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The peculiarity of the ode of the era of classicism. Classicism in literature Genre of ode in European and Russian classicism

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Essay

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

Introduction

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

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

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

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

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

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

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

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

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

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

Gavriil Romanovich Derzhavin defined the ode as follows:

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

1. Antiquity

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

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

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

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

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

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

2 . new time

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

Elements of a solemn and religious ode are already present in the literature of southwestern and Muscovite Rus' at the end of the 16th-17th centuries. (panegyrics and verses in honor of noble persons, the "welcome" of Simeon of Polotsk, etc.). The appearance of the ode in Russia is directly related to the emergence of Russian classicism and the ideas of enlightened absolutism. In Russia, the ode is less associated with classicist traditions; it carries out a struggle of contradictory stylistic tendencies, on the outcome of which the direction of lyric poetry as a whole depended.

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

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

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

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

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

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

The solemn ode became that new genre that the leading figures of Russian literature of the 18th century were looking for for a long time, which made it possible to embody a huge patriotic and social content in poetry. Writers and poets of the 18th century were looking for new artistic forms, means, techniques, with the help of which their works could serve the “benefit of society”. State needs, duty to the fatherland, in their opinion, should have prevailed over private, personal feelings and interests. In this regard, they considered the most perfect, classical examples of beauty to be the wonderful creations of ancient art, glorifying the beauty, strength and valor of man.

But the Russian ode is gradually moving away from ancient traditions, acquiring an independent sound, glorifying, first of all, its state and its heroes. In “A Conversation with Anacreon,” Lomonosov says: “The strings involuntarily sound like a hero’s noise to me. Do not revolt Bole, Love thoughts, mind; Although I am not deprived of tenderness of the heart In love, I am more admired by Heroes with eternal glory.

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

ode poem lyrics classicism

Bibliography

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

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

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

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

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

6. Pokotilova O., Lomonosov's predecessors in Russian poetry of the 17th and early 18th centuries, in the book: Lomonosov, Collection of articles, 1911;

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

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Oda: the history of the genre

Even in ancient Greece, numerous hymns and dithyrambs, paeans and epinicia were created, from which the ode subsequently grows. 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 the Olympic competitions. Pindar's epinicia were distinguished by the pathetic glorification of the hero, the whimsical movement of thought, and the rhetorical construction of a poetic phrase.

The most talented heir of Pindar in Roman literature is Horace, who praised "valor and righteousness", "Italian power". He develops, but by no means canonizes the odic genre: along with the Pindaric odes, Epicurean motifs sound in the poet's odes, civic pride in his nation and power does not obscure the delights of an intimate existence for Horace.

Opening the next page of the odic anthology, you almost do not feel the centuries-old pause that divided the ode of antiquity and the late Renaissance: the Frenchman P. Ronsard and the Italian G. Chiabrera, the German G. Wekerlin and the Englishman D. Dryden consciously repelled from the classical traditions. At the same time, Ronsard, for example, drew equally from the poetry of Pindar and from the Horatian lyrics.

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

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

The genre of ode in the work of Lomonosov

The title of "Russian Pindar" was fixed in the 18th century. after M. Lomonosov, although we will find the first examples of Russian panegyric poetry already in S. Polotsky, F. Prokopovich. Lomonosov understood the possibilities of the odic genre broadly: he wrote both solemn and religious-philosophical odes, sang "in delight" praise not only to Empress Elizabeth Petrovna, but also to the whole of God's world, the starry abyss, simple glass. The Lomonosov ode often resembles a state manifesto, and not only the content, but also the form of its odes has a programmatic character. It is constructed as an oratorical monologue of the 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 distant ideas", increased metaphor and paradox. However, associations grow in Lomonosov on a rational basis. As Boileau wrote,

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

The unexpectedness of metaphors is always balanced here by the desire for their deployment, demonstration, clarification.

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

The genre of ode in the work of Derzhavin

He was the first to wrest the ode from the clutches of abstraction. The life of his heroes does not consist of one state service - it also contains a lot of worldly fuss: everyday life and leisure, troubles and entertainment. However, the poet does not castigate human weaknesses, but, as it were, recognizes their naturalness.

