Why do classicism odes have such long names. What is an ode? Oda is a song of praise. Oda: the history of the genre

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abstract

Ode and its place in the system of genres of Russian classicism

Introduction

An ode is a lyrical poem that expresses a feeling of delight caused by some important subject: the thought of God, grandiose events in people's lives, majestic natural phenomena, etc.

Ode - a genre of lyrics, which is a solemn poem dedicated to an event or a hero, or a separate work of such a genre. This is a genre that has developed in the era of classicism. In ancient times, the term "ode" did not define any poetic genre, but meant "song", "poem" and, in translation from Greek means song (from the Greek shch? dzm).

The Greeks called an ode a song of praise in honor of the gods, heroes and famous citizens. The best creator of odes among the Greeks was Pindar, who in his songs usually glorified the winners on Olympic Games. The odes were sung by the poet to the accompaniment of the lyre. Hence the expression: "to sing of heroes." Many odes were written by the Roman poet of the times of Augustus Horace Flaccus.

Much later, in imitation of the classical odes, a false-classical ode appeared. It was compiled according to certain rules, which were strictly observed by the odographers of that time.

The ancient Greek poet actually sang his own ode. The poets of the 17th-18th centuries did not sing them, but wrote and read them. The ancient odographers often referred to the lyre, which was quite natural, since they had it in their hands. Imitators also turned to the lyre, although they had a pen or pencil in their hands. The ancient poet invoked the Olympians in his ode because he believed in them. Imitators also turned to Zeus, then to Apollo, although they did not allow their existence.

The ancient Greek poet composed his ode under the live impression of the events that he sang and which he really admired, and therefore, under a strong influx of feelings, he could not be consistent in presentation everywhere, that is, he allowed the so-called lyrical disorder. Imitators also considered disorder in the presentation of thoughts and feelings, moreover, in certain places, to belong to one. The ancient Greek poet, singing the winner, glorified at the same time both his ancestors and fellow citizens, that is, he touched on outsiders and events. Imitators also considered it necessary to introduce extraneous elements into their odes. Finally, the pseudo-classical ode should have consisted of the same parts as the oratorical speech: introductions, sentences, presentations with different episodes or deviations from main theme, lyrical confusion (pathetic part) and conclusion.

It goes without saying that in poetic products of this kind, with few exceptions, there was no sincere feeling: they were imbued with artificial delight, feigned inspiration, which was expressed, on the one hand, by lyrical disorder, on the other, by an abundance of tropes and figures, which made them unnatural, pompous.

In Russia, false-classical odes were written by V.K. Trediakovsky,

M.V. Lomonosov, G.R. Derzhavin and many others. However, readers soon appreciated these odes, and the poet I.I. Dmitriev cruelly ridiculed them in his satire Alien Sense.

The ode of the new time, which rejected all the rules of artificial construction, has the character of a natural expression of the real, genuine delight of the poet. The very name "ode" is now rarely used and is replaced by the names "song", "hymn", "thought".

Gavriil Romanovich Derzhavin defined the ode as follows:

“Ode, the Greek word, as well as the psalm, marks a song in our language. According to some differences, in ancient times it bore the names of Anthem, Pean, Dithyramb, Scoli, and in modern times sometimes it is the same as Cantata, Oratorio, Romance, Ballad, Stanza, and even a simple song. It is composed in stanzas, or couplets, in a dimensional syllable, of various kinds and in the number of verses; but in the deep distance of centuries, uniform stanzas in it are not noticed. In ancient times, it was transmitted with a simple melody; sung with a lyre, with a psalter, with a harp, with a harp, with a zither, and in the newest ones with other instruments, but more, it seems, with strings. According to the lyre, or according to the composition, capable of music, it is called the Ode of lyric poetry.

1. Antiquity

The development of the ode and its genre features began in ancient world. Initially in Ancient Greece any form of poetic lyrics intended to accompany music was called an ode, including choral singing. Ancient philologists used this term in relation to various kinds of lyrical poems and divided them into “laudatory”, “deplorable”, “dance”, etc.

The ode is historically associated with the solemn choral lyric poems of Ancient Greece (among the Dorians), which combined religious hymns with chants in honor of individuals.

