Russian poetry has 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 In literature, this is already an outdated genre, which was in demand in the era of classicism, but gradually fell out of use by wordsmiths.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The presence of high, often outdated, archaic vocabulary, which often made it difficult to understand the text.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.

Oda 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 complex at first glance, but actually quite fascinating works can and should be read.

5. Ode of the 18th century: from Lomonosov to Derzhavin

1. Oh yeah(from the Greek “song”) is a literary genre that genetically dates back to the choral lyricism of the ancient Greeks. In antiquity there were odes Pindaric(Pindar is an ancient Greek poet of the 5th century BC, author of solemn choral chants and songs of praise in honor of winners at the Olympic, Delphic and other sports games), anacreontic(Anacreon is an ancient Greek poet of the 6th-5th centuries BC, whose poetry is dominated by motives for enjoying the sensual joys of life) and Horatian(Horace is a Roman poet of the 1st century BC, author of philosophical odes in the spirit of Stoicism). In other words, in antiquity, ode was a formal designation of the genre, and its different varieties were assigned different themes. The Renaissance, with its orientation towards antiquity, revives the genre of ode (the first half of the 16th century - neo-Latin odes) precisely in this understanding: the strophic principle of construction is called as its main feature, and it is divided into Horatian and Pindaric (differing from each other in form (type) stanzas), style (moderate and clear in the Horatian odes and high, often dark in the Pindaric ones) and theme).

2. In addition to the European odic tradition (which, in turn, goes back to the ancient one), the Russian ode was also influenced by the tradition of “praises” and panegyrics, which existed in ancient Russian literature and survived in the time of Peter the Great (the influence was first identified by Sobolevsky). The odes came closest in their creations to the modern understanding Simeon of Polotsk(1, author of the collections “Vertograd multicolored” and “Rhythmologion”, including cycles of panegyric poems, as well as “The Rhyming Psalter” - a complete poetic and NB! strophically organized arrangement of the book of psalms (the arrangement of psalms by classicists is interpreted as a spiritual ode) and Feofan Prokopovich(1, court poet of Peter I, author of the “Laudatory Word about the glorious victory over the Suean troops” (1709) - a sermon conceived as a panigyric, to the publication of which he added “rhythms” - a poetic description of the victory under the title “Epenikion, siest song of victory about the same glorious victory." After Peter's death, he wrote odes to Catherine I, Peter II, and Anna Ioannovna.

3. The first ode in Russia with this genre designation appeared in the “Notes on the St. Petersburg Gazette” of 1732, its German original belongs to Juncker(who developed the scripts for court illuminations), Russian poetic translation, probably by Schwanwitz. It was a completely classicist ode, which was based on the doctrine of Boileau’s ode and the example he created of the “correct ode” “For the Taking of Namur” (1693); it belonged to the subgenre of the Pindaric ode, invented by Ronsard, picked up by Malherbe, and then legitimized by Boileau’s ode stanza of ten lines ( dizen). Subsequently, Juncker placed odes at the beginning of the descriptions of illuminations he compiled, Juncker’s “Descriptions”, and with them the odes, translated.

4. Lomonosov’s immediate predecessors were: in the subgenre Pindaric odes - Tredyakovsky(the song “We begin the New Year...” (1732), “Ode of welcome...” (1733), as well as the first Russian Pindaric ode “For the surrender of the city of Gdansk” (1734) and the accompanying treatise “Discourse on the Ode in General” (arrangements, respectively, of “Ode on the Capture of Namur” and “Discours sur l’ode” by Boileau), translations of the annual panegyrics presented to the tsar from the Academy of Sciences. In the treatise, Tredyakovsky divides Pindaric an ode associated with “extreme enthusiasm,” “red disorder,” and “insolent dithyrambicism,” and average ode, or stanza); in subgenre Horatian odes - Cantemir(in London, where he was sent as an ambassador, he wrote 4 “songs”, which were originally called “odes” - “Against the Godless”, “On Hope in God”, “On an Evil Man”, “In Praise of the Sciences”; He also created several Pindaric odes, but did not consider them suitable for printing and destroyed them).

