The originality of an ode from the era of classicism. Classicism in literature Methodological development “Control system for the course of Russian history of the late XVII-XVIII centuries”
Briefly:
Ode (from gr. ode - song) is a genre of lyric poetry, a solemn poem written in honor of a person or historical event.
Ode 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 spoke about God and the Fatherland, about virtues high person, about the benefits of science, etc. 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 classicist verses became simpler and closer to colloquial 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 XIX 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:
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 this case history of the term.
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”, “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 lyricism.
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 that he is right and expresses the existing 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 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 of statesmen are secularized - and not only in Felitsa. 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. In low genres, everyday material reality is depicted, and a 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 fell not only of creating a new literary movement. 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. The following types of ode are known: 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 XVIII V. 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 and 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; poetic text 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 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.
By origin, Lomonosov was state peasant. He was born in the Arkhangelsk region, in the village of Denisovka. From his youth he was engaged in fishing, but he always strived for learning and quickly learned to read. At the age of 19 (1730) he left home to continue his education in Moscow.
There Lomonosov enters the Slavic-Greek-Latin Academy, for this he lied that he was the son of a nobleman, because... Peasant children were not accepted there. Later, his deception was revealed, but due to his good studies, they did not expel him. The father, having learned about his son’s scam, deprived him of his inheritance. And in 1735, after five years of study, it turned out that Lomonosov was best student of the Academy.
In 1736 he was sent to the University of Marburg in Germany. There Lomonosov planned to get a technical education, but, having quarreled with one of the teachers, he left the university without documents or money. He wandered around Germany for several years, got married, and in 1741 returned to Moscow. A year later he was admitted to the Academy of Sciences, and already in 1745 he became an academician in the class of chemistry.
Ode on the day of accession to the throne of Empress Elizabeth Petrovna in 1747
Empress Elizaveta Petrovna makes him her court poet, and Lomonosov, as a return courtesy, sings of her in odes. The most expressive ode dedicated to the empress is the famous Ode on the day of accession to the throne of Empress Elizabeth Petrovna in 1747. Ode is a lyrical genre of classicism, glorifying a god, monarch or hero. Lomonosov subsequently began to be called a classic of the ode genre, as well as the Russian Pindar (on behalf of the ancient orator who was the first to come up with the idea of praising heroes in verse). He writes his solemn odes in a high, solemn language. The chosen meter is iambic 4-foot.
During his stay at court, Lomonosov met Count I.I. Shuvalov, who becomes his friend. They are both passionate about science, and soon their main common brainchild is born: in 1755 they founded the Moscow State University(MSU).
At the end of his life, Lomonosov was elected an honorary member of the Stockholm and Bologna Academy of Sciences, and was also elected to the Russian Academy of Arts. He dies on April 4, 1765.
Lomonosov philologist and poet
In addition to science, Lomonosov also dealt with issues of philology and studied the theory of literature. In 1739 he published Letter about the problems of Russian poetry, which he wrote in Germany. In this treatise (as it is better to call it) Lomonosov develops the reform of Russian versification proposed by Trediakovsky, adding to it new, three-syllable meters: dactyl, anapest and amphibrachium. Develops the theory of three styles. Lomonosov also allows the use various kinds rhymes, incl. cross and encircling.
In the second part of the Letter... there was Ode to the capture of Khotin, dedicated to the exploits of the Russian army. But Lomonosov’s ode shows not the soldiers themselves, but the Olympian gods watching and helping them. This ode became the first cry of life of new Russian poetry, because was strikingly different from all previous literature.
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 the foreign and domestic policies of Russia, discusses 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 spoke out against unjustified interruptions in logical development main idea, he was not satisfied with the stylistic appearance of the odes, metaphorical complexity and hyperbolicity. Lomonosov's ode was appreciated by a new generation of poets, who saw in it an expression of his personality and individuality.
Peoples' Friendship University of Russia
Faculty of Philology
Department of Russian and Foreign Literature
in the course "History of Russian literature XIX V. "
Subject:
"Classicism. Basic principles. The originality of Russian classicism"
Performed by student Ivanova I.A.
Group FZHB-11
Scientific adviser:
Associate Professor Pryakhin M.N.