The odes of Pindar and the Roman poet Horace were widely used. Since the time of Pindar, an ode has been a choral epinic song with emphasized solemnity and pomp, as a rule, in honor of the winner of sports competitions: - an ordered poem "in case", the task of which is to excite and encourage the will to win among the Dorian aristocracy. In Pindar's epinicia, myths and tribal traditions are used to glorify the hero (winner at the Olympiads); 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.

Local and personal elements that are obligatory for epinicia (praise of the winner, his family, city, competitions, etc.) receive their “illumination” in relation to myth as the basis of the ideology of the ruling class and to aristocratic ethics. The ode was performed by a dancing choir, accompanied by complex music. It is characterized by rich verbal ornamentation, which was supposed to aggravate the impression of solemnity, emphasized grandiloquence, weak connection of parts. The poet, who considers himself as a "wise man", a teacher, only with difficulty gathers together the elements of traditional doxology. Pindar's ode is characterized by sharp, unmotivated transitions of the associative type, which gave the work a particularly difficult, "priestly" character. With the collapse of the old ideology, this "poetic eloquence" gave way to prose, and social function the ode turned to a laudatory speech ("encomium"). The archaic features of Pindar's ode during the era of French classicism were perceived as "lyrical confusion" and "lyrical delight".

The name "ode" in ancient times was assigned to the lyrics of Horace, a characteristic parting address to a certain person; the Epicurean motifs prevailing in it formed the basis of the future Horatian ode. Horace used the dimensions of the Aeolian lyric poetry, primarily the Alcaean stanza, adapting them to the Latin language. The collection of these works in Latin is called Carmina - "songs" (they began to be called odes later).

Horace (I century BC) dissociates himself from "Pindarization" and seeks to revive the melic lyric poetry of the Aeolian poets on Roman soil, preserving its external forms as a fiction. Horace's ode is usually addressed to some real person, on whose will the poet allegedly intends to influence. The poet often wants to create the impression that the poem is actually spoken or even sung. In fact, Horatian lyrics of book origin. Capturing a wide variety of topics, Horace's odes are very far from any "high style" or overstrain of means of expression (the exception is the so-called "Roman" odes, where Horace acts as the ideologist of Augustus's politics); his odes are dominated by a secular tone, sometimes with a slight admixture of irony. The term "ode", applied by ancient grammarians to the lyrics of Horace, was the source of a number of difficulties for the theorists of classical poetics, who built the theory of the odic genre simultaneously on Pindar and Horatian material.

2 . new time

In the Middle Ages, there was no ode genre as such. This genre arose in European literature during the Renaissance and developed in the system 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 Muscovite Russia at the end of the 16th-17th centuries. (panegyrics and verses in honor of noble persons, the "welcome" of Simeon of Polotsk, etc.). The appearance of the ode in Russia is directly related to the emergence of Russian classicism and the ideas of enlightened absolutism. In Russia, the ode is less associated with classicist traditions; it carries out a struggle of contradictory stylistic tendencies, on the outcome of which the direction of lyric poetry as a whole depended.

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

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

Thus, when creating a new genre, the poet was guided by the traditions of antiquity, which had already come into use in many European countries ode genre and Russian folk traditions. “I owe French version a bag, and old Russian poetry all a thousand rubles,” he said.

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

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

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

The solemn ode became that new genre that the leading figures of Russian literature of the 18th century were looking for for a long time, which made it possible to embody a huge patriotic and social content in poetry. Writers and poets of the 18th century were looking for new artistic forms, means, techniques, with the help of which their works could serve the “benefit of society”. State needs, duty to the fatherland, in their opinion, should have prevailed over private, personal feelings and interests. In this regard, they considered the 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, acquiring an independent sound, glorifying, first of all, its state and its heroes. In “A Conversation with Anacreon,” Lomonosov says: “The strings involuntarily sound like a hero’s noise to me. Do not revolt Bole, Love thoughts, mind; Although I am not deprived of tenderness of the heart In love, I am more admired by Heroes with eternal glory.

