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Describe the ode as a genre of classic poetry. Features of poetry of past eras

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

Elements of a solemn and religious ode are already present in the literature of southwestern and Moscow Rus' at the end of the 16th-17th centuries. (panegyrics and verses in honor of noble persons, “greetings” of Simeon of Polotsk, etc.). The appearance of the ode in Russia is directly related to the emergence of Russian classicism and the ideas of enlightened absolutism. In Russia, ode is less associated with classicist traditions; it carries out a struggle of contradictory stylistic trends, on the outcome of which the direction of lyric poetry as a whole depended.

The first attempts to introduce the genre of “classical” ode into Russian poetry belonged to A.D. Kantemir, but the ode first entered Russian poetry with the poetry of V.K. Trediakovsky. The term itself was first introduced by Trediakovsky in his “Solemn Ode on the Surrender of the City of Gdansk” in 1734. This ode glorifies the Russian army and Empress Anna Ioannovna. In another poem, “Praise to the Izhera land and the reigning city of St. Petersburg,” solemn praise is heard for the first time Northern capital Russia. Subsequently, Trediakovsky composed a series of “praiseworthy and divine odes” and, following Boileau, gave the following definition to the new genre: the ode “is a high pyitic kind... consists of stanzas and glorifies the highest noble, sometimes even tender matter.”

The main role in the Russian ceremonial ode of the 18th century is played by rhythm, which, according to Trediakovsky, is the “soul and life” of all versification. The poet was not satisfied with the syllabic verses existing at that time. He felt that only the correct alternation of stressed and unstressed syllables, which he noticed in Russian folk songs, could give a special rhythmicity and musicality to a verse. Therefore, he carried out further reforms of Russian versification on the basis of folk verse.

Thus, when creating a new genre, the poet was guided by the traditions of antiquity, which had already come into use in many European countries oh the genre of odes and Russians folk traditions. “I owe French versification a sack, and ancient Russian poetry a thousand rubles,” he said.

The ode genre, introduced by Trediakovsky, soon gained many supporters among Russian poets. Among them were such outstanding literary figures as M.V. Lomonosov, V.P. Petrov, A.P. Sumarokov, M.M. Kheraskov, G.R. Derzhavin, A.N. Radishchev, K.F. Ryleev and others. At the same time, in Russian clothing there was a constant struggle between two literary trends: close to the traditions of the Baroque, the “enthusiastic” ode of Lomonosov and the “rationalistic” ode of Sumarokov or Kheraskov, adhering to the principle of “naturalness”.

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

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

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

But the Russian ode is gradually moving away from ancient traditions and acquiring an independent sound, glorifying, first of all, its state and its heroes. In “A Conversation with Anacreon” Lomonosov says: “The strings inevitably sound to me like a heroic noise. Do not disturb any more, Love thoughts, mind; Although I am not deprived of tenderness of heart In love, I am more delighted with the eternal glory of heroes.”

The reformation of Russian versification begun by Trediakovsky was completed by the brilliant Russian scientist and poet M.V. Lomonosov. He was the true founder of the Russian ode, who established it as the main lyrical genre of feudal-noble literature of the 18th century. The purpose of Lomonosov's odes is to serve every possible exaltation of the feudal-noble monarchy of the 18th century. in the person of its leaders and heroes. Because of this, the main type cultivated by Lomonosov was the solemn Pindaric ode; all elements of her style should serve to identify the main feeling - enthusiastic surprise, mixed with awe at the greatness and power of state power and its bearers.

This determined not only the “high” - “Slavic-Russian” - language of the ode, but even its meter - according to Lomonosov, iambic tetrameter without pyrrhic (which became the most canonical), for pure “iambic verses rise up to matter, nobility, splendor and height multiply." Solemn ode by M.V. Lomonosova developed a metaphorical style with a distant associative connection of words.

