New time. Features of poetry of past eras

Curtain

From stories and genre theory

Oda is one of the main genres of classicism. It arose in ancient literature and at that time was a song with a wide lyrical content: it could sing the exploits of heroes, but it could also talk about love or be a cheerful drinking song.

The attitude to the ode as a song in a broad sense was preserved in French classicism. In the Russian theory of classicism, a more definite, narrow meaning is already invested in the concept of "ode". Sumarokov, Trediakovsky, and after them Derzhavin, speaking of an ode, mean a lyrical poem praising heroes. In Greek poetry, the ode was represented by Pindar, in French classicism by Malherbe, in Russian literature by Lomonosov.

They affirm the ode as a genre of heroic, civil lyrics, with obligatory "high" content and solemn, "sublime" style of its expression. From the ode as a genre of high lyrics, they distinguish the actual song. The song in their understanding is a lyrical poem dedicated only to love. It does not require an oratorical style, it is characterized by simplicity and clarity.

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 common interests over personal interests. The solemn ode since antiquity has sung the most important events of the external or internal life of the state. That is why the genre of high ode was more in line with the tasks of the era of national unity than, for example, the genre of love or drinking songs. The experiences of a person caused by the events of his personal life - love, separation from loved ones, their death - were relegated to the background. Only those experiences of the poet that reflected events of a national, nationwide scale could arouse general interest.

The Decembrist poet V. K-Küchelbecker very accurately defined the features of the high ode and considered the appeal to the genre as a measure of the poet's citizenship. He wrote in one of his articles: “In the ode, the poet is disinterested: he does not rejoice at the insignificant events of his own life, he does not complain about them; he broadcasts the truth and the judgment of Providence, triumphs about the greatness of his native land, throws thunderbolts on adversaries, blesses the righteous, curses the monster. The poet in the ode is the bearer of the national consciousness, the spokesman for the thoughts and feelings of the era.

This is what made it the leading genre of civil poetry of classicism, although it retained the features of a laudatory work. In this regard, the ode of classicism echoed the ode of ancient poets.

Ode in classicism was a genre of strict form. Its indispensable feature was lyrical disorder, suggesting the free development of poetic thought. Other constant elements became obligatory for its structure: "praise to a certain person, moralizing reasoning, predictions, historical or mythological images, the poet's appeal to nature, the muses, etc. They were included in the composition of the ode, regardless of its main theme and were a feature not only of Russian or a French ode / They were also inherent in the eastern, for example, Arabic, "

In this respect, the ode resembled an oratory: it had to have the same degree of evidence and emotional impact. An ode was built, like an oratorical word, from three obligatory parts: an attack, that is, the introduction of a topic, reasoning, where this topic was developed with the help of image examples, and a brief but emotionally strong conclusion. Each of the three parts had its own construction features. But in any case, the arguments in favor of the main idea should be located, according to Lomonosov, "in such a way that the strong ones are in front, those who are weaker, those in the middle, and the strongest at the end."

The poetic scheme of the ode worked out by the theorists of classicism was preserved throughout its development, starting with the work of Lomonosov and ending with the work of his followers in the late 18th and early 19th centuries. And yet, the high perfection of the Russian ode was not determined by the fact that its authors exactly followed the external scheme, included or did not include certain elements in its composition.

A sign of real poetry is the truthful transmission of Geront's emotional excitement by the author. And this requires from the poet a good knowledge of human psychology and human morals, an understanding of how Lomonosov said, "from what ideas and ideas each passion is excited." In addition, the listener, according to the same Lomonosov, will be imbued with the same mood as the poet, only if the latter "himself has the same passion that he wants to arouse in the listeners"1. Therefore, an indispensable condition for the development of a lyrical theme in an ode, as, indeed, in any other lyrical poem, is the sincerity of the poet, the genuineness of his feelings.

As for the construction of the ode, the poet's enthusiasm did not exclude careful consideration of its main motives and their corresponding compositional parts. He did not rule out thinking about ways to influence the listener in order to evoke response feelings in him. However, all this had to remain outside the text of the ode.

The ode itself, addressed to the listeners, retained the character of free improvisation among true masters, when one thought evoked another. The impression of "lyrical disorder" created by such a development of the theme was external. The poet, moving from one thought to another, subordinated the construction of the ode to the disclosure of the main idea, the main feeling. This determined the compositional unity of all its parts, like a drama or a poem. That is why the odes of different authors, having much in common in construction, did not repeat each other. Their originality, their dissimilarity were determined by the personality of the poet, his outlook on life, his poetic skill.