The reform of Russian versification begun by Trediakovsky was brought to an end by the brilliant Russian scientist and poet M.V. Lomonosov. He was the true founder of the Russian ode, who established it as the main lyrical genre feudal-noble literature of the 18th century. The purpose of Lomonosov's odes is to serve in every way to exalt the feudal-noble monarchy of the 18th century. in the face of its leaders and heroes. Because of this, the main type cultivated by Lomonosov was the solemn pindaric ode; all elements of her style should serve to reveal the main feeling - enthusiastic surprise, mixed with reverent horror at the greatness and power of state power and its bearers.

This determined not only the “high” - “Slavic Russian” - language of the ode, but even its meter - according to Lomonosov, a 4-foot iambic without pyrrhic (which has become the most canonical), for pure “iambic verses rise up matter, nobility, magnificence and height multiply." Solemn ode at M.V. Lomonosov developed a metaphorical style with a distant associative connection of words.

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

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

From "Sumarok" highest value in the history of the genre has M.M. Kheraskov is the founder of the Russian "philosophical ode". Among the "Sumarokovtsy" the Anacreontic ode without rhyme was especially developed. This struggle was a literary expression of the struggle of two groups of the feudal nobility: one - politically leading, the most stable and socially "healthy", and the other - departing from social activities satisfied with the achieved economic and political dominance.

In general, the "high" tradition of Lomonosov on this stage won. It was his principles that were the most specific for the genre of Russian ode as such.

It is indicative in this respect that Derzhavin substantiated his theoretical "Discourse on Lyric Poetry or on an Ode" almost entirely on Lomonosov's practice. Derzhavin fully followed the code of Boileau, Batteux and their followers in his rules of odosnation. However, in its own practice he goes far beyond them, creating on the basis of the "Horatian ode" a mixed kind of ode-satire, combining the exaltation of the monarchy with satirical attacks against the courtiers and written in the same mixed "high-low" language. Along with the high "Lomonosov" mixed "Derzhavin" ode is the second main type of the Russian ode genre in general.

Derzhavin's work, which marked the highest flowering of this genre on Russian soil, is distinguished by exceptional diversity. Of particular importance are his denunciatory odes (The Nobleman, To Rulers and Judges, etc.), in which he is the founder of Russian civil lyrics.

The heroism of time, the brilliant victories of the Russian people and, accordingly, the "high" genre solemn ode found reflection in the poetry of G.R. Derzhavin, who most of all appreciated the "greatness" of the spirit, the greatness of his civil and patriotic deeds in a person. In such victorious odes as “To the Capture of Ishmael”, “To the Victories in Italy”, “To the Crossing of the Alps”, the writer gives the brightest examples of grandiose battle lyrics, glorifying in them not only the wonderful commanders - Rumyantsev and Suvorov, but also simple Russian soldiers - "in the light of the first fighters." Continuing and developing the heroic motives of Lomonosov's poems, at the same time he vividly recreates the private life of the people, draws pictures of nature sparkling with all colors.

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

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

In "Liberty" by Radishchev, the main social function of the ode changed diametrically: instead of enthusiastic chanting of "kings and kingdoms", the ode was a call to fight against the kings and glorify their execution by the people. Russian poets of the 18th century praised the monarchs, while Radishchev, for example, in the ode “Liberty”, on the contrary, sings of the tyrant-fighters, whose free invocative voice horrifies those who sit on the throne. But this kind of use of foreign weapons could not give significant results. The ideology of the Russian bourgeoisie differed significantly from that of the feudal-gentry, which underwent significant changes under the influence of the growth of capitalism.

The solemn ode in Russia of the 18th century became the main literary genre capable of expressing the moods and spiritual impulses of the people. The world was changing, the socio-political system was changing, and the loud, solemn, calling forward voice of Russian poetry invariably sounded in the minds and hearts of all Russian people. Introducing progressive enlightening ideas into the minds of the people, inflaming people with lofty civic-patriotic feelings, the Russian ode came closer and closer to life. She did not stand still for a minute, constantly changing and improving.

FROM late XVIII century, along with the beginning of the fall of Russian classicism as a literary ideology of the feudal nobility, began to lose its hegemony and the genre of ode, giving way to the newly emerging verse genres of ellegy and ballad. A crushing blow to the genre was dealt by satire I.I. Dmitriev's "Alien Sense", directed against the poets-odists, "pindaring" in their yawn-inducing verses for the sake of "an award with a ring, a hundred rubles, or friendship with the prince."

