rescue, which will give the people not only new material conquests, but also enrich them spiritually. And quite naturally, in Lomonosov’s odes, the theme of science, concern for the training of domestic scientists, took one of the leading places.

The poet’s appeal (in an ode of 1747) to to the younger generation devote himself to the service of science, replacing foreign scientists:

O you who await

Fatherland from its depths

And he wants to see them,

Which ones are calling from foreign countries,

O blessed are your days!

Be of good cheer now

It’s your kindness to show

What can Platonov's own

And the quick minds of the Newtons

Russian land gives birth.

In an ode from 1750, the poet calls on his compatriots to creative research, to scientific discoveries, covering all sectors of the country’s economic life:

Cross the earth and the abyss,

And the steppes and the deep forest,

And the interior of Riphean, and the top,

And the very height of heaven.

Explore everywhere all the time,

What is great and beautiful

What the world has never seen before;

Surprise your eyelids with your labors...

Lomonosov could no longer leave the genre of the laudatory ode unchanged: he included an accusatory beginning in its composition. In this direction, Lomonosov becomes Derzhavin's predecessor.

Thus, in an ode of 1762 dedicated to Catherine the Second, Lomonosov angrily condemned the anti-national policy of Peter the Third, who concluded a shameful peace for Russia with the Prussian king Frederick, reducing to zero the victories of the Russian troops in the bloody war:

Has anyone born into the world ever heard,

So that the triumphant people

Surrendered into the hands of the vanquished?

Oh shame, oh strange turn!

The high, civil content of Lomonosov's odes corresponded to their compositional and stylistic structure.

Both the construction of the ode and its solemn and pathetic style, which included hyperbolic descriptions, comic comparisons, metaphorical language, rhetorical figures - all this enhanced the emotional impact on the reader.

Lomonosov often managed to give the ode a tonality that corresponded to its main theme with the introduction.

Lomonosov’s means of creating a solemn, high syllable ode are varied. For example, an ode from 1747.

Here, as in other odes, the loftiness of the syllable is achieved by using Slavicisms: rattles - strikes the strings, zizhditel - builder, founder, packs - again, flock - pasture, terrible - amazing, etc.

The truncated forms of adjectives also serve this purpose: divine sciences, heavenly daughter; Slavic mythological forms: clothes of tender spring; special spelling norms, supported by rhyme: blessed - encouraged; exclamations, rhetorical questions, the use of ancient mythology: Minerva, Mars, Neptune, muses.

The artistic impact of Lomonosov's odes was also facilitated by the developed verse (iambic tetrameter), the harmonious ten-line stanza, and the brightness of the painting.

With the decline of classicism, the destruction of the ode as a normative genre begins. In Russian poetry, Derzhavin introduces humorous motifs into the ode, words of “low calm” (ode “Felitsa”). The ode becomes the target of caustic criticism from sentimentalists and is readily parodied by them.

However, the stylistic traditions of the ode of classicism still turn out to be fruitful in the civil ode of Radishchev, Pushkin, and in the lyrics of the Decembrist poets.

Lomonosov's odic cycle represents their author as a tireless champion of enlightenment and progress, a passionate fighter for the development of the national self-awareness of the people.

Lomonosov's poetic heritage is quite diverse in terms of genre.

In his work you can find works of all three “calms”:

Low “calm” includes his satirical and comic poems, as well as a few love songs and fables (“parables”);

To the middle - “inscriptions” (mainly about various events and episodes from state or court life), “Letter on the benefits of glass”;

To the lofty - solemn (“laudatory”) odes, prosaic “praiseworthy” or “thank you” speeches.

Lomonosov's theory of the “three calms” in its general outlines was not his discovery. This theory, which developed in Latin literature (Cicero, Horace, Quintilian), was revived in the era of the Renaissance and classicism.

It acquired unique national and specific historical features in different European countries. It was used by Russian writers of the 16th and 17th centuries, and then by M.V. Lomonosov, who was well acquainted with the rhetorical stylistic theories of the distant past and his era.

In this sense, Lomonosov was the largest representative of Russian classicism. He mastered the art of all three “calms”, but more often turned to the “lofty”, solemn, since he saw his main task in glorifying the great, heroic, worthy of imitation.

Conclusion

The purpose of our work was to study the work of Lomonosov, namely his innovation and traditions in the ode genre.