5. Odes Lomonosov.

a) Lomonosov is guided not only by the panegyric tradition of Polotsky - Prokopovich and the classicistic research of Boileau - Tredyakovsky (by the way, here is the treatise of Pseudo-Longinus “On the Sublime”, which served as a source for Boileau), but also by the tradition of German Baroque (especially on Johann Gunther, as Pumpyansky claims), hence there are many embellishments that even Pindar never dreamed of.

b) And finally, in 1739 he writes “Ode to the Capture of Khotin” - the first Russian syllabo-tonic ode. The style of Lomonosov's solemn odes is already evident in it. But most characteristically he expressed himself in the program “Ode on the Day of Accession...1747.”

c) In form, this is a 4th, 10-line stanza with a stable rhyme system (mandatory alternation of m/f endings in the first 4 lines, then zhzh, the last 4 alternate again - the so-called rule alternations), which is a closed period with a complex hierarchy of subordinate elements

d) Ode is characterized sublime style(a necessary condition for the success of a solemn ode for Lomonosov, since sublime things must be spoken of in a sublime style, “Rhetoric”, 1748) using “decorations” - sound writing (“gradov ohrada”), Church Slavonicisms, metaphors, periphrases (“great luminary world" instead of "sun"), hyperbole, so-called. words-topics(i.e., certain generalized concepts that create a certain semantic halo around themselves. For example, the word-theme “silence” from the first stanza includes in its halo almost the entire vocabulary of this stanza - joy, bliss, fence, benefit, beauty, flowers, treasures, generosity, wealth. Thus, the dictionary meaning of the word is blurred, and the mind soars!), inversions, an abundance of ancient symbolism (“In the bloody fields, Mars was afraid, His sword in Peter’s hands was in vain, And Neptune marveled with trepidation, Looking at the Russian flag "), mixing it with Christian symbolism, enthusiastic intonation (every third sentence is exclamatory), etc. The poet’s main emotion is lyrical delight.

e) Theme of the ceremonial odes - glorification sovereign, but also lesson to him. Ideal - enlightened monarch(a la Voltaire), he is embodied in Petre, therefore, each next (in this case, Elizaveta Petrovna) must be “legitimized” by proximity to the body - she is Peter’s daughter, and by the comparability of her actions with his. At the same time, what is desired is often presented as reality. This phenomenon has two sources: the first is the need for a “lesson” for the monarch from an enlightened court poet (this is a sign of a kind of “good form” in court poetry vs the tradition of the so-called servile poetry); second - theory " common places“- an image not of a specific monarch, but of an ideal one, who has such and such exemplary (that is, inherent in all ideal monarchs) merits. The most important “lesson” is the need for enlightenment (“Sciences feed young men...”).

f) The creation of a solemn ode laid the foundations for Lomonosov’s literary reputation, which Pumpyansky compares with “ Malherbian myth”, which Lomonosov was probably guided by. It is important that the notorious “sublimity” (of language, style, genre) correlates in Lomonosov’s mind with the greatness of the poet, hence the absolute dominance of solemn odes in his poetic system, ensuring him a high place in the literary hierarchy.

g) In addition, Lomonosov also has Horatian odes - scientific and didactic - “Evening reflection on the occasion of the great northern lights”, “Letter on the benefits of glass”; spiritual - “Morning (and evening) reflections on God’s majesty”, “Ode selected from Job”. They are characterized by less strict formal laws and a more restrained tone.

6. An attempt to reform the solemn ode is made by Sumarokov, the creator of the so-called. dry ode, an example of which can be considered “Ode to Empress Catherine II on her birthday in 1768...”. He, appealing to Pseudo-Longinus, says that Pindar’s merit is not in the sublimity of the syllable, but in naturalness, and therefore condemns the deviation from the usual meaning of words, demanding clarity and clarity; words-themes are unacceptable for him; he himself uses rather words-terms: “Perish such splendor in which there is no clarity!” His solemn odes are shorter and more didactic. And in general, he himself understands that in this genre he is not a competitor to Lomonosov. But he develops more philosophical (and near-philosophical) odes.

7. This is picked up by the poets of his school - Maikov And Kheraskov, author of the collections “New Odes”, 1762 and “Philosophical Odes or Songs”, 1769. Kheraskov’s style of odes-reflections is the style of friendly conversations, restrained, but not devoid of signs of colloquial language, striving for grace and fine finishing of the elements of verse (“Happy with that one, When I can sing in a simple syllable on the lyre” - an ode “To my lyre”).

8. The period of the second heyday of the solemn Pindaric ode was the mid-60s, when Catherine thought: Elizabeth had Lomonosov, and why am I worse? and brought her closer Petrova, declaring him after the release of “Ode on a Magnificent Carousel” in 1766 as “the second Lomonosov,” however, he was mediocre and pretentious, focusing on the difficulty of style, pomp and bulk (“Covered with expensive finery, The horses’ manes wave in the wind; Their reins are foam drenched, The dust rises like a whirlwind from under the hips" - "Ode to the Carousel"). And the entire literary fraternity was not slow in starting to fight him.