The brave innovator extended the tonic principle of his predecessor to all types of Russian verse, thus creating a new system of versification, which we call syllabic-tonic. At the same time, Lomonosov placed the iambic above all poetic meters, considering it the most sonorous and giving the verse greatest strength and energy. It was in iambic that a laudatory ode was written in 1739, glorifying the capture of the Turkish fortress of Khotyn by the Russian army. In addition, having distributed the entire vocabulary of the “Slavic-Russian language” into three groups - “calms”, M.V. Lomonosov attached certain literary genres to each “calm”. The genre of ode was classified by him as “high calm”, thanks to its solemnity and elation, which stands out sharply from simple, ordinary speech. In this genre, Church Slavonic and obsolete words were allowed to be used, but only those that were “intelligible to Russians.” These words enhanced the solemn sound of such works. An example is “Ode on the Day of Ascension...”. “High” genres and “high calm,” state and heroic-patriotic themes prevailed in Lomonosov’s work, since he believed that the highest joy of a writer is to work “for the benefit of society.”

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

From the “Sumarokovites” highest value in the history of the genre has M.M. Kheraskov is the founder of the Russian “philosophical ode”. Among the “Sumarokovites” I received special development Anacreontic ode without rhyme. This struggle was a literary expression of the struggle of two groups of the feudal nobility: one - politically leading, the most stable and socially “healthy”, and the other - moving away from social activities, satisfied with the achieved economic and political dominance.

In general, the “high” tradition of Lomonosov won at this stage. It was his principles that were most specific to the Russian ode genre as such.

It is significant in this regard that Derzhavin based his theoretical “Discourse on Lyric Poetry or Ode” almost entirely on the practice of Lomonosov. In his rules of dosage, Derzhavin entirely followed the code of Boileau, Batteux and their followers. However, in his own practice, he goes far beyond their limits, creating on the basis of the “Horatian ode” a mixed type of ode-satire, combining the exaltation of the monarchy with satirical attacks against the courtiers and written in the same mixed “high-low” language. Along with the high “Lomonosov”, the mixed “Derzhavin” ode is the second main type of the Russian ode genre in general.

Derzhavin's work, which marked the highest flowering of this genre on Russian soil, is distinguished by its exceptional diversity. Special significance have his accusatory odes (“Nobleman”, “To Rulers and Judges”, etc.), in which he is the founder of Russian civil poetry.

The heroics of the time, the brilliant victories of the Russian people and, accordingly, the “high” genre of the solemn ode are reflected in the poetry of G.R. Derzhavin, who most of all valued in a person the “greatness” of the spirit, the greatness of his civil and patriotic feat. In such victorious odes as “To the capture of Izmail”, “To victories in Italy”, “To the crossing of the Alpine mountains”, the writer gives the brightest examples of grandiose battle lyrics, glorifying in them not only the wonderful commanders - Rumyantsev and Suvorov, but also ordinary Russian soldiers - “in the light of the first fighters.” Continuing and developing the heroic motifs of Lomonosov’s poems, he at the same time vividly recreates privacy people, paints pictures of nature sparkling with all colors.

Social processes in Russia XVIII centuries had a significant influence on literature, including poetry. Particularly significant changes occurred after Pugachev’s uprising, directed against the autocratic system and the class of noble landowners.

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

In Radishchev’s “Liberty,” the main social function odes: instead of an enthusiastic chanting of “kings and kingdoms,” the ode was a call to fight the kings and glorify their execution by the people. Russian poets of the 18th century praised monarchs, but Radishchev, for example, in the ode “Liberty,” on the contrary, praises the tyrant fighters, whose free calling voice terrifies those who sit on the throne. But this kind of the use of someone else's weapons could not give significant results. The ideology of the Russian bourgeoisie differed significantly from that of the feudal nobility, which underwent significant changes under the influence of the growth of capitalism.

