Features of poetry of past eras. Ode in literature is its wealth. What is ode? Ode is a song of praise

A 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 broad lyrical content: it could glorify the exploits of heroes, but it could also talk about love or be a cheerful drinking song.

The attitude towards an ode as a song in a broad sense was preserved in French classicism. In the Russian theory of classicism, the concept of “ode” has a more specific, narrow meaning. Sumarokov, Trediakovsky, and after them Derzhavin, when speaking about an ode, mean a lyrical poem glorifying heroes. In Greek poetry, the ode was represented by Pindar, in French classicism by Malherbe, and in Russian literature by Lomonosov.

They affirm the ode as a genre of heroic, civil lyricism, with the obligatory “high” content and a solemn, “elevated” style of expression. They distinguish the song itself from the ode as a genre of high lyricism. A song in their understanding is a lyrical poem dedicated only to love. It does not require an oratorical style and 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 common interests over personal interests. Since antiquity, the solemn ode has glorified the most important events in the external or internal life of the state. That is why the genre of high ode was more consistent with the tasks of the era of national unity than, for example, the genre of love or drinking song. A person's experiences caused by his events 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, national scale could arouse general interest.

The Decembrist poet V. K. Kuchelbecker very precisely defined the features of the high ode and considered the appeal to the genre to be a measure of the poet’s citizenship. He wrote in one of his articles: “In ode, the poet is disinterested: he does not rejoice at the insignificant events of his own life, he does not lament about them; he broadcasts the truth and the judgment of Providence, triumphs about the greatness of his native land, places Peruns in his adversaries, blesses the righteous, curses the monster.” The poet in the ode is a bearer of national consciousness, an exponent of 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 work of praise. In this regard, the ode of classicism echoed the ode of ancient poets.

Ode in classicism was a genre of strict form. Its obligatory feature was lyrical disorder, which presupposed the free development of poetic thought. Other constant elements also became obligatory for its structure: “praises to a certain person, moralizing arguments, predictions, historical or mythological images, the poet’s appeals to nature, 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 French ode / They were also inherent in the Oriental, for example, the Arabic,"

In this respect, the ode resembled oratory: it should have the same degree of evidence and emotional impact. An ode, like an orator's speech, was built from three obligatory parts: an attack, i.e., the introduction of a 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 in any case, the arguments in favor main idea should be located, according to Lomonosov, “in such a way that the strong are in front, the weaker are in the middle, and the strongest are at the end.”

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

A sign of real poetry is the author’s truthful conveyance of the spiritual excitement of the geront. And this requires the poet to have a good knowledge of human psychology and human morals, an understanding of, as Lomonosov said, “from what ideas and ideas each passion is aroused.” In addition, the listener, in the opinion of 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 the lyrical theme in the ode, as, indeed, in any other lyric poem, is the sincerity of the poet, the genuineness of his feelings.

As for the construction of the ode, the poet’s delight did not exclude careful consideration of its main motives and the compositional parts corresponding to them. He did not rule out thinking about ways to influence the listener in order to evoke reciprocal feelings in him. However, all this should have remained outside the text of the ode.

The ode itself, addressed to the listeners, retained among the true masters the character of free improvisation, when one thought evoked another. The impression of “lyrical disorder” created by this 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 was determined by the personality of the poet, his views on life, his poetic skill.

The origin of the high ode genre in Russia dates back to the end of the 16th century. In the 17th century, a significant fact of panegyric literature was the collection of Simeon of Polotsk “Rhythmologion”2. 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 formulation in literature of the theme of Peter the Great as an enlightened monarch, builder and hero is associated with him. It will later be picked up by Kantemir, Lomonosov and other poets - right up to Pushkin with his poems “Poltava” and “The Bronze Horseman”.