9. Odes Derzhavina.

a) And finally, the reformation of the solemn ode reaches its logical conclusion in creativity Derzhavina. Here the program should be considered the ode “Felitsa”, 1783 (Felitsa is the allegorical name of Catherine II, suggested by her own “The Tale of Prince Chlorus”, written for her grandson Alexander Pavlovich). It is not the form or content (praise and lesson to the empress) of the solemn ode that is being reformed, but the style. The sublime style of Lomonosov's ode, which deprived the poet of human features and transported him to transcendental spheres, from which he communicated with an equally unattainable ideal ruler, is replaced by a simple human (even autobiographical) image of the author conducting a conversation with an equally humanoid monarch:

Without imitating your Murzas,

You often walk

And the food is the simplest

Happens at your table;

Not valuing your peace,

You read and write in front of the lectern

And all from your pen

You shed bliss on mortals;

Like you don't play cards,

Like me, from morning to morning.

b) The reverse process - with philosophical odes. Derzhavin takes the Horatian ode out of the circle of everyday lyrical genres (such as songs), where Sumarokov’s followers placed it, filling it with the problematic of life/death (“Where there was a table of food, there is a coffin” - “On the death of Prince Meshchersky”, 1779) and human ambivalence being (“I am a slave, I am a king, I am a worm, I am God” - “God”, 1780-84).

Introduction

2. G.R. Derzhavin "Felitsa"

3. A.N. Radishchev "Liberty"

Conclusion

Bibliography

Introduction

The main direction in the literature of the 18th century. became classicism. This style developed as a result of the creative development of forms, compositions and examples of art from the ancient world and the Renaissance. The artist, according to the founders of classicism, comprehends reality in order to then reflect in his work not a specific person with his passions, but a type of person, a myth, in a word, the eternal in the temporary, the ideal in the real. If this is a hero, then he has no flaws, if the character is satirical, then he is completely vile. Classicism did not allow the mixing of “high” and “low,” and therefore boundaries were established between genres (for example, tragedy and comedy) that were not violated.

Russian classicism attached special importance to “high” genres: epic poem, tragedy, ceremonial ode. The creator of the ode genre in Russian literature was M.V. Lomonosov.

The purpose of this essay is to review and study the evolution of the ode in Russian literature of the 18th century (from the ode of Lomonosov to the ode of Derzhavin and Radishchev).

1. M.V. Lomonosov “On the day of the accession to the throne of Empress Elizabeth... 1747.”

M.V. Lomonosov - philologist, writer. His works in the field of literature and philology marked the rise of the national culture of Russia. It is difficult to imagine the development of literary language, poetry, and grammar in Russia without the fundamental works of Lomonosov. Under his influence, a whole generation of Russian people grew up, who accepted his advanced ideas and sought to develop them further. Lomonosov was convinced of the need for a synthesis of the Russian and Church Slavonic languages in poetry, created the Russian ode, and was the first to write poetry in a language accessible to a wide range of readers. His undoubted merit in the field of the Russian language can be considered the creation of the first Russian grammar and the compilation of the first textbook of the Russian language.

In this work, we set out to show that Lomonosov’s achievements in poetry, philosophy and prose theory are not just the most important scientific discoveries, but are rightfully considered fundamental works in the field of literature, which marked a new rise in the national culture of Russia. V.G. Belinsky noted that he was her “father and mentor,” “he was her Peter the Great,” for he gave direction to “our language and our literature.”

Written in the year when Elizaveta Petrovna approved the new charter and staff of the Academy of Sciences, doubling the amount of funds for its needs. Here the poet glorifies the world, fearing a new war, into which Austria, England and Holland, who fought with France and Prussia, dragged Russia, demanding the sending of Russian troops to the banks of the Rhine. In this ode, the contradiction of the entire genre of laudatory ode was especially acute - the contradiction between its complementarity and real political content: the poet, on behalf of Elizabeth, glorifies “silence”, setting out his own program for the world. 1. Joyful is the change... - the palace coup that brought Elizabeth to the throne. 2. Sent a Man to Russia... - Peter I. 3. Then the sciences are divine... - we are talking about the Academy of Sciences founded by Peter I, opened after his death in 1725. 4. The envious rejected by fate... - Peter I died in 1725. 5. Catherine I (1684-1727) - wife of Peter I, Russian empress. 6. Sequana - the Latin name for the Seine, an allusion to the Paris Academy of Sciences. 7. Russian Columbus - Vitus Bering (1681-1741) - Russian navigator.