To do this, we set the following tasks:

1. trace the development of the ode genre

2. prove that tradition gave rise to innovation

Lomonosov's odes were written according to a strict plan, as required by the rules of classicism. Lyrical “disorders” are also subject to this plan, i.e. retreat. Associated with the poetics of classicism is the vivid metaphorism of Lomonosov’s style, the frequent use of hyperboles, allegories, and detailed personifications.

A characteristic feature of Lomonosov's odes can be considered their lyrical elation, often turning into a solemn and poetic tone.

Lomonosov canonized the genre of high, “Pindaric” ode - its language, poetic meter, solemn tone.

Everything Lomonosov did to create a new literary language and style, to enrich poetry with deeply ideological civic content was a key point in the development of Russian literature.

M.V. Lomonosov had a great influence on the development of not only Russian literature, but also culture in general. He forever went down in history as the founder of new literature, a passionate defender of progress and humanism. Bibliography

1. Gulyaev N.A. “Theory of Literature”, M.: graduate School, 1977, 278 p.

2. Brief literary encyclopedia, ed. Surkova A.A., M.: Soviet encyclopedia, 1968, 976 p.

3. Lomonosov M.V. – Works, M., L.: State Publishing House fiction, 1961, 591 p.

4. Timofeev L.I., Turaev S.V. “A brief dictionary of literary terms”, M.: Prosveshchenie, 1978, 223 p.

5. Fedorov V.I. – History of Russian literature of the 18th century, M.: Prosveshchenie, 1982, 335 p.

6. Shcheblykin I.P. “History of Russian Literature”, M.: Higher School, 1985, 511 p.

7. Encyclopedic dictionary of a young literary scholar, Novikov V.I., Shklovsky E.A., - M.: Pedagogy - Press, 1998, 424 p.

Brief Literary Encyclopedia, ed. Surkova A.A., M.: Soviet Encyclopedia, 1968. - 389s.

Encyclopedic dictionary of a young literary critic, Novikov V.I., Shklovsky E.A., - M.: Pedagogy - Press - 181p.

Fedorov V.I. – History of Russian literature of the 18th century, M.: Prosveshchenie, 1982. - 99s.

Lomonosov M.V. – Works, M., Leningrad: State Publishing House of Fiction, 1961, 91 p.

Lomonosov M.V. – Works, M., Leningrad: State Publishing House of Fiction, 1961, 84 p.

Lomonosov M.V. – Works, M., Leningrad: State Publishing House of Fiction, 1961, 80 p.

Lomonosov M.V. – Works, M., Leningrad: State Publishing House of Fiction, 1961, 107 p.

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Lomonosov M.V. – Works, M., Leningrad: State Publishing House of Fiction, 1961, 123 p.

To the question: The main features of the ode genre asked by the author Dry out the best answer is Ode - (from the ancient Greek oide - song) is the oldest genre of European poetry. In Ancient Greece, odes were originally choral songs on various topics, accompanied by music and dance. Gradually, first in ancient poetry, and then in the works of European classic poets, the ode became one of the most widespread and strict genres of “high”, solemn lyricism in terms of content and form. The famous odoscribers of antiquity were Pindar and Horace, who sang the praises of gods and heroes.
The classicist ode was a solemn, oratorical genre in which strong emotions were combined with prudence, “piitic” delight with cold logic. The most important meaningful feature of an ode is a “high” subject (monarch, commander, event of national importance, public virtue, religious morality). Formal features The genre required the use of iambic tetrameter and a stanza consisting of ten poetic lines divided into three parts: the first part consisted of four lines, the second and third - of three lines. All ten verses in the odic stanza were united by a strict rhyme system: abab ccd eed.
An important aspect of the ode’s form is composition, which gives the poem harmony, semantic completeness and persuasiveness. As a rule, the ode began with an introduction (one or two stanzas), in which the poet spoke about the subject that served as the source of his poetic delight. The first stanzas could also contain an appeal to the muse. Then came the central, largest in volume and most important in terms of content, part of the ode. The poem ended with a final moralizing stanza-conclusion. In it, the poet expressed a generalizing judgment, often directly related to the “hero” of the ode.
The pathos of the ode required a special style. It was achieved using high, book vocabulary, especially archaisms, metonymic periphrases, allegories. Intonation and syntactic means played a huge role: exclamations and rhetorical questions, inversions, unusual syntactic constructions.