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

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

The last attempt to revive the genre of the "high" ode came from a group of so-called "junior archaists". Since the end of the 20s. The ode has almost completely disappeared from Russian poetry. Separate attempts to revive it, which took place in the work of the Symbolists, were, at best, in the nature of more or less successful stylization (for example, Bryusov's ode to "Man"). It is possible to consider some poems of modern poets as an ode, even if they themselves are so-called (for example, Mayakovsky's "Ode to the Revolution"), only by way of a very distant analogy.

ode poem lyrics classicism

Bibliography

1. "A new and brief way to add Russian poetry", 1735;

2. Works of Derzhavin, vol. VII, 1872;

3. Art. Kuchelbecker "On the direction of our poetry, especially lyrical, in the last decade" in "Mnemosyne", part 2, 1824;

4. Ostolopov N., Dictionary of ancient and new poetry, part 2, 1821;

5. Gringmut V., A few words about the rhythmic structure of Pindar's odes, in the book: Brief Greek anthology from the poems of Sappho, Anacreon and Pindar, 1887;

6. Pokotilova O., Predecessors of Lomonosov in Russian poetry of the XVII and early XVIII centuries, in the book: Lomonosov, Collection of articles, 1911;

7. Gukovsky G., From the history of the Russian ode of the XVIII century. Experience in interpreting parody, "Poetics", 1927.

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(more precisely, “pseudo-classical”) only in the sense that it borrowed form from ancient satirists, borrowed character, sometimes its themes, but the most significant content- was free from any restrictions and rules, was always alive and mobile, since, in its essence, it was doomed to always come into contact with reality. bualo, translated into Latin language, would only very slightly touch the life of Rome. It was not so with the "ode" - because of its isolation from life, it was easier to succumb to other people's influences. These influences conquered not only its forms, but also the content made " common place". That is why most of the odes are completely international and stereotyped, equally applicable to France, and to Germany, and to Russia.

Classicism as a trend in art and literature

The "classic" ode received all its specific features at the court of Louis XIV. This court enslaved not only the aristocracy, finally turning it into courtiers, but also attracted poets, artists, and scientists to Paris. Previously, singers lived in the castles of nobles and praised their feats of valor and hospitality - now, after the centralization of mental life - they crowded in the capital. The "Sun King", who copied the emperor Augustus, became sovereign for them Patron handed out awards and pensions. And so, from the hangers-on of the knight's castle, they became the king's pensioners: "enlightened absolutism" sheltered them, they grew stronger under his protection - and became the masters and legislators of the then pan-European Parnassus; they glorified the king and their patrons, spread their glory throughout Europe.

These men of letters formed the first corporation of the French Academy. She was placed along with the highest government agencies France and received the high right to offer congratulations to the king on solemn occasions on a par with parliament. Since then, getting into this Academy has become the cherished dream of every French writer.

The "duty" of academic poets to praise the sovereign Maecenas created the typical features of the French ode. The odes of Pindar and Horace became models for her. Of course, the most sincere creator of the odes was Pindar, known for his laudatory songs in honor of contemporary events and heroes. These songs were sung to the accompaniment of the lyre. The lively, sincere attitude of the singer to the event, the sympathy of the listeners - these are the indispensable companions of this primitive ancient ode. More artificial was Horace's ode - it was already flattering poetry in honor of the benefactor, without the participation of the people, without singing and lyre, without faith in the gods, although with the traditional appeal to the gods and lyre, and the mention of the word: "I sing."

Pseudo-classics of the New Age borrowed the form and techniques from Pindar and Horace - this is how the theory false classical odes. Boileau, as always, successfully, in a few words, defined the theory of this ode - and his theory became the law for all subsequent ode writers.

The main feature of this ode is “pathos”, which raises the poet to heaven, to the height of the pagan Olympus, where, in a fit of delight, the poet sees the gods themselves; in such hymns in honor of the victor, in praise of victories, the swiftness of style, drawing the poet away from calm, flowing speech to appeals, digressions, and elevations arising from his excitement, created that “beau désordre”, “beautiful disorder”, which is inherent in sincerely inspired feeling , but in theory Boileau turned into "effet de l" art "(beautiful literary device). Many pseudo-classics, writers of odes, this reception covered up a lack, or insincerity of feeling.