Such, Felitsa, I am depraved!
But the whole world looks like me,

he justifies. In "Felitsa" a collective image of a nobleman of Catherine's time is drawn, his everyday portrait for the most part. The ode approaches here not with satire, but with an outline of morals. Correspondingly, the images of statesmen become secularized - and not in Felitsa alone. According to Derzhavin's scale of assessments, the praise "And there was a man in a nobleman" is almost the highest ("On the birth of a porphyry-bearing child 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 with God and eternal nature. His man is great as an earthly reflection of a deity. In this impulse to eternal ideals, and not in transient desires, the poet finds the true purpose of people - this is how the heat 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 Y. Tynyanov, it “does not disappear as a direction, and not as a genre,” and here they meant not only Katenin and Kuchelbecker, but also Mayakovsky.

Indeed, for two centuries the odic tradition has been one of the most influential in Russian and Soviet poetry. They are especially activated when abrupt changes are planned or made in history, when the need for such verses arises in society itself. These are the era Patriotic War 1812 and the Decembrist movement, revolutionary situations in the second half of the 19th - early 20th centuries, the period of the Great Patriotic War and the middle of the last century.

Odic lyric poetry is a form for the poet to establish a connection between his moods and the general ones. What is alien becomes one's own, what is mine becomes ours. It is not surprising that the poets of the odic warehouse - these "knights of immediate action" - are interested in the widest publication of their creations, intensifying their dialogue with people. During social upheavals - "in the days of celebrations and troubles of the people" - poetry necessarily goes to the stands, squares and stadiums. Let us recall the moral resonance of the siege poems (odic and neoodic) by O. Bergholz, with which she spoke on the Leningrad radio. The poet takes on the guise of a folk spokesman in the odic lyrics, he does not just shape the experiences of many - general premonitions receive from him the strength of confidence. In this sense, one can speak of the ideological and even visionary character of the odic lyrics.

4. The originality of Russian classicism.

The first literary trend in Russia, classicism, took shape in the 1930s and 1950s. XVIII century. The most striking embodiment of classicism was in the 17th century. in France in the work 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 the cultural reform, put before himeducational tasks, seeking to educate their readers and instruct the monarchs on the path of the public good. Therefore, Russian classicism begins not with an ode, but with satire, and socially critical pathos is inherent in it from the very beginning.

Russian classicism reflected perfectly 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 succession. The 18th century is a century of intrigue and palace coups, which too often led to uncontrolled power. Therefore, Russian classic literature immediately took a political and 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 versification by Trediakovsky-Lomonosov, the reform of style, the regulation of the genre system - were carried out between the middle of 1730 and the end of the 1740s. - that is, basically before the full-fledged literary process unfolded in line with classic aesthetics.

Features of classicism:

1. Hierarchy and normativity. Within itself, literature was also divided into two hierarchical ranks, low and high. To low genres satire, comedy, fable were assigned; to high- ode, tragedy, epic. In low genres, everyday material reality is depicted, and a private person appears in social ties. In high genres, a person is presented as a spiritual and social being, alone and along with the eternal foundations of the questions of being. The hero of low genres is a middle-class person; high hero - a historical person, a mythological hero or a fictional high-ranking character - as a rule, 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, revenge, sense of duty, patriotism, etc.).

2. The conflict of reasonable and 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, a sense of duty, envy, patriotism, etc. It is by the predominance of one passion that the character is determined: “in love”, “stingy”, “envious”, “patriot”. All these definitions are precisely "characters" in the understanding of the classic aesthetic consciousness.

3. Imitation of antiquity

For classicism, ancient literature is the already reached pinnacle of aesthetic activity, the eternal and unchanging standard of art,

The originality of Russian classicism lies in the fact that in the era of its formation it combined the pathos of serving the absolutist state with the ideas of the early European Enlightenment. In 18th century France absolutism had 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 from the Enlightenment some of its social doctrines. They are primarily idea of enlightened absolutism, i.e. the state should be headed by a wise, "enlightened" monarch. For the Russian classicists, Peter I was an example of such a ruler.