The Russian ode to classicism was created on a 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 strict 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. He associated one with the names of Lomonosov, Petrov, Derzhavin and saw its peculiarity in the presence of a florid beginning, the other with the names of Sumarokov, Maykov, Kheraskov, Kapnist, who showed a deviation from oratorical intonations. Recognizing the existence of different stylistic trends in the understanding and use of the ode genre in Russian classicism, Yu. Tynyanov at the same time believed that “the introduction of ode into excellent means style did not destroy the ode as a high form, but supported its value”1. Indeed, the appeal to the genre of Decembrist poets returned the oratorical intonations to the ode. Subsequently, she invariably retained the features of the genre of high poetry.

In Russian poetry there is a large number of genres, many of which are actively used by modern writers, while others are a thing of the past and are used by authors extremely rarely. The second one is ode. In literature, this is already an outdated genre, which was in demand in the era of classicism, but gradually fell out of use by wordsmiths. 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 exalting him or praising him. Also, in some, it is not a person who is praised, but some important event. The first author of odes in literature is the poet of ancient Hellas, Pindar, who in his pompous verses honored the winners of sports competitions.

In Russia, the genre flourished in 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-understand lyrics.

Genre specifics

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

Use of iambic tetrameter.
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 moved away from this canon.
An abundance of rhetorical questions, lush tropes, long common sentences.
Often in solemn poems one can find an amazing interweaving of lyrical and journalistic principles, which is especially inherent
Most of the works are quite large in volume.
The replacement of the pronoun “I” with “we” in the text (which is also characteristic of Lomonosov) indicates that the author does not express his personal opinion, but the position of the entire people.

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

Subjects

The most frequently used themes of odes in literature are heroic deeds and praise of monarchs. Thus, Lomonosov’s first solemn ode is dedicated to the capture of Turkey. And Derzhavin in his poetic work addressed Felitsa - this is what he calls Catherine the Second.

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 this or that historical figure, understand its role. That is why such complex at first glance, but actually quite fascinating works can and should be read.

Ode is one of the genres of classicism. Unlike 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, laudable ode turns into a poetic genre that manages 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, expressiveness.

The system of constructing Lomonosov's odes was not supported by numerous ode-writers of his time. Sumarokov opposed unjustified interruptions in the logical development of the 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.

Briefly:

Ode (from gr. ode - song) is a genre of lyric poetry, a solemn poem written in honor of a person or historical event.

Oda appeared in Ancient Greece, like most lyrical genres. But it gained particular popularity in the era of classicism. The ode appeared in Russian literature in the 18th century. in the works of V. Trediakovsky, M. Lomonosov, V. Petrov, A. Sumarokov, G. Derzhavin and others.

The themes of this genre were not very diverse: the odes talked about God and the Fatherland, the virtues of a high-ranking person, the benefits of science, and so on. For example, “Ode of blessed memory to Empress Anna Ioannovna for the victory over the Turks and Tatars and for the capture of Khotin in 1739” by M. Lomonosov.

Odes were composed in a “high style”, using Church Slavonic vocabulary, inversions, pompous epithets, rhetorical appeals and exclamations. The pompous style of classic verses has become simpler and closer to spoken language only in Derzhavin’s odes. Starting with A. Radishchev, solemn poems acquire a different semantic meaning; the motif of freedom and a call for the abolition of serfdom appear in them. For example, in Pushkin’s “Liberty” or Ryleev’s “Civil Courage”. In the works of the authors of the second half of the 19th century and 20th centuries ode is rare. For example, “To the City” by V. Bryusov, “Ode to the Revolution” by V. Mayakovsky.

Source: Student's Handbook: grades 5-11. - M.: AST-PRESS, 2000

More details:

The path of the word “ode” is much shorter than that of such concepts as “elegy” or “epigram”, which were mentioned from the 7th-6th centuries. BC e. Only half a millennium later, Horace begins to affirm it, and from the middle of the last century it already sounds completely archaic - like the pyit who composed this healthy chant. However, the evolution of the phenomenon is not limited to the history of the term in this case.

Ode: history of the genre

Even in Ancient Greece, numerous hymns and dithyrambs, paeans and epinikias were created, from which the ode subsequently grew. The founder of odic poetry is considered to be the ancient Greek poet Pindar (VI-V centuries BC), who composed poems in honor of the winners of Olympic competitions. Pindar's epics were distinguished by their pathetic glorification of the hero, whimsical movement of thought, and rhetorical construction of poetic phrases.