The solemn ode in Russia of the 18th century became the main literary genre, capable of expressing the moods and emotional impulses of the people. The world was changing, the socio-political system was changing, and the loud, solemn, calling forward voice of Russian poetry invariably sounded in the minds and hearts of all Russian people. Introducing progressive educational ideas into the consciousness of the people, igniting people with high civic-patriotic feelings, the Russian ode became increasingly closer to life. She never stood still for a minute, constantly changing and improving.

WITH late XVIII century, along with the beginning of the fall of Russian classicism as the literary ideology of the feudal nobility, the ode genre began to lose its hegemony, giving way to the newly emerging verse genres of elegy and ballad. The satire of I.I. dealt a crushing blow to the genre. Dmitriev’s “Someone else’s sense”, directed against poetic writers who “prank” in their yawn-inducing poems for the sake of “a reward with a ring, a hundred rubles, or friendship with a prince.”

However, the genre continued to exist for quite some time. for a long time. The ode correlates with “high” archaic poetry, mainly. civil content (V.K. Kuchelbecker in 1824 contrasted it with romantic elegies). The features of the odic style are preserved in philosophical lyrics E.A. Baratynsky, F.I. Tyutchev, in the 20th century. - from O.E. Mandelstam, N.A. Zabolotsky, as well as in the journalistic lyrics of V.V. Mayakovsky, for example. "Ode to the Revolution".

Dmitriev himself wrote solemn odes. This was the beginning of the activities of Zhukovsky and Tyutchev; We find the ode in the works of the young Pushkin. But basically the genre increasingly passed into the hands of mediocre epigones like the notorious Count Khvostov and other poets grouped around Shishkov and “Conversations of Lovers of the Russian Word.”

The latest attempt to revive the genre of “high” ode came from a group of so-called “younger archaists.” Since the late 20s. The ode almost completely disappeared from Russian poetry. Individual attempts to revive it, which took place in the works of the Symbolists, were carried out in best case scenario the nature of more or less successful stylization (for example, Bryusov’s ode to “Man”). It is possible to consider some poems of modern poets, even so-called by them themselves, as odes (for example, “Ode to the Revolution” by Mayakovsky), only as a very distant analogy.

ode poem lyrics classicism

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 called choral songs in different topics accompanied by music and dancing. 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). 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 lofty, bookish vocabulary, primarily archaisms, metonymic periphrases, and allegories. Intonation and syntactic means played a huge role: exclamations and rhetorical questions, inversions, unusual syntactic constructions.

Reply 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 of 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 “Rhymelogion” of Simeon of Polotsk, the cants and “vivata” of the Peter the Great era and the work of Feofan Prokopovich, who glorified the most important events of the era and raised in literature the theme of Peter I as an enlightened monarch, builder and hero, which would be picked up by Kantemir, Lomonosov and others 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 for the Capture of Khotin” is based on the wide 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.

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

Reply 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 the solemn ode is designed to be 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 Elizabeth Petrovna 1747.” The ode genre allowed Lomonosov to combine lyrics and journalism within one poetic text and to speak out on issues of civil and social significance. 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.
Abundance natural resources- 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, 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.

Ode is one of the genres of classicism. In contrast to French classicism, which interpreted the ode as a song in a broad sense, Russian classicism put more specific content into this concept: the ode was a genre of heroic civil lyricism, implying “high” content and a solemn style of expression. The era associated with the development of classicism was characterized by the affirmation of national identity, which dictated the priority of state interests over personal ones. Genre of ode glorifying important events national scale, perfectly corresponded to the requirements of this stage in the development of Russia. The poet-scribe is “selfless; he does not rejoice at the insignificant events of his own life, he broadcasts the truth and the judgment of Providence, triumphs about the greatness of his native land" (V. Kuchelbecker). The ode had a strict form. "lyrical disorder" was obligatory, implying the free development of poetic thought. Mandatory elements included praise of a certain person, moralizing discussions, historical and mythological images, the poet’s appeal to the muses, nature, etc. The ode had to have a significant amount of emotional impact (“emotional uplift, delight,” from the point of view of G.A. Gukovsky, is the “sole theme” of Lomonosov’s poetry). The construction of the ode was subordinated to the disclosure of the main idea, the main feeling, which determined the compositional unity of all its parts -