Answer from Sneakers[newbie]
yes
The ode as a genre of high solemn poetry receives predominant development in the literature of classicism during its heyday. This is due to the fact that the era with which the development of classicism was associated proclaimed the triumph of general interests over personal interests, therefore the genre of the high ode was more consistent with the tasks of the era than, for example, the genre of a love or drinking song. Human experiences caused by love, separation from loved ones, and their death were relegated to the background. Only those experiences of the poet that reflected events of a national, national scale could arouse general interest.
Ode in classicism was a genre strict form. Like an oratorical speech, it was built from three obligatory parts: an “attack,” that is, an introduction of the topic, a reasoning where this topic was developed with the help of example images, and a short but emotionally strong conclusion. Each of the three parts had its own construction features, but Lomonosov believed that the arguments in favor main idea should have been positioned “so that the strong were in front, the weaker were in the middle, and the strongest were at the end.”
The poet's delight did not exclude careful consideration of its main motives and the corresponding compositional parts. He did not rule out thinking about ways to influence the listener in order to evoke reciprocal feelings in him. However, all this had to remain outside the scope of the ode. The ode itself, addressed to the listeners, retained (or should have retained) the character of free improvisation, when one thought evoked another.
The predecessors of the ode genre in Russian literature were the "Rhythmologion" of Simeon of Polotsk, the cants and "vivata" of the Petrine era and the work of Feofan Prokopovich, who praised major events era and introduced in literature the theme of Peter I as an enlightened monarch, builder and hero, which will be picked up by Kantemir, Lomonosov and others right up to Pushkin with his poems “Poltava” and “The Bronze Horseman”.
One of the most important features Lomonosov's solemn ode - colorfulness, expressiveness of descriptions. Thus, the lyrical plot in “Ode to the Capture of Khotin” is based on the broad inclusion of epic elements. It begins with a description of the “delight”, “Permesian heat” (inspiration) that gripped the poet at the news of the glorious victory of the Russian army over the Turks and Tatars, won in 1739. Central part constitutes the poet's story about the battle itself and his thoughts in connection with this event.

Answer from Evgen[guru]
The social function of the ode becomes direct service to the growing absolutism.

Answer from Neurologist[newbie]
Ode is a genre of lyric poetry; solemn, pathetic, glorifying work. In literature, there are odes of laudatory, festive, and lamentable. By their nature, Lomonosov's odes are works intended to be spoken aloud. Solemn odes were created with the intention of reading aloud in front of the addressee; the poetic text of a solemn ode is designed to be a sounding speech perceived by ear. The ode stated a specific theme - a historical incident or an event of national scale.
Lomonosov began writing ceremonial odes in 1739, and his first ode is dedicated to the victory of Russian weapons - the capture of the Turkish fortress of Khotyn. In 1764, Lomonosov wrote his last ode. Over the entire creative period, he created 20 examples of this genre - one per year, and these odes are dedicated to such major events as the birth or marriage of the heir to the throne, the coronation of a new monarch, the birthday or accession to the throne of the empress. The very scale of the odic “occasion” provides the solemn ode with the status of a major cultural event, a kind of cultural culmination in the national spiritual life.
The ode is characterized by a strict logic of presentation. The composition of the solemn ode is also determined by the laws of rhetoric: each odic text invariably opens and ends with appeals to the addressee. The text of the solemn ode is constructed as a system of rhetorical questions and answers, the alternation of which is due to two parallel operating settings: each individual fragment of the ode is designed to have the maximum aesthetic impact on the listener - and hence the language of the ode is oversaturated with tropes and rhetorical figures. Compositionally, the ode consists of three parts:
Part 1 - poetic delight, praise to the addressee, description of his services to the Fatherland;
Part 2 - glorification of the past successes of the country and its rulers; a hymn to modern educational successes in the country;
Part 3 - glorification of the monarch for his deeds for the benefit of Russia.
All of Lomonosov's solemn odes are written in iambic tetrameter. An example of a solemn ode is “Ode on the day of accession to the All-Russian throne of Her Majesty Empress Elisaveta Petrovna 1747.” The ode genre allowed Lomonosov to combine within one poetic text poetry and journalism, to speak out on issues of civil and 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 fir trees
The cry did not disperse the catchers;
The hunter did not aim his bow anywhere;
The farmer knocks with an ax
Didn't frighten the singing birds.
The abundance of natural resources is the key to the successful development of the Russian people. The central themes of the ode are the theme of labor and the theme of science. The poet appeals to the younger generation to devote themselves to the service of science:
Be of good cheer now
It’s your kindness to show
What can Platonov's own
And the quick-witted Newtons
Russian land gives birth.
Lomonosov writes about the benefits of science for all ages. The ode creates an ideal image of a ruler who cares about the people, the spread of education, and the improvement of economic and spiritual development. The high “calm” of the ode is created by the use of Old Slavonicisms, rhetorical exclamations and questions, and ancient mythology.
If in a solemn ode Lomonosov very often replaces the author’s personal pronoun “I” with its plural form - “we”, then this does not indicate the impersonality of the author’s image in the ode, but that for a solemn ode only one facet of the author’s personality is significant - namely one in which he is not different from all other people, but gets closer to them. In a solemn ode, what is important is not the individual-private, but the national-social manifestation of the author’s personality, and in this regard, Lomonosov’s voice in the solemn ode is in full.

