- INTRODUCTION
- 1. M.V. Lomonosov "On the day of the accession to the throne of Empress Elizabeth ... 1747"
- 2. G.R. Derzhavin "Felitsa"
- 3. A.N. Radishchev "Liberty"
- Conclusion
In this work, we aim to show that Lomonosov's achievements in poetry, philosophy and prose theory are not just the most important scientific discoveries, and are rightfully considered fundamental works in the field of literature, which marked a new rise in the national culture of Russia. V.G. Belinsky noted that he was her "father and tutor", "he was her Peter the Great", for he gave direction to "our language and our literature."
It was written in the year when Elizaveta Petrovna approved the new charter and staff of the Academy of Sciences, doubling the amount of funds for its needs. Here the poet glorifies the world, fearing new war, in which Austria, England and Holland, who fought with France and Prussia, drew Russia in, demanding that Russian troops be sent to the banks of the Rhine. In this ode, the contradiction of the entire genre of laudatory ode was especially acute - the contradiction between its complementarity and real political content: the poet, on behalf of Elizabeth, glorifies "silence", setting out his own program of the world. 1. Joyful change ... - a palace coup that brought Elizabeth to the throne. 2. He sent a Man to Russia ... - Peter I. 3. Then the sciences are divine ... - we are talking about the Academy of Sciences founded by Peter I, opened after his death in 1725. 4. Jealously rejected by fate ... - Peter I died in 1725. 5. Catherine I (1684-1727) - wife of Peter I, Russian empress. 6. Sequana is the Latin name for the Seine, an allusion to the Paris Academy of Sciences. 7. Russian Columbus - Vitus Bering (1681--1741) - Russian navigator.
8. Tops of the Rifey ... - Ural.
9. Plato (427 - 347 BC) - Greek philosopher. 10. Newton - Isaac Newton (1643--1727) - English physicist and mathematician. 11. Science feeds young men... - the stanza is a poetic translation of a fragment from the speech of the Roman orator and politician Mark (106-43 BC) in defense of the poet Archius (r. in 120 BC).
Deep ideological content, ardent patriotism, the majestic and solemn style of Lomonosov's ode to a new, unlike the rest, type, its stable strophic organization, the correct size - iambic tetrameter, rich and varied rhyme - all this was new not only for Russian literature, but also for history of the genre as a whole. Pushing the boundaries of the genre, introducing patriotic pathos, Lomonosov turned the ode into a multi-volume work that served the highest ideals of the poet, his ardent interest in the fate of the Motherland. Lomonosov M.V. Full composition of writings. - M., 1955. - vol. 4, p. 165.
2. G.R. Derzhavin "Felitsa"
For the first time - “Interlocutor”, 1783, part 1, p.5, without a signature, under the title: “Ode to the wise Kyrgyz princess Felitsa, written by a Tatar murza who has long settled in Moscow, and who lives on business in St. Petersburg. Translated from Arabic 1782. TO last words the editors gave a note: "Although we do not know the name of the writer, we know that this ode was accurately composed in Russian." Having written the ode in 1782, Derzhavin did not dare to print it, fearing the revenge of noble nobles, depicted in a satirical way. The poet's friends, N.A., were of the same opinion. Lvov and V.V. Kapnist. By chance, the ode fell into the hands of a good acquaintance of Derzhavin, an adviser to the director of the Academy of Sciences, a writer, a figure in the field public education, later to the minister Osip Petrovich Kozodavlev (early 1750s - 1819), who began to show her to various people and, among other things, introduced her to Princess E. R. Dashkova, who was appointed director of the Academy of Sciences in 1783. Dashkova liked the ode, and when the publication of The Interlocutor was undertaken in May 1783 (Kozodavlev became the editor of the journal), it was decided to open the first issue of Felice. The publication of the "Interlocutor" was due to the political events of the early 1780s, the intensification of Catherine's struggle with the noble opposition, the desire of the empress "to use journalism as a means of influencing the minds, as an apparatus for disseminating favorable interpretations of the phenomena of the internal political life of the country." P.N. Berkov. History of Russian journalism of the 18th century. M. - L., 1952, p. 332 One of the ideas persistently pursued by Catherine in the huge “Notes on Russian history”, was the idea noted by Dobrolyubov that the sovereign “is never the fault of civil strife, but always the resolver of strife, the peacemaker of princes, the defender of the right, if only he follows the suggestions of his own heart. As soon as he does an injustice that cannot be hidden or justified, then all the blame falls on evil advisers, most often on the boyars and the clergy. ON THE. Dobrolyubov. Works, vol. 1. L., 1934, p. 49 Therefore, "Felitsa", panegyric portraying Catherine and satirically - her nobles, fell into the hands of the government, Catherine liked. Derzhavin received a golden snuffbox containing 500 chervonets as a gift from the Empress and was personally introduced to her. The high merits of the ode brought her success in the circles of the most advanced contemporaries, wide popularity at that time. A.N. Radishchev, for example, wrote: “If you add many stanzas from the ode to Felitsa, and especially where Murza describes himself, almost the same poetry will remain without poetry” (Poln. sobr. soch., vol. 2, 1941, p. 217) . “Everyone who can read Russian has found herself in her hands,” Kozodavlev testified. “Interlocutor”, 1784, part 16, p. 8 Derzhavin took the very name “Felitsa” from “The Tale of Tsarevich Chlor”, written by Catherine II for her grandson Alexander (1781). “The author called himself Murza because ... he came from a Tatar tribe; and the empress - Felice and the Kyrgyz princess because the late empress composed a fairy tale under the name of Tsarevich Chlor, whom Felitsa, that is, the goddess of bliss, accompanied to the mountain where a rose without thorns blooms, and that the author had his villages in the Orenburg province in in the vicinity of the Kyrgyz horde, which was not listed as a citizen. In the manuscript of 1795, the interpretation of the name "Felitsa" is somewhat different: "wisdom, grace, virtue." Manuscript department of GPB, F. XIV. 16, p. 408 This name was formed by Catherine from the Latin words "felix" - "happy", "felicitas" - "happiness".