9. Plato (427-347 BC) - Greek philosopher. 10. Newton - Isaac Newton (1643-1727) - English physicist and mathematician. 11. The sciences feed young men... - the stanza is a poetic translation of a fragment from the speech of the Roman orator and politician Mark (106-43 BC) in defense of the poet Archias (b. 120 BC).

The deep ideological content, ardent patriotism, the majestic and solemn style of Lomonosov’s ode of a new type, unlike the others, its stable strophic organization, the correct size - iambic tetrameter, rich and varied rhyme - all this was new not only for Russian literature, but also for history of this genre in general. Pushing the boundaries of the genre, introducing patriotic pathos, Lomonosov turned the ode into a multi-volume work that served the poet’s highest ideals and his ardent interest in the fate of the Motherland.

2. G.R. Derzhavin "Felitsa"

For the first time - “Interlocutor”, 1783, part 1, page 5, without signature, under the title: “Ode to the wise Kyrgyz princess Felitsa, written by the Tatar Murza, who has long settled in Moscow, and lives on business in St. Petersburg. Translated from Arabic 1782." The editors added a note to the last words: “Although the name of the author is unknown to us, we know that this ode was definitely composed in Russian.” Having written the ode in 1782, Derzhavin did not dare to publish it, fearing the revenge of noble nobles depicted satirically. The poet’s friends, N.A., were of the same opinion. Lvov and V.V. Kapnist. By chance, the ode fell into the hands of one good friend of Derzhavin, an adviser to the director of the Academy of Sciences, a writer, an activist in the field of public education, and later minister Osip Petrovich Kozodavlev (early 1750s - 1819), who began to show it to various people, including including introducing Princess E.R. Dashkova to her, who was appointed director of the Academy of Sciences in 1783. Dashkova liked the ode, and when the publication of “Interlocutor” was undertaken in May 1783 (Kozodavlev became the editor of the magazine), it was decided to open the first issue of “Felitsa”. The publication of “Interlocutor” was determined by the political events of the early 1780s, the intensification of Catherine’s struggle with the noble opposition, and the empress’s desire “to use journalism as a means of influencing minds, as a device for disseminating favorable interpretations of phenomena in the internal political life of the country.” One of the ideas persistently pursued by Catherine in her huge “Notes on Russian History” was the idea, noted by Dobrolyubov, that the sovereign “is never to blame for civil strife, but is always the resolver of strife, the peacemaker of princes, the defender of what is right, if only he follows the suggestions of his own hearts. As soon as he commits an injustice that cannot be hidden or justified, then all the blame falls on the evil advisers, most often on the boyars and the clergy.” Therefore, “Felitsa,” which panegyrically portrayed Catherine and satirically her nobles, came into the hands of the government, and Catherine liked it. Derzhavin received a golden snuffbox containing 500 chervonets as a gift from the empress and was personally introduced to her. The high merits of the ode brought it success in the circles of the most advanced contemporaries and widespread popularity at that time. A.N. Radishchev, for example, wrote: “If you add many stanzas from the ode to Felitsa, and especially where Murza describes himself, almost the same poetry will remain without poetry” (Poln. collection soch., vol. 2, 1941, p. 217). “Everyone who can read Russian found it in their hands,” Kozodavlev testified. Derzhavin took the very name “Felitsa” from “The Tale of Prince Chlorus,” written by Catherine II for her grandson Alexander (1781). “The author called himself Murza because ... he came from a Tatar tribe; and the empress - Felitsa and the Kyrgyz princess for the fact that the late empress composed a fairy tale under the name of Prince Chlorus, whom Felitsa, that is, the goddess of bliss, accompanied to the mountain where a rose blooms without thorns, and that the author had his villages in the Orenburg province in the neighborhood from the Kyrgyz horde, which was not listed as a citizen.” In the 1795 manuscript, the interpretation of the name “Felitsa” is somewhat different: “wisdom, grace, virtue.” This name was formed by Catherine from the Latin words “felix” - “happy”, “felicitas” - “happiness”.

Your son is accompanying me. In Catherine's fairy tale, Felitsa gave her son Reason as a guide to Prince Chlorus.