To the question: Features of ode as a genre? given by the author Throw the best answer is Oh yeah
- (from ancient Greek oide - song) - the oldest genre of European poetry. In Ancient Greece, odes were originally choral songs on various topics, accompanied by music and dance. Gradually, first in ancient poetry, and then in the works of European classic poets, the ode became one of the most widespread and strict genres of “high”, solemn lyricism in terms of content and form. The famous odoscribers of antiquity were Pindar and Horace, who sang the praises of gods and heroes.
The ode genre appeared in Russia in the 18th century, during the era of classicism. The authors of the first Russian odes were V.K. Trediakovsky and M.V. Lomonosov. Classicists considered the ode to be the most important genre of lyricism, capable of glorifying the “first person” in the state - the monarch, as well as outstanding “sons of the fatherland” - royal nobles and generals. In odes, poets expressed their patriotic delight and religious and philosophical inspiration.
The ode genre reached its true flowering and classical completion in the work of G.R. Derzhavin; it was his works that influenced the early work of A.S. Pushkin and other poets early XIX V. The author of the famous social and philosophical ode “Liberty” is A.N. Radishchev.
The classicist ode was a solemn, oratorical genre in which strong emotions were combined with prudence, “piitic” delight with cold logic. The most important meaningful feature of an ode is a “high” subject (monarch, commander, event of national importance, public virtue, religious morality). The formal features of the genre required the use of iambic tetrameter and a stanza consisting of ten poetic lines divided into three parts: the first part consisted of four lines, the second and third - of three lines. All ten verses in the odic stanza were united by a strict rhyme system: abab ccd eed.
An important aspect of the ode’s form is composition, which gives the poem harmony, semantic completeness and persuasiveness. As a rule, the ode began with an introduction (one or two stanzas), in which the poet spoke about the subject that served as the source of his poetic delight. The first stanzas could also contain an appeal to the muse. Then came the central, largest in volume and most important in terms of content, part of the ode. The poem ended with a final moralizing stanza-conclusion. In it, the poet expressed a generalizing judgment, often directly related to the “hero” of the ode.
The pathos of the ode required a special style. It was achieved by using high, bookish vocabulary, primarily archaisms, metonymic periphrases, and allegories. Intonation and syntactic means played a huge role: exclamations and rhetorical questions, inversions, unusual syntactic constructions.
Derzhavin boldly violated the genre canons of the ode. Odes of poets of the 19th and 20th centuries. (K.F. Ryleev, V.Ya. Bryusov, V.V. Mayakovsky) do not correspond to the strict scheme of the classicists. Pushkin, the author of “Liberty,” did not adhere to it either. The traditions of the ode - substantive and stylistic - came to life in the works of poets who wrote in civil topics. The ode genre, which is firmly associated with the poetry of classicism, developed the ancient traditions of “high” poetic speech, close to rhetoric - the art of direct, open influence on the mind and feelings of listeners.
http://writerstob.narod.ru/termins/o/oda.htm
The classical ode has many characteristics, but there are only three main ones. This is the so-called odic “soaring”, odic delight and lyrical disorder. Even in the 20th century, when the genre had almost sunk into oblivion, the poet Vladimir Mayakovsky wrote his work “Ode to the Revolution” based on this canonical triad. Odic “soaring” - the author’s gaze in the work is directed, as it were, from top to bottom, which provides a wide overview. This can be seen in an excerpt from Lomonosov’s ode “Look at the high mountains, //Look at your wide fields,//Where the Volga, the Dnieper, where the Ob flows...”. The breadth of vision creates the solemn pathos of the ode.
More details: http://www.kakprosto.ru/kak-59945-kak-napisat-odu

With the entire structure of his poem, Lomonosov affirmed the citizenship of poetry. The tasks that Lomonosov set for poetry required the formulation of problems of great national importance, and the genre of ode that he chose suited this perfectly. He wrote his solemn odes from 1739 to 1764 and wrote 20 odes.