In his solemn odes, Lomonosov strives to express the thoughts and feelings of the nation as a whole, therefore there is no place in them for the manifestation of the poet’s individual personality traits. His ode consists of “the main story on behalf of the ode-writer, interrupted by monologues-inserts of characters: God, Russia, kings and pariah” (Serman I.Z. Poetic style of Lomonosov / I.Z. Serman. - M.;L., 1966. - P. 35). Addressing royalty, giving lessons to tsars, Lomonosov speaks on behalf of all of Russia. In Lomonosov's work, a solemn, laudatory ode turns into poetic genre, who managed to absorb all the ideological problems of the era and express it with enormous artistic power. In his odes, Lomonosov sets out a cultural and political program for the transformation of Russia.

Each ode to Lomonosov is dedicated to a specific topic. He writes about external and domestic policy Russia, talks about issues of war and peace, glorifies reason, science, progress, man who has subjugated nature, etc. In the composition of Lomonosov's odes, as Serman shows, the verbal-thematic principle of construction is adopted. The development of the poetic idea of the ode “is carried out through conflict, through the collision of two polarities, two opposites... ending, as a rule, with the final victory of the forces of reason and goodness” (Serman I.Z. - P. 251. Contrasting principles, for example, can be world and fire, light and darkness, etc. Metaphor and metaphorization become the main style-forming elements of Lomonosov’s poetic style. The principles of his poetic style are height, splendor, and expressiveness.

The system of constructing Lomonosov's odes was not supported by numerous ode writers of his time. Sumarokov spoke out against unjustified interruptions in logical development main idea, he was not satisfied with the stylistic appearance of the odes, metaphorical complexity and hyperbolicity. Lomonosov's ode was appreciated by a new generation of poets, who saw in it an expression of his personality and individuality.

Oda M.V. Lomonosov. The place of the ode in the system of genres of classicism. Analysis of the ode “To the Capture of Khotin”.

Lomonosov entered the history of Russian literature primarily as a poet-writer.

Contemporaries called him the Russian Pindar. Ode is a lyrical genre. She

passed into European literature from ancient poetry. In Russian literature

XVIII century The following types of ode are known: victorious-patriotic,

laudable, philosophical, spiritual and anacreontic. In the genre system

Russian classicism, 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

repeating rhyme. In Russian poetry most often took place

ten-line stanza proposed by Lomonosov.

Lomonosov began with the victorious and patriotic “Ode for the Capture of Khotin.” It's written

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

Turkish fortress Khotyn, located in Moldova. The fortress garrison along with

its chief Kalchakpasha was taken prisoner. This brilliant victory produced

made a strong impression in Europe and raised Russia’s international prestige even higher.

In Lomonosov’s ode, three main parts can be distinguished: introduction, image

military actions and glorification of the victors. Pictures of the battle are given in typical

Lomonosov in a hyperbolic style with a lot of detailed comparisons and metaphors

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

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

Russian army. The Russian soldier, “Ross”, was brought out as the arbiter of all events.

admiration:

Love strengthens the fatherland

Sons of Russian spirit and hand:

Everyone wants to shed all the blood,

The sound invigorates the menacing sound.

The tension and pathetic tone of the narrative are enhanced by rhetorical

to the enemy. The ode also refers to the historical past of Russia. Over

Russian army appears the shadows of Peter I and Ivan the Terrible, who won their

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

Tatars near Kazan. These kinds of historical parallels will appear after

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

Scientific and philosophical lyrics by 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 translation of achievements into poetic form

science. This is truly poetry born of inspiration, but only in

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

thought of a scientist. Lomonosov dedicated poems with scientific themes to phenomena

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

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

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

God through nature, but the study of nature itself, created by God. This is how they appeared

two closely related works: “Morning reflection on God

majesty" and "Evening reflection on God's majesty on occasion of great

Northern Lights." Both poems were written in 1743.