The origin of the high ode genre in Russia is attributed by researchers to the end of the 16th century. In the 17th century, Simeon Polotsky's collection "Rhymologion"2 became a significant fact of panegyric literature. The ode genre was further developed at the beginning of the 18th century by F. Prokopovich. A major church figure, an associate of Peter the Great, an ardent patriot, Feofan Prokopovich sang in his odes the most important events of the era: the Poltava victory, the opening of the Ladoga Canal, etc. The staging of the theme of Peter the Great as an enlightened monarch, builder and hero is associated with him. It will then be picked up by Kantemir, Lomonosov and other poets - up to Pushkin with his poems "Poltava" and "The Bronze Horseman".

The Russian ode to classicism was created on the fusion of experience / ancient Russian, ancient and European poetry. It was created in relation to the conditions and tasks of Russian national life in the 18th century. The most rigorous examples of the genre belong to Lomonosov. Sumarokov, in his solemn odes, outwardly followed Lomonosov. However, his odes were distinguished by greater simplicity and clarity of style, and revealed other trends in the development of this genre.

Considering the history of the Russian ode, Yu. Tynyanov rightly saw two directions in its development. One he connected with the names of Lomonosov, Petrov, Derzhavin and saw his peculiarity in the presence of an ornate beginning, the other - with the names of Sumarokov, Maikov, Kheraskov, Kapnist, in which there was a deviation from oratorical intonations. Recognizing the existence of different stylistic trends in understanding and using the ode genre in Russian classicism, Yu. Tynyanov, at the same time, believed that “the introduction of sharply different means of style into the ode did not destroy the ode as a high form, but supported its value”1. Indeed, the appeal to the genre of the Decembrist poets returned the oratorical intonations to the ode. In the future, she invariably retained the features of the genre of high poetry.

There are a large number of genres in Russian poetry, many of which are actively used by modern writers, while others have receded into the past and are rarely used by authors. The second is the ode. In literature, this is already an outdated genre, which was in demand in the era of classicism, but gradually went out of use by the masters of the word. Let's take a closer look at this term.

Definition

In literature? The definition can be formulated as follows: this is a lyrical genre of poetry, a solemn song dedicated to a person with the aim of glorifying him, praising him. Also, in some, not a person is praised, but some important event. The first author of odes in literature is the poet of ancient Hellas, Pindar, who, in his grandiloquent poems, honored the winners of sports.

In Russia, the heyday of the genre fell on the era of classicism, when the great classics - Derzhavin and Lomonosov - created their immortal works. By the 19th century, the genre had lost its relevance, giving way to easier-to-perceive lyrics.

Genre specifics

Ode in literature is a rather specific genre due to its following features:

• Use of iambic 4-foot.
• The presence of high, often outdated, archaic vocabulary, which often made it difficult to understand the text.
• The text has a clear structure, at the beginning and end there must have been an appeal to the addressee. True, some authors have departed from this canon.
• An abundance of rhetorical questions, lush tropes, long, common sentences.
• Often in solemn verses one can find an amazing interweaving of lyrical and journalistic principles, which is especially inherent in
• Most of the works are quite large in volume.
• The replacement of the pronoun “I” with “we” in the text (which is also typical for Lomonosov) indicates that the author does not express his personal opinion, but the position of the whole people.

Such works were intended to be spoken aloud, only loud emotional reading could convey all the feelings that burned in the soul of the author. That is why many odes are taught by heart.

Subject

The most frequently used themes of odes in literature are heroic deeds, the praise of monarchs. So, the first solemn ode of Lomonosov is dedicated to the capture of the Turkish. And Derzhavin in his poetic work addressed Felitsa - that is how he calls Catherine II.

Ode is an interesting genre of Russian literature, in which we can look at the main events of Russian history from a different angle, find out the author's perception of a particular historical figure, and understand her role. That is why such complicated at first glance, but actually quite fascinating works can and should be read.

Report grade 7.

Ode is a genre of lyric poetry; solemn, pathetic, glorifying work. In literature, odes are laudatory, festive, deplorable. By their nature, Lomonosov's odes are works intended to be spoken aloud. Solemn odes were created with the intention of reading aloud in front of the addressee; the poetic text of the solemn ode is designed to be a sounding speech, perceived by ear. A certain topic was declared in the ode - a historical incident or an event of a national scale. Lomonosov began to write solemn odes from 1739, and his first ode is dedicated to the victory of Russian weapons - the capture of the Turkish fortress of Khotyn. In 1764 Lomonosov wrote his last ode. Over the entire creative period, he created 20 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 built as a system of rhetorical questions and answers, the alternation of which is due to two parallel operating installations: each individual fragment of the ode is designed to have the maximum aesthetic impact on the listener - and hence the language of the ode is oversaturated with tropes and rhetorical figures. Compositionally, the ode consists of three parts:

Part 1 - poetic delight, praise to the addressee, a description of his services to the Fatherland;

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

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

All solemn odes of Lomonosov are written in iambic tetrameters. An example of a solemn ode is "Ode on the day of accession to the All-Russian throne of Her Majesty the Empress Empress Elisaveta Petrovna in 1747." The ode genre allowed Lomonosov to combine lyrics and journalism within the framework of one poetic text, to speak out on issues of civil, public importance. The poet admires the innumerable natural resources of the Russian state:

Where in the luxury of cool shadows On the flock of galloping deer Catching cry did not disperse; Where the hunter did not mark with a bow; The farmer did not intimidate the Singing Birds with his thud with his axe.

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

Dare now, encouraged by your zeal, to show that the Russian land can give birth to its own 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, ancient mythology.

If in the solemn ode Lomonosov very often replaces the author's personal pronoun "I" with its plural form - "we", then this does not indicate the impersonality of the author's image in the ode, but that only one facet of the author's personality is significant for the solemn ode - namely one in which he does not differ from all other people, but draws closer to them. In a solemn ode, it is not the individual-private, but the national-social manifestation of the author's personality that is important, and in this respect, Lomonosov's voice in the solemn ode is in the full sense the voice of the nation, the collective Russian.

Another thing is the spiritual and anacreontic ode, which occupies in Lomonosov's poetic heritage not as significant as the solemn ode, but still a very important place. The spiritual and anacreontic odes are brought together by Lomonosov and express the author's personal emotion, which is reflected in the productivity of the personal author's pronoun. In these texts, Lomonosov's "I" becomes a full-fledged lyrical embodiment of the individual author's emotions. Only the lyrical emotions themselves, which determine the genre content of the spiritual and Anacreontic ode, are different. If we use the classic terminology, then the spiritual ode is a form of expression of high lyrical passion. As for the Anacreontic ode, this is a form of expression of lyrical passion for private, everyday life.

Spiritual odes in the 18th century were called poetic transcriptions of psalms - lyrical texts of a prayerful nature that make up one of the books of the Bible - the Psalter. For a Russian reader of the 18th century, the Psalter was a special book: any literate person knew the Psalter by heart, because they were taught to read from the texts of this book. Therefore, the transcriptions of psalms (actually, a poetic Russian translation of Old Slavonic texts) as a lyrical genre were very popular. All spiritual odes of Lomonosov were written between 1743 and 1751. This is the time when Lomonosov had to establish himself and assert his scientific views in the St. Petersburg Academy of Sciences, where most of the scientists and administrative posts were occupied by scientists from European countries, mainly Germans. The process of Lomonosov's self-assertion in science was far from easy. Therefore, the pathos of self-affirmation sounds in spiritual odes. For example, in the transcriptions of Psalms 26 and 143:

In anger, devour my flesh

Repugnant, rushed;

But evil advice though to start,

Fallen down, crushed.

At least a regiment rise up against me:

But I'm not horrified.

Let the enemies raise up a fight:

I trust in God (186).

I was embraced by a foreign people,

In the abyss I sank deep,

You stretch your hand high from the firmament,

Save me from many waters.

Spreading lies the language of enemies,

Their right hand is strong with enmity,

The mouth is full of vanity;

They hide an evil kov in the heart (197-198).

Questions about the report:

1) What are the features of the ode genre?

2) What types of ode can you name?

3) List the main parts of the traditional ode. What should be written about in each part?

4) What is the most famous ode to M.V. Lomonosov.

5) Did M.V. Lomonosov spiritual odes? What are they about?

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.

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, 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 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 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 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 wonderful creations of ancient art, glorifying the beauty, strength and valor of man, to be the most perfect, classic examples of beauty.

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 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.

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 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."

The rhetorically solemn odes of Lomonosov, proclaimed by his contemporaries as the “Russian Pindar” and “of our countries Malherbe”, provoked a reaction from Sumarokov (parody and “absurd odes”), who gave samples of a reduced ode, which to a certain extent met 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.

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.

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 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 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 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.

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 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."

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 incompetent 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

(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, would only very slightly affect 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 made its content a “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 state institutions of France and received the high right to bring 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 impetuosity of style, drawing the poet from calm, flowing speech to appeals, digressions, elevations arising from his excitement, created that “beau désordre”, “beautiful disorder”, which is inherent in a 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