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

In the realm of purely artistic 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 were supposed to reform the literary language, master genres unknown in Russia until that time. Each of them was a pioneer. Kantemir laid the foundation for Russian satire, Lomonosov legitimized the genre of ode, Sumarokov acted as the author of tragedies and comedies. In the field of literary language reform, the main role belonged to Lomonosov. The lot of Russian classicists also fell to 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, which had its own program, creative method and a harmonious system of genres.

The creative method of the classicists formed 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” in one character, and even more so “vice” and “virtue”. Genres differed in exactly the same “purity” and unambiguity. Comedy was not supposed to include "touching" episodes. The tragedy excluded the display of comic characters.

Russian classicism of the 18th century. went through two stages in its development. The first of them refers to the 30-50s. This is the formation of a new direction, when genres are being reformed 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.The poetic activity of M.V. Lomonosov took place in an era when all European literature was more or less under the rule of classicism.. And, of course, the poet could not resist the influence of this powerful style. Lomonosov entered the history of Russian literature primarily as odograph poet. Oh yeah- lyrical genre. She passed into European literature from ancient poetry. Russian literature of the 18th century the following varieties of the ode are known: victorious-patriotic, laudatory, philosophical, spiritual and anacreontic. In the system of genres of Russian classicism, the ode belonged to the "high" genres, in which "exemplary" heroes were depicted - monarchs, commanders, who could serve as an example to follow. Odes in Russia in the 18th century. were ordered by the government, and their reading was part of the festive ceremonial, but the content and significance of Lomonosov's laudatory odes is much broader and more important than their official court role. Endowed with topical content, his odes raised issues of great social and state importance for resolution. Lomonosov dedicated his odes to Anna Ioannovna, Ivan Antonovich, Elizaveta Petrovna, Peter III, Catherine II, and in each of them he developed his ideas and plans related to the fate of the Russian people. But these odes were addressed not only to the crowned persons, but also through their heads they were supposed to "attract the hearts of the peoples."

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 mode of existence, the solemn ode of Lomonosov 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 solemn ode is designed to be a sounding speech, perceived by ear. Typological features oratory genres in a solemn ode are the same as in a sermon, and a secular oratory Word. First of all this is the attachment of thematic material a solemn ode to a certain "occasion" - a historical incident or event, of a national scale. Lomonosov began to write solemn odes from 1739. - and his first ode is dedicated to the victory of Russian weapons - the capture of the Turkish fortress Khotyn "to take Khotin". Where main defender native land, the winner on the battlefields is the Russian people. It was written after the capture of the Turkish fortress Khotyn, located in Moldova, by Russian troops. Three main parts can be distinguished in Lomonosov's ode: introduction, depiction of hostilities, and glorification of the winners. The pictures of the battle are given in the exaggerated style typical of Lomonosov with a mass of detailed comparisons, metaphors and personifications that embody the tension and heroism of the battle scenes. The moon and the snake symbolize the Mohammedan world; an eagle soaring over Khotyn is the Russian army. The arbiter of all events was brought out by a Russian soldier, "ross", as the author calls him . The tension, the pathetic tone of the narration is intensified by rhetorical questions, exclamations of the author, addressed either to the Russian army or to its enemy. There is also an appeal to the historical past of Russia in the ode. The shadows of Peter I and Ivan the Terrible appear above the Russian army, having won victories over the Mohammedans in their time: Peter - over the Turks near Azov, Grozny - over the Tatars near Kazan. Such historical parallels will become, after Lomonosov, one of the enduring 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 climax in the national spiritual life. The ode reveals an attraction to the ideal spheres of life, in contrast to satire, which is associated with everyday life.

Composition of a solemn ode is also conditioned 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 odic plot sequences, then it is due to the laws of formal logic, which facilitates the perception of the odic text by ear: the formulation of the thesis, the proof in the system of successively changing arguments, the conclusion repeating the initial formulation. Thus, the composition of the ode obeys the same mirror principle as the composition of satire, and their common proto-genre - sermons.