An ode is an extensive poem, consisting of many stanzas, and each stanza is also extensive (10 verses each). The ode combined lyrics and journalism, necessary for the expression of national ideas. Each of Lomonosov's odes was a kind of poetic declaration, ideologically rich and politically oriented. Lomonosov's odes are permeated with the pathos of the Motherland, calling for work, for the flourishing of science.

The specific theme of the odes, their stable stanza - ten verses of iambic tetrameter, a unique majestic and intense style - all this was original creation Lomonosov.

The main period of Lomonosov's TV coincided with the reign of Elizaveta Petrovna, to whom he dedicated many enthusiastic praises, but these praises were primarily a hymn to the Russian statehood of Peter the Great in the person of its head - Peter's daughter.

The idea of ​​enlightened absolutism was the basis of Lomonosov's political thinking. Lomonosov saw in the monarch one who is capable of understanding, with reason invested with power, the true tasks of the state, understanding what is the good of the entire people, and ensuring progress and prosperity for the state.

His odes were a kind of program for the socio-political and cultural life of Russia. They set out in an artistic and journalistic form projects relating to its internal and external structure.

Lomonosov in his odes expanded the scope of events and problems, outlined the prospects for the further development of Russia, making the ode capacious and diverse in content. For the first time he developed stylistic means capable of conveying different thoughts and feelings. With its solemn praise, its delight, the ode was supposed to “infect” the reader emotionally.

In the eyes of Lomonosov, Peter is the creator new Russia, its national hero, tireless worker, educator. The image of Peter, starting with "Odes on the Capture of Khotin" appears in every new ode.

Dedicated to the theme of “silence”, in which it is only possible to flourish in science and culture “Ode on the day of Elizabeth Petrovna’s accession to the throne).

Realizing that the existing government is far from the ideal of an enlightened monarch, Lomonosov fills his odes with “lessons” and “instructions” to the kings, which were characteristic of classic writers who believed in the power of words. Lomonosov's style

In his poetry, Lomonosov did not strive for a reliable depiction of life material: his odes are characterized by convention, for it is important for the poet to convey those thoughts, those ideal ideas that can contribute to the development of education in Russia, the formation of its national culture, national statehood. Creating poetic images, Lomonosov proceeds in his creative method not from the reality of a fact of life, but from his own rationalistic ideas about reality.

Therefore, it is important to use the power of your poetic imagination to evoke in the reader “excitement of passions”, to evoke certain feelings: joy, patriotic inspiration, etc. Hence the choice of those poetic means, those poetic figures that could convey the solemn, civil content of Lomonosov’s odes. Hence the intense metaphorical nature, allegorical abstraction, hyperbolism, and brightness of colors.

His odes were written according to all the rules of rhetorical science, set out by the poet himself in his “rhetoric”.

Due to the fact that Lomonosov's odes, by their nature and genre, were supposed to praise the supreme power and were built according to a single compositional plan, they were characterized by a certain monotony and monotony. This was facilitated by the same meter and repetition of the same figurative means.

At the same time, the style of Lomonosov's odes, solemn and pathetic, corresponded to the high content of his poetry. Lots of Slavicisms and epithets.

Scientific poetry by L. (“Letter on the benefits of glass”, “Morning reflection on God's Majesty", "Evening reflection on God's majesty during the occasion of the great northern lights")

Poetry and science organically merge in Lomonosov’s wonderful article "Letter on the benefits of glass" written in 1752 by Shuvalov. Addressing Shuvalov, Lomonosov explains his interest in glass:

“They think wrongly about things, Shuvalov, who honor Glass worse than Minerals.” However, Lomonosov not only talks about the benefits of glass, but also gets to deep scientific, philosophical and social issues. Having painted a picture of the birth of glass, explaining the benefits of glass in everyday life and scientific use, he logically moves on to other topics: about the human mind, which dares to cognize nature and subjugate it to itself, about the struggle between reason and ignorance throughout the history of mankind, about religion, which is “ illumination of ignorance”, about science that unites people, and about gold that brought misfortune to people. With indignation, the poet writes about the destructive power of gold, about how the thirst for profit led to the horrors of colonization.