The most talented successor of Pindar in Roman literature is Horace, who glorified “valor and righteousness” and “Italic power.” He develops, but by no means canonizes the odic genre: along with Pindaric ones, Epicurean motifs also sound in the poet’s odes; civic pride in his nation and power does not obscure the delights of intimate existence for Horace.

Opening the next page of the odic anthology, you almost don’t feel the centuries-old pause that separated the ode to antiquity and the late Renaissance: the Frenchman P. Ronsard and the Italian G. Chiabrera, the German G. Weckerlin and the Englishman D. Dryden consciously started from classical traditions. At the same time, Ronsard, for example, drew equally from the poetry of Pindar and from Horatian lyric poetry.

Such a wide range of standards could not be acceptable to practitioners and theorists of classicism. Already Ronsard's younger contemporary F. Malherbe organized the ode, building it as a single logical system. He opposed the emotional chaos of Ronsard's odes, which made itself felt in composition, language, and verse.

Malherbe creates an odic canon, which could either be epigonically repeated or destroyed, developing the traditions of Pindar, Horace, Ronsard. Malherbe had supporters - and among them very authoritative ones (N. Boileau, in Russia - A. Sumarokov), and yet it was the second path that became the main road along which the ode then moved.

The ode genre in the works of Lomonosov

The title of “Russian Pindar” was established in the 18th century. behind M. Lomonosov, although we will find the first examples of Russian panegyric poetry in S. Polotsky and F. Prokopovich. Lomonosov understood the possibilities of the odic genre widely: he wrote both solemn and religious-philosophical odes, sang “ecstatic praise” not only to Empress Elizabeth Petrovna, but also to the entire God’s world, the starry abyss, and simple glass. Lomonosov's ode often resembles a state manifesto, and not only the content, but also the form of its odes is programmatic. It is constructed as an oratorical monologue of an author convinced of his rightness and expresses the prevailing emotional states: delight, anger, grief. His passion does not change, it grows according to the law of gradation.

Other characteristic Lomonosov's odes - “conjugation of far-flung ideas”, increased metaphoricality and paradoxicality. However, Lomonosov's associations grow on a rational basis. As Boileau wrote,

Let the Ode of fiery whimsical thoughts move,
But this chaos in it is the ripe fruit of art.

The unexpectedness of metaphors is always balanced here by the desire to develop, demonstrate, and clarify them.

A. Sumarokov fiercely fought against Lomonosov’s interpretation of the genre, who instilled moderation and clarity in the ode. His line was supported by the majority (Vas. Maikov, Kapnist, Kheraskov and others); but among Lomonosov’s followers there was not only the pompous Vasily Petrov, but also the brilliant Derzhavin.

The ode genre in Derzhavin’s work

He was the first to snatch ode from the clutches of abstraction. The life of his heroes does not consist of only public service - there is a lot of everyday vanity in it: everyday life and leisure, troubles and entertainment. However, the poet does not castigate human weaknesses, but, as it were, recognizes their naturalness.

That's it, Felitsa, I'm depraved!
But the whole world looks like me, -

he makes excuses. In “Felitsa” a collective image of a nobleman of Catherine’s times is drawn, his portrait is predominantly an everyday one. The ode here comes close not to satire, but to an outline of morals. Accordingly, the images become worldly - and not only in “Felitsa” statesmen. The praise for “And there was a nobleman” according to Derzhavin’s rating scale is almost the highest (“On the birth of a porphyry-bearing youth in the North”, “On the return of Count Zubov from Persia”, “Snigir”).

Of course, Derzhavin’s traditional odic image descended from heaven to earth, however, immersed in everyday life, his hero feels his involvement in God and eternal nature. His man is great as an earthly reflection of a deity. In this impulse towards eternal ideals, and not in transient lusts, the poet finds the true purpose of people - this is how the fervor of odic pathos is maintained (“On the Death of Prince Meshchersky”, “God”, “Waterfall”).