Not imitating your Murzas, that is, courtiers, nobles. The word “Murza” is used by Derzhavin in two ways. When Murza speaks about Felitsa, then Murza means the author of the ode. When he speaks as if about himself, then Murza is a collective image of a nobleman-court. You read and write in front of the levy. Derzhavin is referring to the legislative activities of the Empress. Lectern (obsolete, colloquial), more precisely “lectern” (church) - a high table with a sloping top, on which icons or books are placed in the church. Here it is used in the sense of “table”, “desk”. You can't saddle a Parnasque horse. Catherine did not know how to write poetry. Arias and poems for her literary works were written by her secretaries of state Elagin, Khrapovitsky and others. The Parnassian horse is Pegasus. You do not enter the assembly of spirits, you do not go from the throne to the East - that is, you do not attend Masonic lodges and meetings. Catherine called the Freemasons a “sect of spirits.” Masonic lodges were sometimes called “Easts” Masons in the 80s. XVIII century - members of organizations (“lodges”) that professed mystical and moralistic teachings and were in opposition to Catherine’s government. Freemasonry was divided into different movements. A number of leaders of the French Revolution of 1789 belonged to one of them, Illuminism. In Russia, the so-called “Moscow Martinists” (the largest of them in the 1780s were N.I. Novikov, a remarkable Russian educator, writer and book publisher, and his assistants in the publishing case, I.V. Lopukhin, S.I. Gamaleya, etc.) were especially hostile towards the empress. They considered her an usurper of the throne and wanted to see the “legitimate sovereign” on the throne - the heir to the throne, Pavel Petrovich, the son of Emperor Peter III, dethroned by Catherine. Paul, while it was beneficial for him, was very sympathetic to the “Martinists” (according to some evidence, he even adhered to their teachings). The Freemasons became especially active in the mid-1780s, and Catherine composed three comedies: “The Siberian Shaman,” “The Deceiver,” and “The Seduced,” and wrote “The Secret of the Anti-Ridiculous Society,” a parody of the Masonic charter. But she managed to defeat Moscow Freemasonry only in 1789-1793. through police measures.

And I, having slept until noon, etc. “Refers to the whimsical disposition of Prince Potemkin, like all three of the following couplets, who was either getting ready for war, or practicing in outfits, feasts and all kinds of luxuries.” Zug - a team of four or six horses in pairs. The right to ride in a convoy was a privilege of the highest nobility.

I'm flying on a fast runner. This also applies to Potemkin, but “more to gr. Al. Gr. Orlov, who was a hunter before horse racing.” At the Orlov stud farms, several new breeds of horses were bred, of which the most famous breed is the famous “Orlov trotters”.

Or fist fighters - also refers to A.G. Orlov. And amused by the barking of dogs - refers to P.I. Panin, who loved hound hunting.

I amuse myself with horns at night, etc. “Refers to Semyon Kirillovich Naryshkin, who was then a huntsman, who was the first to start horn music.” Horn music is an orchestra consisting of serf musicians, in which only one note can be extracted from each horn, and all together are like one instrument. Walks of noble nobles along the Neva, accompanied by a horn orchestra, were a common occurrence in the 18th century. Or, sitting at home, I will play a prank. “This verse generally relates to the ancient customs and amusements of Russians” I read Polkan and Bova. “Refers to the book. Vyazemsky, who loved to read novels (which the author, serving on his team, often read in front of him, and it happened that both of them dozed and did not understand anything) - Polkan and Bova and famous old Russian stories "Derzhavin means a translated novel about Beauvais, which later turned into a Russian fairy tale. But every person is a lie - a quote from the Psalter, from Psalm 115.

Between a lazy person and a grouch. Lazy and Grumpy are characters from the fairy tale about Prince Chlorus. “As much as is known,” she meant by the first book. Potemkin, and under another book. Vyazemsky, because the first, as stated above, led a lazy and luxurious life, and the second often grumbled when they demanded money from him, as the manager of the treasury.”

Dividing Chaos into harmonious spheres, etc. is a hint at the establishment of provinces. In 1775, Catherine published the “Institution on Gubernias,” according to which all of Russia was divided into provinces.

That she renounced and was considered wise. Catherine II, with feigned modesty, rejected the titles of “Great”, “Wise”, “Mother of the Fatherland”, which were presented to her in 1767 by the Senate and the Commission for developing a draft of a new code; She did the same in 1779, when the St. Petersburg nobility offered to accept the title “Great” for her.

And you allow me to know and think. In the “Instruction” of Catherine II, which she compiled for the Commission to develop a draft of a new code and which was a compilation from the writings of Montesquieu and other philosophers of the 18th century, there are indeed a number of articles, a brief summary of which is this stanza. However, it was not for nothing that Pushkin called the “Nakaz” “hypocritical”: a huge number of “cases” of people arrested by the Secret Expedition precisely on charges of “speaking” “indecent”, “diarrhea” and other words have come down to us addressed to the Empress, heir to the throne, Prince . Potemkin, etc. Almost all of these people were cruelly tortured by the “whip fighter” Sheshkovsky and severely punished by secret courts.