Pseudo-classical odes were successful in Germany, where they were usually composed in honor of various German princes who sat in their castles and towns and posed as “little Louis XIV” there. No wonder that the grandiosely flattering French ode here took on the character of a gross lie. What was elevated, swollen in the setting of Versailles, but still had a basis in the enchantingly theatrical grandeur of the era and culture, then in the wilderness of virtuous Germany, in the atmosphere of beer and Junkerism, was a direct lie: the same appeals to the gods of antiquity, the same likenings heroes of antiquity, the same pathos - only instead of the grandiose personality of Louis - a pompous, ponderous figure of a German, "enlightened by the French world"!

However, the Germans also had poets, whose sincere feeling sometimes made its way through the conventions of ready-made, hackneyed forms. Such was, for example, Günther, who died young. For us Russians, he is valuable as a writer, highly respected

Information for students

The ode was written in 1783 and was addressed to Catherine. Shortly before that, Catherine in one moralizing tale brought herself under the name of Princess Felitsa. The poet addresses the princess Felitsa, and not the empress.

IV. Reading an ode

The teacher explains incomprehensible words: Felitsa, Murza, in front of the levy, you don’t donkishon, chimeras, in a train, in taverns, show off, path, lie, eyelids, pile, chaos, caliph, right hand, parnas horse.

Students' reasoning on the question: does the wayward and independent Derzhavin follow the canons of the ode genre in the material and the form of its presentation? The analysis is based on a comparison with the studied odes of Lomonosov, as samples of the classical ode. When reasoning, use the table "The originality of the ode to classicism."

Determine the theme of the ode. (Singing of the Enlightened Monarch.)

What is the difference from Lomonosov's ode?

(Derzhavin's ode is constructed as a dialogue with Felitsa, while Lomonosov used a monologue. Felitsa appears in motion, in action, there are many verbs in her characterization. Unlike Lomonosov, who did not say anything about the behavior of Elizabeth Petrovna, Derzhavin reveals the human qualities of Felitsa, describes her habits, activities.)

Who else is Felitsa compared to in an ode? What qualities of the heroine are revealed in this comparison?

(Felitsa is contrasted with her predecessors on the Russian throne, and their names are not named, but bright, well-aimed characteristics suggest who they are talking about. In comparison with the murzas, the poet revealed Felitsa’s personal “virtues”; comparing the heroine with kings, Derzhavin emphasized the virtues of an enlightened ruler Here the poet uses the particle “not” to emphasize what Felitsa does not do and what, on the contrary, her predecessors did: “they don’t hover weddings, they don’t fry them in ice baths, they don’t click on the mustaches of nobles, princes don’t cluck with hens” and etc.)

The poet, praising Felitsa, “lets slip” in comparisons: “like a wolf of sheep, you don’t crush people; you are ashamed to be reputed to be that great, to be terrible, unsociable; it is proper for a bear to vomit wild animals and five of them bleed.” Derzhavin gives examples of the abuse of power given to them by kings. Such a thing was impossible in a classicist laudatory ode.

Is there a positive program in the ode for an ideal enlightened ruler?

(The stanzas of the ode, where the poet presents as a reality his dreams with a just and enlightened monarch - “When you enlighten morals, // You don’t fool people like that”; “And he gives his light to the righteous, // Enlightens all mortals equally ...”; the tsarina creates “concord out of disagreement and happiness out of ferocious passions.” According to Derzhavin, the empress should rule the state just as skillfully as the helmsman of the ship.)

What is the role of descriptions of everyday life in Derzhavin's ode?

(Descriptions of the dinner table, Murza's homework, on the one hand, serve as a means of exposing the Murza, but, on the other hand, they express feelings lyrical hero, its taste and visual perceptions, his ability to admire and enjoy life. Such descriptions are innovative. In "Felitsa" an important poetic discovery was made: for poetry there are no low, unworthy objects for depiction. The specificity of everyday paintings; prose vocabulary adjacent to high; elements of autobiography (the poet described his homework and addictions) transformed the classic ode.)

Conclusion: Derzhavin in this ode traditionally praises the monarch, but not in the proper way, and not for what is traditionally praised. The poet is narrating about himself. A feature of the style is a combination of classic solemnity and everyday life, rough vernacular and lightness, elegance of the verse.