Further development of the Russian ode

In Derzhavin's work, the development of the classical ode is completed. But, according to Yu. Tynyanov, it “as a direction, and not as a genre, does not disappear,” and here not only Katenin and Kuchelbecker, but also Mayakovsky were meant.

Indeed, for two centuries, odic traditions have been among the most influential in Russian and Soviet poetry. They become especially active when drastic changes are planned or made in history, when the need for such verses arises in society itself. Such are the era Patriotic War 1812 and the Decembrist movements, revolutionary situations of the second half of the 19th - early 20th centuries, the period of the Great Patriotic War and the middle of the last century.

Odic lyrics are a form of the poet establishing a connection between his moods and general ones. What is alien becomes ours, what is mine becomes ours. It is not surprising that odic poets - these “knights of immediate action” - are interested in the widest possible publicization of their creations and intensifying their dialogue with people. During times of social upheaval - “in days of celebration and troubles of the people” - poetry always appears in the stands, squares and stadiums. Let us remember the moral resonance of the siege poems (odic and neodic) by O. Berggolts, with which she spoke on Leningrad radio. The poet takes on the guise of a people's herald in odic lyric poetry; he not only formalizes the experiences of many - general premonitions receive from him the power of confidence. In this sense, we can talk about the ideological and even visionary nature of odic lyrics.

4. The originality of Russian classicism.

The first literary movement in Russia - classicism - developed in the 30-50s. XVIII century. Classicism received its most vivid embodiment in the 17th century. in France in the works of Corneille, Racine, Moliere, Boileau.

Russian classicism (1730-1760) arose in similar historical conditions - its prerequisite was the strengthening of autocratic statehood and national self-determination starting from the era of Peter I. But at the same time, Russian classicism arose almost a century later than French: by the middle of the 18th century. Russian classicism, due to its strong connection with cultural reform, set before myselfeducational tasks, trying to educate their readers and instruct monarchs on the path of public good. That is why Russian classicism begins not with an ode, but with satire, and social-critical pathos is inherent in it from the very beginning.

Russian classicism reflected completely another type of conflict than Western European classicism. The central problem of Russian life in the 18th century. there was a problem of power and its continuity. The 18th century was a century of intrigue and palace coups, which too often led to uncontrolled power. Therefore, Russian classic literature immediately took a political-didactic direction. If the plots of French works of classicism are drawn from ancient literature, then some Russian works are written on the basis of chronicles and events of recent history.

Finally, Another specific feature of Russian classicism was that it did not rely on such a rich and continuous tradition of national literature. The normative acts of Russian classicism - the reform of Trediakovsky-Lomonosov's versification, the reform of style, the regulation of the genre system - were carried out between the mid-1730s and the end of the 1740s. - that is, mainly before a full-fledged literary process unfolded in line with classicist aesthetics.

Features of classicism:

1. Hierarchy and normativity. Within itself, literature was also divided into two hierarchical rows, low and high. To low genres were classified as satire, comedy, fable; to high- ode, tragedy, epic. Low genres depict everyday material reality, and private person appears in social connections. In high genres, a person is presented as a spiritual and social being, alone and along with the eternal fundamentals of questions of existence.. The hero of low genres is a middle-class person; high hero - a historical figure, a mythological hero or a fictional high-ranking character - usually a ruler. In low genres, human characters are formed by base everyday passions (stinginess, hypocrisy, hypocrisy, envy, etc.); in high genres, passions acquire a spiritual character (love, ambition, vindictiveness, a sense of duty, patriotism, etc.).

2. The conflict between the reasonable and the unreasonable, duty and feelings, public and personal.

Character is one of the central aesthetic categories of classicism (character is the source of conflict). The main components of character are passions: love, hypocrisy, courage, stinginess, sense of duty, envy, patriotism, etc. It is by the predominance of one passion that a character is determined: “lover”, “miserly”, “envious”, “patriot”. All these definitions are precisely “characters” in the understanding of classicist aesthetic consciousness.