There you can whisper in conversations, etc. and the next stanza is a depiction of the cruel laws and morals at the court of Empress Anna Ioannovna. As Derzhavin notes, there were laws according to which two people whispering to each other were considered attackers against the empress or the state; Those who did not drink a large glass of wine, “offered for the queen’s health,” and who accidentally dropped a coin with her image were suspected of malicious intent and ended up in the Secret Chancellery. A typo, correction, scraping, or mistake in the imperial title entailed punishment with lashes, as well as moving the title from one line to another. At court, rude clownish “amusements” were widespread, such as the famous wedding of Prince Golitsyn, who was a jester at court, for which an “ice house” was built; titled jesters sat in baskets and clucked chickens, etc. You write teachings in fairy tales. Catherine II wrote for her grandson, in addition to “The Tale of Prince Chlorus,” “The Tale of Prince Feveya.” Don't do anything bad. The “Instruction” to Chlorus, translated into verse by Derzhavin, is in the appendix to the “Russian alphabet for teaching youth to read, printed for public schools by imperial command,” which was also composed by Catherine for her grandchildren. Lancets means - i.e. bloodshed.

Tamerlane (Timur, Timurleng) - Central Asian commander and conqueror (1336-1405), distinguished by extreme cruelty.

Who pacified the abuse, etc. “This verse refers to the time of peace, at the end of the first Turkish war (1768-1774 - V.Z.) in Russia, which flourished, when many philanthropic institutions were created by the empress, such as: educational home, hospitals and others.” Which granted freedom, etc. Derzhavin lists some laws issued by Catherine II, which were beneficial to the noble landowners and merchants: she confirmed the permission given by Peter III to the nobles to travel abroad; allowed landowners to develop ore deposits on their property for their own benefit; lifted the ban on cutting down forest on their lands without government control; “allowed free navigation on the seas and rivers for trade,” etc.

3. A.N. Radishchev "Liberty"

You want to know: who am I? what am I? where am I going?

I am the same as I was and will be all my life:

Not a cattle, not a tree, not a slave, but a man!

To pave a road where there has been no trace

For greyhound daredevils both in prose and verse,

To sensitive hearts and truth I am in fear

I'm going to the Ilimsky prison. January - July 1791

The ode “Liberty” by the great Russian revolutionary educator is one of the works most often found in lists of free poetry from the late 18th century to the 1830s.

Oda was persecuted with particular fury by the censors: its discovery by the authorities, even under accidental circumstances, promised serious reprisals.

“The plot of “Liberty” is based on general educational theories of natural law and social contract, rethought by Radishchev in a revolutionary spirit.” (Zapadov V.A. Poetry of A.N. Radishchev // Radishchev A.N. Poems. L., 1975. P. 26).

Oda summed up the evolution of Russian advanced political thought on the eve of the French bourgeois revolution. Subsequently, she had a huge influence on the formation of the ideology of noble revolutionaries. Assessing Radishchev’s influence, Herzen noted in 1858 that no matter what Radishchev “wrote about, you hear the familiar string that we are accustomed to hearing in Pushkin’s first poems, and in Ryleev’s “Thoughts,” and in our own hearts.” Ode "Liberty" did not lose its meaning for the revolutionary democrats of the 1860s, but could only be mentioned indirectly. The tyrant-breaking pathos and the call for a revolution that should sweep away the power of the tsars determined the constant, deep influence of the ode.

The word “liberty” in the lexicon of the 18th century meant independence, political freedom and had some semantic difference from the word “freedom”: namely “Liberty” is the title of Pushkin’s ode of 1817. Later, this shade was erased, and Nekrasov in 1877, referring to this ode to Pushkin, called it “Freedom”.

Seventh line “You want to know: who am I? what am I? where am I going..." is also often found in lists circulating from hand to hand since the 1820s.

Conclusion

Thus, in the literature of the 18th century there were two movements: classicism and sentimentalism. The ideal of classic writers is a citizen and patriot who strives to work for the good of the fatherland. He must become an active creative person, fight against social vices, against all manifestations of “evil morality and tyranny.” Such a person must give up the desire for personal happiness and subordinate his feelings to duty. Sentimentalists subordinated everything to feelings, to all sorts of shades of mood. The language of their works becomes emphatically emotional. The heroes of the works are representatives of the middle and lower classes. The process of democratization of literature began in the eighteenth century.