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

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

"Ode on the day of accession to the throne of Empress Elisaveta Petrovna, 1747" written in a high style and glorifies the daughter of Peter 1. paying tribute to the virtues of the empress, her “mild voice”, “kind and beautiful face”, the desire to expand science, the poet starts talking about her father, who is called. "what a man has not been heard of since the ages." P.1 is the ideal of an enlightened monarch who gives all his strength to his people and state. In the ode of L., an image of Russia is given with its vast expanses, enormous wealth. This is how theme of the Motherland and serving her - leading in TV-ve L. This topic is closely related science theme, knowledge of nature. It ends with a hymn to science, an appeal to young men to dare for the glory of the Russian land. The main action of the characters of the Lomonosov ode is that they they sing, they say, they thunder, they recite, they proclaim, they speak, they say, they say, they raise their voice, they sound, they glorify publicly etc. The space of the odic text is filled with figures standing, sitting, galloping and stretching out their arms, the appearance of which oscillates 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, in fact, is a cosmos 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, heaven, 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 is made up of ideas related to the concept of the supreme state power in the highest, ideal and positive sense.

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

Oda is one of the genres of classicism. Unlike French classicism, which interprets 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 lyrics, suggesting a "high" content and a solemn style of its expression. The era associated with the development of classicism was characterized by the assertion of national self-consciousness, which dictated the priority of state interests over personal ones. Genre of an ode that sings important events on a national scale, perfectly suited the requirements of this stage in the development of Russia. The poet-odist "" is disinterested; 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. Küchelbecker). The ode had a strict form. Mandatory was" "lyrical disorder", suggesting the free development of poetic thought. The obligatory elements included praise to a certain person, moralizing arguments, historical and mythological images, the poet's appeal to the muses, nature, etc. The ode was supposed to have a significant amount of emotional impact ("emotional uplift, delight", from the point of view of G.A. Gukovsky, is the "only theme" of Lomonosov's poetry). The construction of the ode was subject to the disclosure of the main idea, the main feeling, which determined the compositional unity of all its parts -

In solemn odes, Lomonosov seeks to express the thoughts and feelings of the nation as a whole, therefore there is no place for the manifestation of the poet's individual personality traits in them. His ode consists of "the main story on behalf of the ode writer, interrupted by monologues-inserts of characters: God, Russia, tsars and pariahs" (Serman I.Z. Lomonosov's poetic style / I.Z. Serman. - M .; L., 1966. - S. 35). Addressing the royalty, giving lessons to the kings, Lomonosov speaks on behalf of all of Russia. In the work of Lomonosov, a solemn, laudable ode turns into a poetic genre that managed to absorb all the ideological problems of the era and express it with great artistic power. In his odes, Lomonosov sets out a cultural and political program for the transformation of Russia.

Each ode of Lomonosov is dedicated to a specific topic. He writes about external and domestic politics 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 a conflict, through a clash 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 beginnings, for example, can be world and fire, light and darkness, etc. Metaphor and metaphorization become the main style-forming elements of Lomonosov's poetic manner.The principles of his poetic style are height, splendor, expressiveness.

The system for constructing Lomonosov's odes was not supported by numerous ode writers of his time. Sumarokov spoke out against unjustified breaks in logical development the main idea, the stylistic appearance of the odes, metaphorical complexity and hyperbolicity did not suit him either. Lomonosov's ode was appreciated by a new generation of poets who saw in it an expression of his personality and individuality.