"Reflections" - they express his faith in science capable of understanding “many worlds.” In “Evening Reflection,” the admiration of a person shocked by the grandeur of the universe is conveyed in a deeply poetic way, with extraordinary simplicity and laconicism. A person standing in the face of majestic nature has not yet comprehended all its secrets, all its laws, but the poet has no doubt that a person must understand nature, reveal the “law of nature.” In “Morning Reflection,” in a poetically figurative form, Lomonosov reveals the theory of the structure of the sun, the “eternally burning ocean,” anticipating those scientific ideas that had developed by the end of the 19th century.

Lomonosov's satirical poems were primarily a means of fighting the clergy. "Hymn to the Beard"- a parody poem that became famous in 1757, caustic and angry, directed against self-interested, ignorant priests. Beard wearers are “fools, they lied, they were mischievous,” Lomonosov considered their church teaching to be false.

We have all heard about such a genre of literature as ode. So what is it? What is the history of this genre? Who is considered the founder of ode? What is the theory of genre? All these questions can be answered in this article.

Definition of "ode"

An ode is an ancient song on any topic that was sung in ancient Greece by a choir to musical accompaniment. Later they began to call it a verse of praise dedicated to the glorification of important historical events or prominent persons. Sometimes an ode praises the majestic natural phenomena. The style of such works is especially solemn; it is maintained in a sublime spirit with elements of pathos.

Translated from the ancient Greek ώδή (oide), ode is a song. There were praise, dance and lamentation.

V. Dombrovsky, for example, defined the concept as follows: “Word " ode" - this is in Greek the same as our "song". But not every song is an ode; This name is usually given to a song in which a poet, touched by something high, unusual and worthy of surprise, an object with which universal, national or public interests are associated, expresses his feelings with a fiery word, using all the means of picturesqueness, expression and melody.”

Signs of an ode

An outstanding feature of an ode is high spirits, a bold, uncontrollable flight of fancy, an ardent feeling of inspiration and a poetic form of expression adapted to this. The song of praise takes its themes for glorification and exaltation from the sphere of high ideals, impulses, desires and competitions of man. Will, the advancement of humanity, love for the native land, the struggle for the implementation in life of the high cries 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 uplift of spirit. And all this can be glorified in an ode.

Story

Ode is a genre of literature, the founder of which was the ancient Greek poet Pindar (IV century BC), who was the author of a number of songs of praise in honor of the gods, Greek victories in wars and at the Olympic Games. His laudatory poems had a strict metrical form and composition (strophe - 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. During 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 Creek”). Some of Ronsard's odes were written in honor of love. This is an ode to a woman (“My friend, led me to live more comfortably”).

Theory of the ode genre

Ode is a genre that developed alongside panegyric works, primarily hymns and dithyrambs. These works were to be accompanied by playing on musical instruments(harp, cithara, etc.) and dancing.

The ode acquired the canonical genre structure of the work, in which civic motives clearly dominate, in the work of Malherbe, one of the founders of French classicism. Odes of Malherbe ( beginning of XVII c.) defended the inviolability of the principles of absolutist statehood, praised the monarch and his relatives, senior dignitaries and generals.

The song of praise received its theoretical justification in N. Boileau’s poetic treatise “ Poetic art" Along with tragedy, ode is a literary genre that was considered high. N. Boileau formulated rules for writing odes concerning language, metrics, and general poetic tonality. Compositionally, the song of praise begins with a chorus, then follows 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 odographers 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, songs of praise occupied a significant place in the works of Byron (“Ode to the Authors of the Bill against the Destroyers of Machine Tools”), Shelley, and Kuchelbecker.

In the literature of the 20th century, ode is extremely rare. As examples, it is worth recalling “Ode to the Library” by S. Kryzhanovsky, his cycle “Odes” (“Ode in Honor of a Tree”, “Ode to Man”, “Ode to Speed”), “Ode to the Human Language” by I. Muratov, “Ode to the Revolution” "V. Mayakovsky, "Ode to Conscience" by I. Drach.