And again, Russian reality invaded the world of literature and showed that only in the unity of the general and personal, and with the subordination of the personal to the general, can a citizen and a person be realized. But in the poetry of the late 18th century, the concept of “Russian man” was identified only with the concept of “Russian nobleman”. Derzhavin and other poets and writers of the 18th century took only the first step in understanding the national character, showing the nobleman both in the service of the Fatherland and in his home environment. The integrity and completeness of man's inner life had not yet been revealed.

Bibliography

1. Berkov P.N. History of Russian journalism of the 18th century. M. - L., 1952. - 656 p.

2. Herzen A.I. Preface to the book “On the Damage of Morals in Russia” by Prince M. Shcherbatov and “The Journey” by A. Radishchev // Collection. op. M., 1958. T. 13. 296 p.

3. Derzhavin G.R. Complete collection of poems. Leningrad “Soviet writer” 1957. – 480 p.

G.R. Derzhavin. Complete collection of poems. Leningrad “Soviet writer” 1957. – P. 236.

Herzen A.I. Preface to the book “On the Damage of Morals in Russia” by Prince M. Shcherbatov and “Travel” by A. Radishchev // Collection. op. M., 1958. T. 13. P. 273.

Nekrasov N. A. Autobiographical notes, From the diary // Complete. collection op. and letters. M., 1953. T. 12. P. 21

Mikhail Vasilyevich Lomonosov did a lot for the development of Russian literature. In his work, the great Russian philologist relied on odes.

Preface

The origins of the ode go back to antiquity. The 18th century of Russian literary creativity is represented by a wide variety of odes, such as laudable, spiritual, victorious-patriotic, philosophical and anacreontic. As usual, it is a quatrain with a repeating rhyme. In its domestic version, most of the stanzas consisted of ten verses.

Victorious-patriotic “Ode to the Capture of Khotin”

Mikhail Vasilyevich presented his victorious and patriotic creation called “Ode to the Capture of Khotin” in 1739. In it, Lomonosov makes it possible to separate three basic parts: the introduction, the description of the battle scenes itself, and then the climax, represented by the glorification and awarding of the winners. The battle scenes are shown with Lomonosov's characteristic style of hyperbolization, with many impressive comparisons, metaphors and personifications, which in turn most clearly reflect the drama and heroism of military actions.

Drama and pathos intensify with the appearance of rhetorical questions and exclamations of the author, which he addresses either to Russian soldiers or to their opponents. In addition, there are also references to the historical past, which in turn enriches the ode, performed in the spirit of patriotism.

The first to use male and female rhymes in his odes was Lomonosov. The ode genre is the true pinnacle of his creativity. Subsequently, iambic tetrameter was also presented in the works of Pushkin, Lermontov, Nekrasov, Yesenin, Blok and other poets.

Laudatory odes

Most of the odes written by Mikhail Vasilyevich were associated with the coronation of one or another ruler. He dedicated his odes to John IV Antonovich, Peter III, Anna II and others. An integral part of the idle coronation was the genre of ode. Lomonosov was overwhelmed by inspiration, and each of his creations described the official court role of rulers in a much broader and more colorful way. In each of the odes, Mikhail Vasilyevich put his own ideological plan and anticipated the bright future of the Russian people.

The ode genre was used by Mikhail Vasilyevich as one of the most convenient forms of conversation with crowned rulers. In the form of this praise for deeds that, as a rule, the monarch had not yet performed, Lomonosov expressed his preferences, instructions and advice in favor of a great power state. The ode allowed them to be presented in a soft, approving and flattering tone for the rulers. The wishful thinking in Lomonosov's coronation praise was passed off as reality and thus obliged the monarch to prove worthy of it in the future.

The ode genre in the work of Mikhail Vasilyevich also reflected various events in the political life of that time. The greatest attention was paid to battle events. The great Russian poet was proud of the glory of Russian artillery and the greatness of the Russian state, capable of resisting any enemy.

The poetic individuality of Mikhail Vasilyevich’s laudable odes is completely identified with their ideological content. Each ode is an enthusiastic monologue of the poet.

Spiritual odes

Lomonosov fully showed himself in writing spiritual odes. In the 18th century they were called poetic expositions of biblical writings with lyrical content. At the forefront here was the book of psalms, where poets continually looked for themes similar to their thoughts and experiences. For this reason, spiritual odes could carry a wide variety of directions - from a particularly personal performance to a lofty, general civil one.

Lomonosov's spiritual odes are filled with rapture, delight, harmony and splendor of the universe.

When presenting one of the most dramatic biblical books, “The Book of Job,” Lomonosov isolated its pious and ethical problematics and provided the foreground with a description of its truly reverent pictures of living nature. And again, before us, the readers, there appears an immense sky, painted with stars, a raging deep sea, a storm, an eagle, abstractly soaring in the heavenly expanses, a huge hippopotamus, furiously trampling the raging thorns, and even the mythical Leviathan in its splendor, living at the bottom of the ocean.