The ode, in its form and meaning, which it received from the mid-1730s from Trediakovsky and then from Lomonosov, is usually considered as a genre that reflects to the maximum extent the impersonal, anti-individual essence of classicism literature.
Peter's reforms introduced many new concepts into Russian life and flooded the language with foreign words, with which representatives of the ruling classes, as well as the most enlightened people of that time, started their speech indiscriminately. Along with this, the rapidity of growth, the radicalness of the transformations and the inspiration from military and diplomatic successes were looking for expression in art. These circumstances largely determined the direction and priorities of the literature of that time, its methodology and style. The degree of manifestation in each genre of the author's emphasized, tangible, undisguised attitude to his theme, to the subject of presentation, the problems and style of creating odes, I want to consider using the example of the work of M.Yu. Lomonosov and A.P. Sumarokov.
Lomonosov's poetic style developed in the course of a complex interaction of his creative searches and their theoretical understanding. IN common cause creating a new Russian poetry, Lomonosov worked side by side with his contemporaries, both the elders (Trediakovsky) and the younger ones (Sumarokov), sometimes converging with them in solving some literary and aesthetic issues, sometimes disagreeing and quarreling in opinions on other, general and particular problems of aesthetics classicism and its embodiment by Russian poetic thought. In the course of this literary struggle, the positions of the parties were clarified and substantiated, decisions were made and canceled, milestones were outlined on the way to new goals.
The literary struggle of the great workers of Russian poetry in the 1740s and 1750s changed depending on the nature of the tasks that were put forward by social development. From the fight against a common enemy - court literature - Lomonosov and his associates moved on to disputes among themselves, to disputes within the camp of progressive literature, since the development of literature confronted each of the then writers with the need to give his own, and, as it seemed to him, the only correct answer to the questions posed. life questions. In the course of comparing these answers, in the struggle of opinions and disputes, their own decisions were clarified and the process that we call the formation of poetic style took place. Therefore, it seems possible to approach the literary polemical struggle of the late 1740s and early 1750s precisely as an expression of the course of development and maturation of Russian aesthetic thought, which was created and formed in close connection with the development of poetry itself. It is from this side that the circle of historical and literary phenomena can be considered, a significant part of which was carefully studied in the works of G. A. Gukovsky and P. N. Berkov, especially in the latter’s famous book about “Lomonosov and the literary controversy of his time.” At the same time, we can understand Lomonosov's solutions to certain problems of aesthetic development in their historical conditionality only in relation to a number of phenomena, sometimes not directly related to Lomonosov. Comparing his work with the general course of the literary and theoretical disputes of the era, we will be able to better understand his own position, reflected in direct statements, and, most importantly, in new genres for his work, and, perhaps, in new stylistic trends.

Sumarokov cites Lomonosov’s line “The fodder of the inter-water bowels flies” and continues: “Why did he, Mr. Lomonosov, “fly the fodder of the inter-water bowels” put, he himself will not deny that he took it from me. Apparently, Sumarokov believed that Lomonosov “took” as a model a line from his ode “Elisaveta Petrovna on the 25th day of November 1743”, from the stanza that speaks of the Russian fleet:
Putting a foot on a formidable shaft,
Went between the noisy water bowels
And laying a road in the seas,
Shafts and wind took over the region.
Sumarokov again mentions Lomonosov's criticisms after he quotes a line from the 1747 ode “In silence, listen, universe” with his following comment: “The universe is used by liberty instead of the universe, which liberty is very insensitive: however, why does the writer of this ode in did he criticize this freedom in my poems when he himself uses it?
The truncated form of the universe instead of the universe is indeed found in the early odes of Sumarokov:
When the universe trembled
With fear, keeping your charter.
(Ode composed in the early years of my exercise in poetry, 1740-1743)
Her deeds of glorious loud noise
Thundering in all ends of the universe.
(Ode 1743)
And thinks, having reached the edge of the universe,
Direct thoughts aspiring
Against the sun and moon.
(Ibid.)
Lomonosov, as Sumarokov writes, criticized in his odes another kind of poetic liberty - the use of the dative instead of the accusative. Citing Lomonosov’s line “the great luminary of the world,” Sumarokov continues: “I’m not saying that ‘peace’ is put here in the dative, not accusative case, and I take it for the poetic liberty that use gives us, and I myself use this liberty: however when someone uses that liberty himself, without putting him in a vice, then it is not necessary to criticize it even from another. It’s all the same that instead of the luminary of the world, the luminary of the world is said, that instead I don’t remember my kind - my kind, or instead of the throne - the throne? Well.