Your son is accompanying me. In the tale of Ekaterina, Felitsa gave Tsarevich Chlor her son Reason as a guide.
Not imitating your Murzas - that is, courtiers, nobles. The word "Murza" is used by Derzhavin in two ways. When Murza speaks about Felitsa, then Murza means the author of the ode. When he speaks, as it were, about himself, then the murza is a collective image of a nobleman-court. You read, you write before the tax. Derzhavin has in mind the legislative activities of the empress. Nala (obsolete, vernacular), more precisely "lectern" (church) - a high table with a sloping top, on which icons or books are placed in the church. Here it is used in the sense of "table", "desk". You can't saddle a parnasca horse. Catherine did not know how to write poetry. Arias and poems for her literary works were written by her secretaries of state Elagin, Khrapovitsky and others. Parnassian horse - Pegasus. You don't go to the spirits in the assembly, You don't go from the throne to the East - that is, you don't attend Masonic lodges, meetings. Catherine called the Freemasons "a sect of spirits." Khrapovitsky's diary. M., 1902, p. 31 "Easts" were sometimes called Masonic lodges Masons in the 80s. 18th century - members of organizations ("lodges") that professed mystical and moralistic teachings and were in opposition to the Catherine's government. Freemasonry was divided into various currents. One of them, Illuminism, belonged to a number of leaders of the French Revolution of 1789. In Russia, the so-called “Moscow Martinists” (the largest of them in the 1780s were N.I. in publishing, I. V. Lopukhin, S. I. Gamaleya, and others) were especially hostile towards the empress. They considered her to be the invader of the throne and wanted to see on the throne the "legitimate sovereign" - the heir to the throne, Pavel Petrovich, the son of Emperor Peter III, deposed from the throne by Catherine. Paul, as long as it was to his advantage, was very sympathetic to the "Martinists" (according to some evidence, he even adhered to their teachings). Freemasons have become especially active since the mid-1780s, and Catherine composes three comedies: “The Siberian Shaman”, “Deceiver” and “Seduced”, writes “The Secret of the Anti-Absolute Society” - a parody of the Masonic charter. But she managed to defeat Moscow Freemasonry only in 1789-1793. through police action.
And I, having slept until noon, etc. “Relates to the whimsical disposition of Prince Potemkin, like all three of the following couplets, who either went to war or practiced dressing up, feasting and all kinds of luxuries.” Zug - a team of four or six horses in pairs. The right to drive in a train was a privilege of the highest nobility.
I'm flying on a fast runner. This also applies to Potemkin, but “more to c. Al. Gr. Orlov, who was a hunter before horse racing. At the Orlov stud farms, several new breeds of horses were bred, of which the breed of the famous "Orlov trotters" is the most famous.
Or fist fighters -- also refers to A.G. Orlov. And I amuse myself with the barking of dogs - refers to P.I. Panin, who loved dog hunting.
I amuse myself at night with horns, etc. “Refers to Semyon Kirillovich Naryshkin, who was then the Jägermeister, who was the first to start horn music.” Horn music is an orchestra consisting of serf musicians, in which only one note can be played from each horn, and all together are, as it were, one instrument. Walks of noblemen along the Neva, accompanied by a horn orchestra, were a common occurrence in the 18th century. Ile, sitting at home, I will tell. “This couplet refers in general to the ancient customs and amusements of Russians,” I read Polkan and Bova. "Relates to the book. Vyazemsky, who loved to read novels (which the author, while serving in his team, often read in front of him, and it happened that both dozed off and did not understand anything) - Polkan and Bovu and famous old Russian stories "Derzhavin means translated novel about Bova, which later turned into a Russian fairy tale. But every person is a lie - a quote from the Psalter, from Psalm 115.