3. Imitation of antiquity

Ancient literature for classicism is the already achieved pinnacle of aesthetic activity, an eternal and unchanging standard of art,

The uniqueness of Russian classicism lies in the fact that in its formation era it combined the pathos of serving the absolutist state with the ideas of the early European Enlightenment. In France in the 18th century. absolutism has already exhausted its progressive possibilities, and in Russia in the first decades of the 18th century. absolutism was still at the head of progressive transformations for the country. Therefore, at the first stage of its development, Russian classicism adopted some of its social doctrines from the Enlightenment. These include primarily the idea of enlightened absolutism, i.e. the state must be headed by a wise, “enlightened” monarch. Peter I was an example of such a ruler for Russian classicists.

Unlike French classicism of the 17th century. and in direct accordance with the Age of Enlightenment in Russian classicism of the 30s -50s a huge place was given to sciences, knowledge, enlightenment. Russia needed accurate knowledge useful to society.

In the purely artistic field to the share of Russian writers of the second third of the 18th century. the task was not only to create a new literary direction. They had to reform the literary language, master genres unknown until that time in Russia. Each of them was a pioneer. Kantemir laid the foundation for Russian satire, Lomonosov legitimized the ode genre, Sumarokov acted as the author of tragedies and comedies. In the field of literary language reform, the main role belonged to Lomonosov. The Russian classicists also faced such a serious task as the reform of Russian versification, the replacement of the syllabic system with a syllabic-tonic one.

As a result of persistent work, a literary movement was created that had its own program, creative method and harmonious system of genres.

The creative method of the classicists develops on the basis of rationalistic thinking. They seek to decompose human psychology into its simplest component forms. It is not social characters that are typified, but human passions and virtues. It was strictly forbidden to combine different “passions” and especially “vice” and “virtue” in one character. Genres were distinguished by exactly the same “purity” and unambiguity. A comedy was not supposed to include “touching” episodes. The tragedy excluded the showing of comic characters.

Russian classicism of the 18th century. went through two stages in its development. The first of them dates back to the 30-50s. This is the formation of a new direction, when genres in Russia, the literary language and versification are being reformed. The second stage falls on the last four decades of the 18th century. and is associated with the names of such writers as Fonvizin, Kheraskov, Derzhavin, Knyazhnin, Kapnist. In their work, Russian classicism most fully and widely revealed its ideological and artistic possibilities.

Solemn odes of M.V. Lomonosov.Poetic activity of M.V. Lomonosov took place in an era when all European literature was to a greater or lesser extent under the rule of classicism. And, of course, the poet could not help but submit to the influence of this powerful style. Lomonosov entered the history of Russian literature primarily as poetic writer. Oh yeah- lyrical genre. It passed into European literature from ancient poetry. In Russian literature of the 18th century. known the following varieties odes: victorious-patriotic, laudatory, philosophical, spiritual and anacreontic. In the system of genres of Russian classicism, ode belonged to the “high” genres, which depicted “exemplary” heroes - monarchs, generals who could serve as role models. Odes in Russia in the 18th century. were ordered by the government, and their reading was part of the festive ceremony, but the content and meaning of Lomonosov’s laudatory odes are much broader and more important than their official court role. Endowed with topical content, his odes raised issues of great social and state significance. Lomonosov dedicated his odes to Anna Ioannovna, Ioann Antonovich, Elizaveta Petrovna, Peter III"Catherine II, and in each of them he developed his ideas and plans related to the destinies of the Russian people. But these odes were addressed not only to crowned heads, but also through their heads were supposed to “attract the hearts of nations.”

Genre of solemn ode- this is the central genre of Lomonosov’s poetic heritage, with which he had a powerful influence on Russian literature.