Sumarokov directs the main blow precisely against the most characteristic feature of Lomonosov's high style - against the tendency to "distraction", to the transformation of concrete concepts into abstract poetic symbols. From the point of view of Sumarokov, Lomonosov is wrong when, in the ode of 1747, a very specific concept of silence (calm, peace, peaceful prosperity in the country) turns into a completely indefinite in meaning, a comprehensive concept-image, even a symbol.
Bearing in mind the following stanza of Lomonosov:
Great light of the world
Shining from the eternal height
For beads, gold and purple -
To all earthly beauties,
He raises his gaze to all countries,
But more beautiful in the world does not find
Elizabeth and you...
Sumarokov categorically objects to Lomonosov's transformation of silence into a kind of mythological creature: “That the sun looks at beads, gold and purple is true, but that it looks at silence, wisdom, conscience, is against our concept. The sun can look at the war, where it sees weapons, winners and vanquished, atishina has no creature, and here it does not appear in any way, as, for example, in epic poems of virtue and so on.
Sumarokov would not mind if Lomonosov's silence turned into Silence, into an allegorical personification, of which Voltaire introduced many into his Henriade. But the fact of the matter is that in Lomonosov silence turned from a concept, or rather strove to turn into an image, into a poetic clot of meanings, which did not at all satisfy the basic requirement of Sumarokov's declaration of 1747 - clarity. Analyzing another stanza of this ode to Lomonosov, Sumarokov expressed this: “You can guess what this is written for: however, it is so dark that I don’t think anyone reading it could soon imagine. And why in this place clarity is destroyed and, moreover, stretched, it is immediately convenient to consider. A comparison was needed to compare our spirit with a swimmer.
And the comparison of our spirit with a swimmer is very ugly, and I don’t know if it was worth it to destroy clarity for him.
Lomonosov's odes were an expression of the program of enlightened absolutism, although the question of which aspects of this "program" became decisive for Lomonosov continues to be debatable in the literary science of recent years. The laudatory odes of Lomonosov undoubtedly expressed the idealizing tendencies of the era and suffered from an overestimation of the capabilities and merits of an enlightened monarch. But they were always sincere and did not express the simple point of view of Lomonosov - a poet and scientist, but reflected the "aspirations and aspirations" of the entire nation, concerned "not individual details of political life, but its general direction." Along with idealizing motives, Lomonosov will also hear publicistic motives. They do not appear immediately - at the end of the creative path and will find expression in parting words and instructions to the monarch to be fair and merciful to his subjects. They will be especially clearly expressed in the ode to Elizabeth on her birthday (1757), and the ode dedicated to the accession to the throne of Catherine (1762). Prior to these odes, Lomonosov had publicistic motives, but they, as a rule, were either the poet’s appeal to young members of society to give their strength for the common good, or the glorification of various sciences that help a person penetrate the secrets of nature, master its riches. In these odes, journalistic motives acquired a political coloring, but they were aimed at affirming the idea of an enlightened monarchy, for the prosperity of Russia was associated by Lomonosov with the power of an enlightened autocrat. Therefore, one can hardly see in the verses from his odes of 1757 and 1762. the transformation of the poet "into an angry prophet, denouncing, punishing, threatening, with a verb that burns people's hearts." One should not see in them a turn of "Lomonosov's attention to the search for specific reasons for the weakness and imperfection of the absolute system." Lomonosov rather expressed here the positive program of enlightened absolutism, believing, as Sumarokov later did, "because of the reasonable civic activity and good power of the autocratic sovereign and his associates." In this respect, as G.N. Pospelov, his odes were largely civil "utopias".
Sumarokov's odes were created in line with his older contemporary, and made some significant changes to the problematic of the genre. Like Lomonosov, they were dedicated to a certain person, contained traditional praises of enlightenment, Russia, empresses, and revealed in their author an adherent of enlightened absolutism. At the same time, the first odes of Sumarokov were, in terms of their content, much poorer than the odes of Lomonosov. If Lomonosov, praising Peter, expressed his cherished dreams related to the fate of his country, then the first odes of Sumarokov essentially contained only “praise”: Anna - that she rules “wisely”, Elizabeth - that the “deeds” of her father “resumed and his spirit in contained”, brought with her reign “sweet peace” and “silence”. In an ode of 1755. the image of an ideal monarch is reproduced, based on the general concept of an enlightened monarch. Therefore, one cannot but agree with the statement of P.N.