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

phenomena that are 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, unknown worlds. So, in the first stanza

“Morning Reflection” depicts the sunrise, the onset of morning,

awakening of all nature. Then Lomonosov begins to talk about physical

structure of the Sun. A picture is drawn, accessible only to the inspired gaze

a scientist capable of speculatively imagining what he cannot see

The “perishable” human “eye” is the hot, raging surface of the sun.

Lomonosov appears in this poem as an excellent popularizer

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

reveals with the help of ordinary, purely visible “earthly” images: “walls of fire”,

“fiery whirlwinds”, “burning rains”.

In the second, “evening” reflection, the poet turns to the phenomena that appear

to a person in the firmament at nightfall. At first, just like in

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

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

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

bottomless ocean. For readers who are 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

activities. One evidence 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 proven.

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

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

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 examples of ancient scientific poetry. One

one of Lomonosov's distant predecessors in this area was the Roman poet

Some researchers and “Letter on the benefits of glass” are also called a poem, not

Taking into account the genre uniqueness of Lomonosov’s work, What we have before us is

a letter with a specific addressee - Ivan Ivanovich Shuvalov, a prominent

nobleman and favorite of Empress Elizabeth Petrovna. Shuvalov

patronized sciences and art. With his assistance, they opened

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

Lomonosov repeatedly applied to implement his plans. "Letter about

the benefits of glass" is a kind of parallel to Lomonosov’s odes, in which the poet

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

Unlike the solemn odes, the “Letter” was not intended for the palace

ceremonies and represented an unofficial appeal from the poet to Shuvalov, which

and this explains his strict, business-like manner, devoid of any rhetorical embellishment

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

Lomonosov entered literature at the moment when ancient Russian

writing associated with the Church Slavonic language, with an established system

genres, became a thing of the past, and was replaced by a new secular culture. In connection

with the secularization of consciousness, the Russian language became the basis of the literary language.

Lomonosov wrote the first "Russian Grammar" (1757), which opened

an enthusiastic praise to the Russian language, comparing it with European languages

and highlighting its benefits.

Lomonosov was far from thinking of abandoning the use of

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

“Going to Love Island” wrote about incomprehensibility and even cacophony

Church Slavonic and resolutely avoided it in his translation. This

the solution to the issue was not accepted by Lomonosov.

The Church Slavonic language, due to its relationship with Russian, contained

certain artistic and stylistic possibilities. He gave speech

a shade of solemnity and significance. It's easy to feel if

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

finger - finger, cheek - lanita, neck - neck, said - river, etc. Because of this

Church Slavonicisms, when used skillfully, enriched the emotional

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

Church Slavonic language liturgical books were translated from Greek, into

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 it is necessary. He outlined his ideas in his work,

entitled “Preface on the benefits of church books in the Russian language”

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

First he attributes words common to the Russian and Church Slavonic languages: god,

glory, hand, now, I honor, etc. For the second - only Church Slavonic

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

I appeal. “Unusual” and “very dilapidated” Church Slavonicisms such as:

obavayu, ryasny, ovogda, svene - were excluded by him from the literary language. TO

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

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

“material” from which three “calms” are “constructed”: high,

"mediocre" (i.e. average) and low. High "calm" is made up of

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

“calm” consists mainly of words of the third group. You can go here

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

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

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

third, were presented in Russian words. Regarding Church Slavonicisms

(second group), then they are only added to the high and medium “calms” so that

give them some degree of solemnity. Each of Lomonosov's "calms"

associates with a specific genre. Heroic poems are written in a high style,

odes, prosaic speeches about “important matters”. Middle - tragedies, satires,

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 Russian

versification, begun by Trediakovsky. Along with the “Letter” was sent “Ode

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

systems. Lomonosov carefully studied “A New and Brief Method...”