Moscow
The concept of classicism
Philosophical teaching
Ethical and aesthetic program
Genre system
Bibliography
The concept of classicism
Classicism is one of the most important trends in the literature of the past. Having established itself in the works and creativity of many generations, putting forward a brilliant galaxy of poets and writers, classicism left such milestones on the path of artistic development of mankind as the tragedies of Corneille, Racine, Milton, Voltaire, the comedies of Moliere and many other literary works. History itself confirms the viability of the traditions of the classicist artistic system and the value of the underlying concepts of the world and human personality, primarily the moral imperative characteristic of classicism.
Classicism did not always remain identical to itself in everything, but was constantly developing and improving. This is especially obvious if we consider classicism from the perspective of its three-century existence and in the different national versions in which it appears to us in France, Germany and Russia. Taking its first steps in the 16th century, that is, during the mature Renaissance, classicism absorbed and reflected the atmosphere of this revolutionary era, and at the same time it carried new trends that were destined to manifest themselves energetically only in the next century.
Classicism is one of the most studied and theoretically thought out literary trends. But, despite this, its detailed study is still an extremely relevant topic for modern researchers, largely due to the fact that it requires special flexibility and subtlety of analysis.
The formation of the concept of classicism requires systematic, purposeful work of the researcher based on attitudes towards artistic perception and the development of value judgments when analyzing the text.
Russian classicism literature
Therefore, in modern science, contradictions often arise between new tasks of literary research and old approaches to the formation of theoretical and literary concepts about classicism.
Basic principles of classicism
Classicism as an artistic movement tends to reflect life in ideal images that gravitate toward the universal “norm” model. Hence the cult of antiquity of classicism: classical antiquity appears in it as an example of perfect and harmonious art.
Both high and low genres were obliged to instruct the public, elevate its morals, and enlighten its feelings.
The most important standards of classicism are the unity of action, place and time. In order to more accurately convey the idea to the viewer and inspire him to selfless feelings, the author should not have complicated anything. The main intrigue should be simple enough so as not to confuse the viewer and not deprive the picture of its integrity. The requirement for the unity of time was closely related to the unity of action. The unity of the place was expressed in different ways. This could be the space of one palace, one room, one city, and even the distance that the hero could cover within twenty-four hours.
Classicism is formed, experiencing the influence of other pan-European trends in art that are directly in contact with it: it builds on the aesthetics of the Renaissance that preceded it and opposes Baroque.
Historical background classicism
The history of classicism begins in Western Europe from the end of the 16th century. In the 17th century reaches its highest development, associated with the heyday of the absolute monarchy of Louis XIV in France and the highest rise of theatrical art in the country. Classicism continued to exist fruitfully in the 18th and early 19th centuries, until it was replaced by sentimentalism and romanticism.
As an artistic system, classicism finally took shape in the 17th century, although the concept of classicism itself was born later, in the 19th century, when an irreconcilable war was declared on it by romance.
Having studied the poetics of Aristotle and the practice of Greek theater, the French classics proposed rules of construction in their works, based on the foundations of rationalistic thinking of the 17th century. First of all, this is strict adherence to the laws of the genre, division into the highest genres - ode (a solemn song (lyric) poem glorifying glory, praise, greatness, victory, etc.), tragedy (dramatic or stage work that depicts the irreconcilable conflict of the individual with forces opposing it), epic (depicts actions or events in an objective narrative form, characterized by a calmly contemplative attitude towards the depicted object) and lower - comedy (a dramatic performance or composition for the theater, where society is presented in a funny, amusing form), satire (a type of comic , differing from other types (humor, irony) in the sharpness of its exposure).
The laws of classicism are most characteristically expressed in the rules for constructing tragedy. The author of the play was, first of all, required that the plot of the tragedy, as well as the passions of the characters, be believable. But the classicists have their own understanding of verisimilitude: not just the similarity of what is depicted on stage with reality, but the consistency of what is happening with the requirements of reason, with a certain moral and ethical norm.
Philosophical teaching
The central place in Classicism was occupied by the idea of order, in the establishment of which the leading role belongs to reason and knowledge. From the idea of the priority of order and reason followed a characteristic concept of man, which could be reduced to three leading principles or principles:
) the principle of the priority of reason over passions, the confidence that highest virtue consists in resolving the contradictions between reason and passions in favor of the former, and the highest valor and justice lie respectively in actions prescribed not by passions, but by reason;
) the principle of primordial morality and law-abidingness of the human mind, the confidence that it is the mind that is capable the shortest route lead a person to truth, goodness and justice;
) the principle of social service, which asserted that the duty prescribed by reason lies in the honest and selfless service of a person to his sovereign and the state.