2. Think about the question: in what way does Derzhavin's ode correspond, and in what way does it deviate from the strict canons of the classicism genre?

Classicism as a trend in art originated in France at the end of the 17th century. In his treatise "Poetic Art" Boileau outlined the basic principles of this literary trend. He believed that literary work created not by feelings, but by reason; Classicism is generally characterized by the cult of reason, caused by the conviction that only an enlightened monarchy, absolute power, can change life for the better. As in the state there should be a strict and clear hierarchy of all branches of power, so in literature (and in art) everything should be subject to uniform rules, strict order.

Translated from Latin, classicus means exemplary or first class. Classical writers were modeled on ancient culture and literature. The French classics, having studied the poetics of Aristotle, determined the rules of their works, which they later adhered to, and this became the basis for the formation of the main genres of classicism.

Classification of genres in classicism

Classicism is characterized by a strict division of literary genres into high and low.

Oda - chanting and praising in poetic form work;
Tragedy is a dramatic work with a harsh ending;
The heroic epic is a narrative story about the events of the past, which shows the whole picture of time as a whole.

The heroes of such works could only be great people: kings, princes, generals, noble nobles who devote their lives to serving the fatherland. In the first place they have not personal feelings, but civic duty.

Low Genres:

Comedy is a dramatic work that ridicules the vices of society or a person;
Satire is a type of comedy, distinguished by its sharpness of narration;
Fable - satirical work instructive character.

The heroes of these works were not only representatives nobility but also commoners, servants.

Each genre had its own writing rules, its own style (the theory of three styles), it was not allowed to mix high and low, tragic and comic.

The students of the French classics, diligently adopting their standards, spread classicism throughout Europe. The most prominent foreign representatives are: Molière, Voltaire, Milton, Corneille and others.

The main features of classicism

Classicist authors drew inspiration from the literature and art of ancient times, from the works of Horace, Aristotle, thus the basis was the imitation of nature.
The works were built on the principles of rationalism. Clarity, clarity and consistency are also characteristic features.
The construction of images is determined by common features for time or era. Thus, each character is a thoughtful personification of a period of time or a layer of society.
A clear division of heroes into positive and negative. Each hero embodies some one main feature: nobility, wisdom or stinginess, meanness. Often the characters have "talking" surnames: Pravdin, Skotinin.
Strict adherence to the hierarchy of genres. Correspondence of style to genre, prevention of mixing different styles.
Compliance with the rule of "three unities": place, time and action. All events take place in one place. The unity of time means that all events fit into a period of no more than a day. And the action - the plot was limited to one line, one problem, which was discussed.

Features of Russian classicism

A. D. Kantemir

Like European, Russian classicism adhered to the basic rules of direction. However, he did not become just a follower of Western classicism - supplemented by his national spirit of originality, Russian classicism became an independent trend in fiction with its unique features and characteristics:

Satirical direction - genres such as comedy, fable and satire, telling about specific phenomena of Russian life (Kantemir's satires, for example, "On those who blaspheme the teaching. To their own mind", Krylov's fables);

Classicist authors instead of antiquity took as a basis the national-historical images of Russia (the tragedies of Sumarokov "Dmitry the Pretender", "Mstislav", Knyazhnin's "Rosslav", "Vadim Novgorodsky");
The presence of patriotic pathos in all the works of this time;
The high level of development of the ode as a separate genre (odes of Lomonosov, Derzhavin).

The founder of Russian classicism is considered to be A. D. Kantemir with his famous satires, which had political overtones and more than once became the cause of fierce disputes.

V. K. Trediakovsky did not particularly excel in the artistry of his works, but he had a lot of work in literary direction generally. He is the author of such concepts as "prose" and "poetry". It was he who conditionally divided the works into two parts and was able to give them definitions, substantiated the system of syllabic-tonic versification.

A.P. Sumarokov is considered the founder of the dramaturgy of Russian classicism. He is considered the "father of the Russian theater" and the creator of the national theater repertoire of that time.

One of the brightest representatives of Russian classicism is M. V. Lomonosov. In addition to a huge scientific contribution, Mikhail Vasilievich carried out a reform of the Russian language and created the doctrine of the "three calms".