Trediakovsky and immediately noticed his strengths and weaknesses. Following

Trediakovsky Lomonosov gives complete preference to the syllabic-tonic

versification, in which he admires the “correct order,” i.e., rhythm. IN

Lomonosov gives a number of new considerations in favor of syllabic tonics. To her

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

falling on any syllable, which is how our language fundamentally differs 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 noted that

Trediakovsky stopped halfway and decided to finish it. He

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

thirteen syllables, as Trediakovsky believed. Along with disyllabic ones, 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 stress in Russian can fall not only on

penultimate, but also on the last, as well as on the third syllable from the end. In contrast

from Trediakovsky, Lomonosov considers it possible to combine in one

poem of masculine, feminine and dactylic rhyme.

In 1748, Lomonosov published “A Brief Guide to Eloquence” (book.

1 "Rhetoric"). In the first part, called “Invention,”

the question of choosing a topic and related ideas. The second part - “About decoration” -

giving speech “exaltation” and “splendor”. In the third - “About location” -

talked about the composition of a work of art. In "Rhetoric" there were no

only rules, but also numerous examples of oratorical and poetic

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

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

The genre composition of Russian classicism is tragedy and comedy.

Sumarokov's worldview was formed under the influence of the ideas of Peter the Great

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

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

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

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

education and service useful to society. A nobleman should not humiliate

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

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

his satires, fables and comedies.

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

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

be able to suppress bad passions in yourself. In his tragedies the poet portrayed

the disastrous consequences resulting from monarchs forgetting their civil

According to their own philosophical views Sumarokov was a rationalist. Although he had

Locke's sensualist theory 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 first place

moralistic functions. At the same time, Sumarokov acutely felt and strictly

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

entitled “Admonition to those who want to be writers” (1774). Sample for

The “Instructions” were inspired by Boileau’s treatise “The Art of Poetry,” but in the composition

Sumarokov feels an independent position, dictated by pressing

the 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

was decided.

The main place in the “Instructions” 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 when you start, look for decent

words" (Part 1, p. 360). But Boileau and Sumarokov’s attitude to individual genres is not

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

above tragedy. Sumarokov talks less about her, content only with

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 epistle “On Poetry” calls them

“trinkets”, but in the “Instructions” he passes over in complete silence.

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Report 7th grade.

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 lyrics and journalism within one poetic text and to speak out on issues of civil and social significance. The poet admires the innumerable natural resources of the Russian state:

Where, in the luxury of cool shadows In the pasture of galloping fir trees, the catching cry did not disperse; The hunter did not aim his bow anywhere; The farmer did not frighten the singing birds 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 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 Platos 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 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 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 in 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 emotion. Only the lyrical emotions themselves, which determine the genre content of the spiritual and Anacreontic ode, are different. If we use classic terminology, a spiritual ode is a form of expression of high lyrical passion. As for the Anacreontic ode, this is a form of expression of private, everyday lyrical passion.

In the 18th century, spiritual odes 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 the 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, transcriptions of psalms (actually, a poetic Russian translation of Old Church Slavonic texts) as a lyrical genre were very popular. All of Lomonosov's spiritual odes were written between 1743 and 1751. This is the time when Lomonosov had to establish himself and assert his scientific views at the St. Petersburg Academy of Sciences, where the majority of scientists and administrative positions were occupied by scientists from European countries, mainly Germans. The process of Lomonosov’s self-assertion in science was far from simple. Therefore, in spiritual odes the pathos of self-affirmation sounds. For example, in the transcriptions of Psalms 26 and 143:

In anger, devour my flesh

Disgusted, they rushed;

But it’s bad advice to even start,

Having fallen, they were crushed.

Even if a regiment rises up against me:

But I'm not horrified.

Let the enemies raise a battle:

I trust in God (186).

I was embraced by a strange people,

I'm deep in the abyss,

Stretch your hand high from the firmament,

Save me from many waters.