In socio-historical, moral and legal terms, Classicism was associated with the process of centralization of power and the strengthening of absolutism in a number of European states. He took on the role of ideology, defending the interests of the royal houses seeking to unite the nations around them.
Ethical and aesthetic program
The initial principle of the aesthetic code of classicism is imitation of beautiful nature. Objective beauty for the theorists of classicism (Boileau, Andre) is the harmony and regularity of the universe, which has as its source a spiritual principle that shapes matter and puts it in order. Beauty, therefore, as an eternal spiritual law, is the opposite of everything sensual, material, changeable. Therefore, moral beauty is higher than physical beauty; the creation of human hands is more beautiful than the rough beauty of nature.
The laws of beauty do not depend on the experience of observation; they are extracted from the analysis of internal spiritual activity.
The ideal of the artistic language of classicism is the language of logic - accuracy, clarity, consistency. The linguistic poetics of classicism avoids, as far as possible, the objective figurativeness of the word. Her usual remedy is an abstract epithet.
The relationship between individual elements is based on the same principles. artwork, i.e. a composition that is usually a geometrically balanced structure based on a strict symmetrical division of the material. Thus, the laws of art are likened to the laws of formal logic.
The political ideal of classicism
In their political struggle, the revolutionary bourgeoisie and plebeians in France, both in the decades preceding the revolution and in the turbulent years of 1789-1794, widely used ancient traditions, ideological heritage and external forms of Roman democracy. So, at the turn of the XVIII-XIX centuries. V European literature and art, a new type of classicism emerged, new in its ideological and social content in relation to the classicism of the 17th century, to the aesthetic theory and practice of Boileau, Corneille, Racine, Poussin.
The art of classicism of the era of the bourgeois revolution was strictly rationalistic, i.e. required complete logical correspondence of all elements of the artistic form to an extremely clearly expressed plan.
Classicism of the 18th-19th centuries. was not a homogeneous phenomenon. In France, the heroic period of the bourgeois revolution of 1789-1794. preceded and accompanied the development of revolutionary republican classicism, which was embodied in the dramas of M.Zh. Chenier, in the early painting of David, etc. In contrast, during the years of the Directory and especially the Consulate and the Napoleonic Empire, classicism lost its revolutionary spirit and turned into a conservative academic movement.
Sometimes directly influenced by French art and events French Revolution, and in some cases, independently of them and even preceding them in time, a new classicism developed in Italy, Spain, Scandinavian countries, USA. In Russia, classicism reached its greatest heights in the architecture of the first third of the 19th century.
One of the most significant ideological and artistic achievements of this time was the work of the great German poets and thinkers - Goethe and Schiller.
With all the variety of variants of classicist art, there was much in common. And the revolutionary classicism of the Jacobins, and the philosophical-humanistic classicism of Goethe, Schiller, Wieland, and the conservative classicism of the Napoleonic Empire, and the very diverse - sometimes progressive-patriotic, sometimes reactionary-great-power - classicism in Russia were contradictory products of the same historical era.
Genre system
Classicism establishes a strict hierarchy of genres, which are divided into high (ode, tragedy, epic) and low (comedy, satire, fable).