In contrast to commendable ones, the genre of spiritual ode is distinguished by its laconicism and elegance of presentation. Stanzas consisting of ten verses are here replaced, as a rule, by quatrains with a ring or The style of writing spiritual odes seems laconic and devoid of various kinds of “decorations”.

Finally

An ode was presented to our attention. What other genre can boast such beautiful lyrical content? Thanks to the variety of means of expression and ideological content used, the works of Mikhail Vasilyevich Lomonosov to this day occupy their rightful place among the majestic creations of Russian poetry.

Introduction

2. G.R. Derzhavin "Felitsa"

3. A.N. Radishchev "Liberty"

Conclusion

Bibliography

Introduction

Russian classicism attached special importance to “high” genres: epic poem, tragedy, ceremonial ode. The creator of the ode genre in Russian literature was M.V. Lomonosov.

The purpose of this essay is to review and study the evolution of the ode in Russian literature of the 18th century (from the ode of Lomonosov to the ode of Derzhavin and Radishchev).

1. M.V. Lomonosov “On the day of the accession to the throne of Empress Elizabeth... 1747.”

8. The tops of Rifeyski... - Ural.

2. G.R. Derzhavin "Felitsa"

Your son is accompanying me. In Catherine's fairy tale, Felitsa gave her son Reason as a guide to Prince Chlorus.

Or fist fighters - also refers to A.G. Orlov. And amused by the barking of dogs - refers to P.I. Panin, who loved hound hunting.

Tamerlane (Timur, Timurleng) - Central Asian commander and conqueror (1336-1405), distinguished by extreme cruelty.

3. A.N. Radishchev "Liberty"

You want to know: who am I? what am I? where am I going?

I am the same as I was and will be all my life:

Not a cattle, not a tree, not a slave, but a man!

To pave a road where there has been no trace

For greyhound daredevils both in prose and verse,

To sensitive hearts and truth I am in fear

I'm going to the Ilimsky prison. January - July 1791

The ode “Liberty” by the great Russian revolutionary educator is one of the works most often found in lists of free poetry from the late 18th century to the 1830s.

Oda was persecuted with particular fury by the censors: its discovery by the authorities, even under accidental circumstances, promised serious reprisals.

Seventh line “You want to know: who am I? what am I? where am I going..." is also often found in lists circulating from hand to hand since the 1820s.

Conclusion

Bibliography

1. Berkov P.N. History of Russian journalism of the 18th century. M. - L., 1952. - 656 p.

2. Herzen A.I. Preface to the book “On the Damage of Morals in Russia” by Prince M. Shcherbatov and “The Journey” by A. Radishchev // Collection. op. M., 1958. T. 13. 296 p.

3. Derzhavin G.R. Complete collection of poems. Leningrad “Soviet writer” 1957. – 480 p.

4. N.A. Dobrolyubov. Works, vol. 1. Leningrad. – 1934. – 600 p.

5. Zapadov V.A. Poetry by A.H. Radishchev // Radishchev A. N. Poems. L., 1975. – 122 p.

6. History of Russian literature / ed. D.S. Likhacheva, P. Makogonenko. - L., 1999. – 318 p.

7. Lomonosov M.V. Full composition of writings. – M., 1955. – volume 4, p. 165.

8. Nekrasov N.A. Autobiographical notes, From the diary // Complete. collection op. and letters. M., 1953. T. 12. – 534 p.

9. Russian poets. Anthology of Russian poetry in 6 volumes. Moscow: Children's literature, 1996. – 346 p.

Lomonosov M.V. Full composition of writings. – M., 1955. – volume 4, p. 165.

P.N. Berkov. History of Russian journalism of the 18th century. M. - L., 1952, p. 332

ON THE. Dobrolyubov. Works, vol. 1. L., 1934, p. 49

“Interlocutor”, 1784, part 16, page 8

Manuscript department of the State Public Library, F. XIV. 16, p. 408

Khrapovitsky's diary. M., 1902, p. 31

G.R. Derzhavin. Complete collection of poems. Leningrad “Soviet writer” 1957. – P. 236.

Herzen A.I. Preface to the book “On the Damage of Morals in Russia” by Prince M. Shcherbatov and “Travel” by A. Radishchev // Collection. op. M., 1958. T. 13. P. 273.

Nekrasov N. A. Autobiographical notes, From the diary // Complete. collection op. and letters. M., 1953. T. 12. P. 21

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