By its nature and the way it exists, Lomonosov’s solemn ode is an oratorical genre to the same extent as a literary one (Tynyanov). 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. Typological features oratorical genres in a solemn ode are the same as in a sermon and secular oratorical Word. First of all this is the attachment of thematic material a solemn ode to a certain “occasion” - a historical incident or event of national significance. Lomonosov began to write solemn odes since 1739. - and his first ode is dedicated to the victory of Russian weapons - the capture of the Turkish fortress of Khotyn "to capture Khotin". Where The main defender of the native land, the winner on the battlefield is the Russian people. It was written after the capture by Russian troops of the Turkish fortress of Khotyn, located in Moldova. In Lomonosov's ode, three main parts can be distinguished: introduction, depiction of military operations and glorification of the victors. Pictures of the battle are presented in the hyperbolic style typical of Lomonosov with a lot of detailed comparisons, metaphors and personifications, embodying the tension and heroism of the battle scenes. The moon and snake symbolize the Mohammedan world; the eagle soaring over Khotyn is the Russian army. The Russian soldier, “Ross”, as the author calls him, was brought out as the arbiter of all events . The tension and pathetic tone of the narrative is enhanced by rhetorical questions and exclamations of the author, addressed either to the Russian army or to its enemy. The ode also refers to the historical past of Russia. The shadows of Peter I and Ivan the Terrible, who at one time won victories over the Mohammedans, appear over the Russian army: Peter - over the Turks near Azov, Ivan the Terrible - over the Tatars near Kazan. This kind of historical parallels will become, after Lomonosov, one of the stable features of the odic genre.

He created 20 solemn odes. The very scale of the odic “occasion” provides the solemn ode with the status of a major cultural event, a cultural culmination in the national spiritual life. Ode reveals a gravitation towards ideal spheres of existence, in contrast to satire, which is associated with everyday life.

Composition of a 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. As for sequence of development of the odic plot, then it is determined by the laws of formal logic, which facilitates the perception of the odic text by ear: the formulation of the thesis, proof in a system of successively changing arguments, a conclusion repeating the initial formulation. Thus, the composition of the ode is subject to the same mirror principle as the composition of satire and their common proto-genre - sermon.

All solemn odes of Lomonosov written in iambic tetrameter, and many are clean. All of them consist of ten-line stanzas, with a certain rhyme system: aBaBvvGddG.

The odic character is statuesque, devoid of physical appearance. 3 options for the hero: a person, an abstract concept (science) and a country. They are characters because... are ideas that express a general concept (Peter is the idea of an ideal monarch, Russia is the idea of the Fatherland, science is enlightenment). Therefore, solemn odes have specific characteristics. chronotope

“Ode on the day of accession to the throne of Empress Elizabeth Petrovna, 1747” written in a high style and glorifies the daughter of Peter 1. Having paid tribute to the virtues of the empress, her “meek voice”, “kind and beautiful face”, desire to expand science, the poet starts talking about her father, whom he called. “The type of man has not been heard of since ages.” P.1 is the ideal of an enlightened monarch who devotes all his strength to his people and state. L.'s ode gives an image of Russia with its vast expanses and enormous riches. This is how it arises Homeland theme and serving her - TV presenter L. Closely related to this topic science theme, knowledge of nature. It ends with a hymn to science, a call to young men to dare for the glory of the Russian land. The main action of the characters in Lomonosov's ode is that they sing, shout, thunder, shout, proclaim, hold a speech, speak, say, raise their voice, sound, praise publicly etc. The space of the odic text is filled with figures standing, sitting, riding, and extending their arms, whose appearance fluctuates between the idea of human forms and an abstract concept.

The odic idea is placed in a boundless world, which only apparently has some geographical or landscape features, but in fact is a space through which the odic idea moves with freedom and speed of thought .

The remoteness of the ideal odic world image from material life is emphasized by the motif of spatial height (mountains, heavens, sun), its metaphorical motif of emotional uplift (delight, admiration, fun) and mythological symbols of poetic inspiration and divinity (Parnassus, Olympus)

The world image of the solemn ode consists of ideas associated with the concept of supreme state power in the highest, ideal and positive sense.

Lomonosov in his solemn odes gave a brilliant example of precisely high literary style.