ABOUT́
Yes- a poetic, as well as musical and poetic work, distinguished by solemnity and sublimity, dedicated to some event or hero. The tragedy is marked by severe seriousness, depicts reality most sharply, as a clot of internal contradictions, reveals the deepest conflicts of reality in an extremely intense and rich form, which acquires the meaning of an artistic symbol; It is no coincidence that most tragedies are written in verse. Epić
I- generic designation for large epic and similar works: .An extensive narrative in verse or prose about outstanding national historical events. 2.A complex, long history of something, including a number of major events. Comé́
diya- a genre of fiction characterized by a humorous or satirical approach. Satire- a manifestation of the comic in art, which is a poetic, humiliating denunciation of phenomena using various comic means: sarcasm, irony, hyperbole, grotesque, allegory, parody, etc. Bá
sleeping- poetic or prose literary work moralizing, satirical nature. At the end of the fable there is a brief moralizing conclusion - the so-called morality. Characters Usually animals, plants, things appear. The fable ridicules the vices of people. Representatives of classicism
In literature, Russian classicism is represented by the works of A.D. Kantemira, V.K. Trediakovsky, M.V. Lomonosov, A.P. Sumarokova. HELL. Kantemir was the founder of Russian classicism, the founder of the most vital real-satirical direction in it - such are his famous satires. VC. Trediakovsky, with his theoretical works, contributed to the establishment of classicism, but in his poetic works the new ideological content did not find a corresponding artistic form. The traditions of Russian classicism manifested themselves differently in the works of A.P. Sumarokov, who defended the idea of the inseparability of the interests of the nobility and the monarchy. Sumarokov laid the foundation for the dramatic system of classicism. In his tragedies, under the influence of the reality of that time, he often turns to the theme of the uprising against tsarism. In his work, Sumarokov pursued social and educational goals, preaching high civic feelings and noble deeds. The next prominent representative of Russian classicism, whose name is known to everyone without exception, is M.V. Lomonosov (1711-1765). Lomonosov, unlike Kantemir, rarely ridicules enemies of enlightenment. He managed to almost completely rework the grammar based on the French canons, and made changes to the versification. Actually, it was Mikhail Lomonosov who became the first who was able to introduce the canonical principles of classicism into Russian literature. Depending on the quantitative mixture of words of three kinds, one or another style is created. This is how the “three calms” of Russian poetry emerged: “high” - Church Slavonic words and Russian ones. The pinnacle of Russian classicism is the work of D.I. Fonvizin (Brigadier, Minor), the creator of a truly original national comedy, who laid the foundations of critical realism within this system. Gabriel Romanovich Derzhavin was the last in a row of the largest representatives of Russian classicism. Derzhavin managed to combine not only the themes of these two genres, but also the vocabulary: “Felitsa” organically combines the words of “high calm” and vernacular. Thus, Gabriel Derzhavin, who fully developed the possibilities of classicism in his works, simultaneously became the first Russian poet to overcome the canons of classicism. Russian classicism, its originality
A significant role in the shift in the dominant genre in the artistic system of Russian classicism was played by the qualitatively different attitude of our authors to the traditions of the national culture of previous periods, in particular to national folklore. The theoretical code of French classicism - "Poetic Art" Boileau demonstrates a sharply hostile attitude towards everything that in one way or another had a connection with the art of the masses. In his attack on Tabarin's theater, Boileau denies the traditions of popular farce, finding traces of this tradition in Molière. The harsh criticism of burlesque poetry also testifies to the well-known anti-democratic nature of his aesthetic program. There was no place in Boileau’s treatise to characterize such a literary genre as the fable, which is closely connected with the traditions of the democratic culture of the masses. Russian classicism did not shy away from national folklore. On the contrary, in the perception of the traditions of folk poetic culture in certain genres, he found incentives for his enrichment. Even at the origins of the new direction, when undertaking a reform of Russian versification, Trediakovsky directly refers to the songs of the common people as a model that he followed in establishing his rules. The absence of a break between the literature of Russian classicism and the traditions of national folklore explains its other features. Thus, in the system of poetic genres of Russian literature of the 18th century, in particular in the work of Sumarokov, the genre of lyrical love song, which Boileau does not mention at all, receives an unexpected flourishing. In "Epistole 1 on poetry" by Sumarokov detailed description This genre is given along with the characteristics of recognized genres of classicism, such as ode, tragedy, idyll, etc. In his “Epistole” Sumarokov also includes a description of the fable genre, relying on the experience of La Fontaine. And in his poetic practice, both in songs and in fables, Sumarokov, as we will see, was often directly guided by folklore traditions. The originality of the literary process of the late XVII - early XVIII centuries. explains another feature of Russian classicism: its connection with the Baroque artistic system in its Russian version. 1. Natural-legal philosophy of classicism of the 17th century. #"justify">Books: 5.O.Yu. Schmidt "Great Soviet Encyclopedia. Volume 32." Ed. " Soviet Encyclopedia"1936 6.A.M. Prokhorov. Great Soviet Encyclopedia. Volume 12. "Published "Soviet Encyclopedia" 1973 .S.V. Turaev "Literature. Reference materials". Ed. "Enlightenment" 1988