D. I. Fonvizin is considered the creator of Russian everyday comedy. His works "Foreman" and "Undergrowth" still have not lost their significance and are studied in the school curriculum.

G. R. Derzhavin is one of the last major representatives of Russian classicism. He was able to inscribe vernacular into strict rules in his works, thereby expanding the scope of classicism. He is also considered the first Russian poet.

The main periods of Russian classicism

There are several divisions into periods of Russian classicism, but, summarizing, they can be reduced to the main three:

90 years of the XVII century - 20 years of the XVIII century. Also called the Petrine era. During this period, as such, there are no Russian works, and translated literature is actively developing. This is where Russian classicism originates as a result of reading translated works from Europe. (F. Prokopovich)
30-50 years of the XVII century - a bright surge of classicism. There is a clear genre formation, as well as reforms in the Russian language and versification. (V. K. Trediakovsky, A. P. Sumarokov, M. V. Lomonosov)
The 60-90s of the 18th century are also called the Catherine era or the Age of Enlightenment. Classicism is the main one, but at the same time, the emergence of sentimentalism is already observed. (D. I. Fonvizin, G. R. Derzhavin, N. M. Karamzin).

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

Thus, when creating a new genre, the poet was guided by the traditions of antiquity, the ode genre that had already come into use in many European countries, and Russian folk traditions. “I owe French version a bag, and old Russian poetry all a thousand rubles,” he said.

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

The reform of Russian versification begun by Trediakovsky was brought to an end by the brilliant Russian scientist and poet M.V. Lomonosov. He was the true founder of the Russian ode, who established it as the main lyrical genre of the feudal-noble literature of the 18th century. The purpose of Lomonosov's odes is to serve in every way to exalt the feudal-noble monarchy of the 18th century. in the face of its leaders and heroes. Because of this, the main type cultivated by Lomonosov was the solemn pindaric ode; all elements of her style should serve to reveal the main feeling - enthusiastic surprise, mixed with reverent horror at the greatness and power of state power and its bearers.

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

Of the Sumarokovites, M.M. has the greatest significance in the history of the genre. Kheraskov is the founder of the Russian "philosophical ode". Among the "Sumarokovtsy" the Anacreontic ode without rhyme was especially developed. This struggle was a literary expression of the struggle of two groups of the feudal nobility: one - politically leading, the most stable and socially "healthy", and the other - departing from social activities, satisfied with the achieved economic and political dominance.

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

It is indicative in this respect that Derzhavin substantiated his theoretical "Discourse on Lyric Poetry or on an Ode" almost entirely on Lomonosov's practice. Derzhavin fully followed the code of Boileau, Batteux and their followers in his rules of odosnation. However, in his own practice, he goes far beyond them, creating on the basis of the "Horatian ode" a mixed kind of ode-satire, combining the exaltation of the monarchy with satirical attacks against the courtiers and written in the same mixed "high-low" language. Along with the high "Lomonosov" mixed "Derzhavin" ode is the second main type of the Russian ode genre in general.

The heroism of the time, the brilliant victories of the Russian people and, accordingly, the “high” genre of the solemn ode were also reflected in the poetry of G.R. Derzhavin, who most of all appreciated the "greatness" of the spirit, the greatness of his civil and patriotic deeds in a person. In such victorious odes as “To the Capture of Ishmael”, “To the Victories in Italy”, “To the Crossing of the Alps”, the writer gives the brightest examples of grandiose battle lyrics, glorifying in them not only the wonderful commanders - Rumyantsev and Suvorov, but also simple Russian soldiers - "in the light of the first fighters." Continuing and developing the heroic motives of Lomonosov's poems, at the same time he vividly recreates the private life of the people, draws pictures of nature sparkling with all colors.

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

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

From the end of the 18th century, along with the beginning of the fall of Russian classicism as a literary ideology of the feudal nobility, it began to lose its hegemony and the genre of ode, giving way to the newly emerging verse genres of ellegy and ballad. A crushing blow to the genre was dealt by satire I.I. Dmitriev's "Alien Sense", directed against the poets-odists, "pindaring" in their yawn-inducing verses for the sake of "an award with a ring, a hundred rubles, or friendship with the prince."

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