However, as already mentioned, with the establishment of absolutism, shifts took place in the public consciousness. They are caused by a feeling of a gap between the ideal developed by theoretical thought and reality, not reality, which does not justify the hopes and aspirations of the best representatives of the nobility associated with it. This process is reflected in all genres - tragedy, comedy, fable, satire. In the ode, this is expressed in the growth of journalistic motives. They were also characteristic of Lomonosov. But in his ode they were predominantly of a general educational orientation. Sumarokov's journalistic material turned out to be connected mainly with the presentation of the concept of an enlightened monarch. This presentation was accompanied by a direct and indirect comparison of the monarch - "father" and the monarch-tyrant. So, in Catherine's ode of 1762, along with the traditional praises of the new empress and the expression of hopes connected with her and her reign, befitting the event, Sumarokov, on behalf of Catherine herself, gives an exposition of the program of enlightened absolutism. Here are assurances that for her, the monarch, there is “no other fun than the happiness of people” and observance of the “common benefit”, and a promise to take care of the education of her subjects, and a firm intention to be their support and support. Sumarokov was sometimes not opposed to monarchical power. However, he is not inclined to justify or defend any ruler. He is for a "reasonable" monarch who respects the "good of the fatherland." Hence the appearance of instructive intonations in his odes of the last period of creativity. So, in the ode of 1771, dedicated to Paul, he expresses the hope to see in him in the future an enlightened monarch who is not indifferent to the fate of his “people”. At the same time, he warns the future tsar, teaches him a “lesson” about what a tsar should be and should not be, expresses in a sharp, categorical form his rejection of a despot monarch. He compares it with a tiger, a lion, a snake - those who "weep their stomachs." The ode contains a frank lecture to the future monarch, ending with a categorical statement: "When the monarch forcibly heeds, He is an enemy of the people, and not a king." These thoughts vary in the "commendable" ode to Paul in 1774. The main thing in it is also not praise, but instructions, teachings and even warnings, which have a very definite political coloring. And although all these teachings had the ultimate goal of defending the idea of an "enlightened sovereign", that is, they gave a narrow-class solution to the problem, in their general humanistic, enlightening pathos directed against despotism, it corresponded to the most progressive moods of the pre-Pugachev era. The ode was essentially transformed by Sumarokov into a means of influencing the “higher” power, but a means of educating civic consciousness and shaping public opinion. In this respect, Sumarokov went further than Lomonosov. However, he did not allow direct attacks against the reigning empress. The critical attitude towards Catherine's "autocracy" that emerged over time found an indirect expression. If in the first odes he proceeded in his “praise” from the unconditional recognition of her as a virtuous, enlightened monarch (ode, for example, 1762), then in the odes of the 70s, dedicated to the heir, he refuses his premises and takes upon himself the courage to teach already speaks of what a monarch should not be. Thus, avoiding a direct assessment, he expressed his dissatisfaction with the current government, the reign of Catherine.
The appeal of the ode of the last third of the century to a wide range of people ultimately contributed to the convergence of the "high" genre with the specific life of the era. Because of this, the artistic content of the ode has expanded. Unexpectedly for this genre, in nm, the public, civic principle begins to coexist with the private, domestic, even everyday, essentially devoid of the halo of “elevation”. Overgrown with "realities", the ode lost its programmatic character. The latter happened also because her journalistic motives acquired in her an increasingly negative, critical character. This is already noticeable in the last odes of Sumarokov, but it was especially evident in the ode of the last third of the century, where these motifs develop into satirical tendencies. Last first. It manifested itself in relation to political phenomena. And the events of the era, but also autocratic reality in general. If Sumarokov stubbornly and persistently defended the idea of an enlightened monarch, opposing the true monarchy to despotism, while in no way in the last period of his work did he equate the true monarchy and Catherine's "autocracy", then the poets of the younger generation, remaining in the position of recognizing monarchy as the best form of power, split into two camps.
One of the main differences between the Lomonosov and Sumarokov odes is the dates. Lomonosov's odes almost without exception belong to the court calendar cycle, on a birthday, on the day of ascension, on the day of the namesake, this itself sets them the uniformity of content, and through it the uniformity of form. Sumarokov, from the very beginning, takes advantage of opportunities to get out of this circle, writing not on dates, but on events, first on the Prussian war, then on the Turkish war, and this introduces new material into the ode and makes him experiment with methods of such input.
So, it would be wrong to explain Sumarokov's attacks by personal hostility. His poetic talent was organically alien to the lush, lyrically intense poetry of Lomonosov, to which he tried to oppose a rationalistically thought-out style.

List of used literature

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