Between the lazy and the grouch. Lentyag and Grumpy are the characters of the fairy tale about Tsarevich Chlorus. “As far as is known, she meant by the first book. Potemkin, and under another book. Vyazemsky, because the first, as mentioned above, led a lazy and luxurious life, and the second often grumbled when money was demanded from him, as a manager of the treasury.
Dividing Chaos into spheres harmoniously, etc., is an allusion to the establishment of provinces. In 1775, Catherine published the "Institution on the provinces", according to which all of Russia was divided into provinces.
What renounced and be reputed to be wise. Catherine II, with feigned modesty, rejected the titles of “Great”, “Wise”, “Mother of the Fatherland”, which were presented to her in 1767 by the Senate and the Commission for the development of a draft new code; she did the same in 1779, when the St. Petersburg nobility offered her the title of "Great".
And you allow to know and think. In the "Instruction" of Catherine II, compiled by her for the Commission for the development of a draft of a new code and which was a compilation of the works of Montesquieu and other philosophers of the Enlightenment of the XVIII century, there are indeed a number of articles summary which this stanza is. At the same time, it was not for nothing that Pushkin called the “Instruction” “hypocritical”: we have heard a huge number of “cases” of people arrested by the Secret Expedition precisely on charges of “speaking” “indecent”, “obscene”, etc. words addressed to the Empress, heir to the throne, book. Potemkin, etc. Almost all of these people were brutally tortured by the "whip fighter" Sheshkovsky and severely punished by secret courts.
There you can whisper in conversations, etc., and the next stanza is a depiction of cruel laws and customs at the court of Empress Anna Ioannovna. As Derzhavin notes, there were laws according to which two people whispering to each other were considered malefactors against the empress or the state; who did not drink a large glass of wine, “offered for the health of the queen”, who accidentally dropped a coin with her image were suspected of malicious intent and fell into secret office. A slip of the pen, an amendment, a scraping, a mistake in the imperial title entailed punishment with whips, as well as the transfer of the title from one line to another. Rude clownish "amusements" were widespread at court, such as the famous wedding of Prince Golitsyn, who was a jester at court, for which an "ice house" was built; titled jesters sat down in baskets and clucked chickens, etc. You write teachings in fairy tales. Catherine II wrote for her grandson, in addition to "The Tale of Tsarevich Chlorine", "The Tale of Tsarevich Fevey." Don't do anything bad. "Instruction" to Chlorus, transcribed by Derzhavin into verse, is in the appendix to the "Russian alphabet for teaching youth to read, printed for public schools by the highest command", which was also composed by Catherine for her grandchildren. Lancet means - that is, bloodshed.
Tamerlane (Timur, Timurleng) is a Central Asian commander and conqueror (1336-1405), distinguished by extreme cruelty.
Who pacified the battle, etc. “This couplet refers to the time of peace at that time, after the end of the first Turkish war (1768-1774 - V. Z.) flourished in Russia, when many philanthropic institutions were made empress, such as : educational house, hospitals and others. Who granted freedom, etc. Derzhavin lists some laws issued by Catherine II that were beneficial to the noble landowners and merchants: she confirmed the permission given by Peter III to the nobles to travel abroad; allowed landowners to develop ore deposits in their possessions for their own benefit; lifted the ban on logging on their lands without government control; “allowed free navigation on the seas and rivers for trade”, etc. G.R. Derzhavin. Complete collection of poems. Leningrad "Soviet writer" 1957. - S. 236.
3. A.N. Radishchev "Liberty"
Do you want to know who am I? what am I? where am i going?
I am the same as I was and will be all my life:
Not cattle, not a tree, not a slave, but a man!
To pave the way, where there was no trace
For greyhound daredevils both in prose and in verse,
Sensitive hearts and truth I fear
I'm going to the Ilim prison. January - July 1791
The ode "Liberty" of the great Russian revolutionary enlightener is one of the works that are most often found in lists of free poetry with late XVIII and until the 1830s.
The ode was persecuted with particular fury by censorship: its discovery by the authorities, even under random circumstances, promised serious repression.
“The plot of “Liberty” is based on general educational theories of natural law and social contract, rethought by Radishchev in a revolutionary spirit.” (Zapadov V.A. Poetry A.N. .26).
The ode summed up the evolution of Russian advanced political thought on the eve of the French bourgeois revolution. In the future, she had a huge impact on the formation of the ideology of the noble revolutionaries. Assessing Radishchev's influence, Herzen noted in 1858 that no matter what Radishchev wrote about, "you still hear the familiar chord that we are accustomed to hearing in Pushkin's first poems, and in Ryleev's Thoughts, and in our own heart." Ode "Liberty" did not lose its significance for the revolutionary democrats of the 1860s, but could only be mentioned in vague terms. Herzen A. I. Preface to the book "On the Corruption of Morals in Russia" by Prince M. Shcherbatov and "Journey" by A. Radishchev // Collected works M., 1958. V. 13. S. 273. The tyrannical pathos and the call for revolution, which should sweep away the power of the kings, determined the constant, deep influence of the ode.
The word "freedom" in the lexicon of the XVIII century meant independence, political freedom and had some semantic difference from the word "freedom": it was "Liberty" - the title of Pushkin's ode of 1817. Later, this shade was erased, and Nekrasov in 1877, referring to this ode by Pushkin, called it "Freedom".
Seven lines “Do you want to know: who am I? what am I? where am I going...” is also often found in lists that have been circulating since the 1820s. Nekrasov N. A. Autobiographical notes, From the diary // Full. coll. op. and letters. M., 1953. T. 12. S. 21
Conclusion Thus, in the literature of the 18th century there were two currents: classicism and sentimentalism. The ideal of classicist writers is a citizen and patriot, striving to work for the good of the fatherland. He must be active. creative personality, fight against social vices, with all manifestations of "malice and tyranny" Such a person needs to abandon the desire for personal happiness, to subordinate his feelings to duty. Sentimentalists subordinated everything to feelings, to all sorts of shades of mood. The language of their works becomes emphatically emotional. The heroes of the works are representatives of the middle and lower classes. From the eighteenth century, the process of democratization of literature began. And again, Russian reality invaded the world of literature and showed that only in the unity of the general and the personal, and in the subordination of the personal to the general, can a citizen and a person take place. But in the poetry of the end of the 18th century, the concept of "Russian man" was identified only with the concept of "Russian nobleman". Derzhavin and other poets and writers of the 18th century took only the first step in understanding the national character, showing the nobleman both in the service of the Fatherland and at home. The wholeness and fullness of man's inner life has not yet been revealed. Bibliography1. Berkov P.N. History of Russian journalism of the 18th century. M. - L., 1952. - 656 p.
2. Herzen A.I. Preface to the book “On the Damage of Morals in Russia” by Prince M. Shcherbatov and “Journey” by A. Radishchev // Collected. op. M., 1958. T. 13. 296 p.
3. Derzhavin G.R. Complete collection of poems. Leningrad "Soviet Writer" 1957. - 480 p.
4. N.A. Dobrolyubov. Works, vol. 1. Leningrad. - 1934. - 600 p.
5. Zapadov V.A. Poetry A.H. Radishchev // Radishchev A. N. Poems. L., 1975. - 122 p.
6. History of Russian literature / ed. D.S. Likhachev, P. Makogonenko. - L., 1999. - 318 p.
7. Lomonosov M.V. Full composition of writings. - M., 1955. - vol. 4, p. 165.
8. Nekrasov N.A. Autobiographical notes, From the diary // Full. coll. op. and letters. M., 1953. T. 12. - 534 p.
9. Russian poets. Anthology of Russian poetry in 6 volumes. Moscow: Children's Literature, 1996. - 346 p.
Introduction
1. M.V. Lomonosov "On the day of the accession to the throne of Empress Elizabeth ... 1747"
2. G.R. Derzhavin "Felitsa"
3. A.N. Radishchev "Liberty"
Conclusion
Bibliography
Introduction
The main direction in the literature of the XVIII century. became classicism. This style has developed as a result of the creative development of forms, compositions and patterns of art.
va of the ancient world and the Renaissance. The artist, according to the founders of classicism, comprehends reality in order to then display in his work not a specific person with his passions, but a type of person, a myth, in a word, the eternal in the temporal, the ideal in the real. If this is a hero, then without flaws, if the character is satirical, then it is base to the end. Classicism did not allow mixing “high” and “low”, and therefore between genres (for example, tragedy and comedy) boundaries were established that were not violated.
Russian classicism attached particular importance to “high” genres: epic poem, tragedy, solemn ode. The creator of the ode genre in Russian literature was M.V. Lomonosov.
The purpose of this essay is to review and study the evolution of the ode in Russian literature of the 18th century (from the ode of Lomonosov to the ode of Derzhavin and Radishchev).
1. M.V. Lomonosov "On the day of the accession to the throne of Empress Elizabeth ... 1747"
M.V. Lomonosov - philologist, writer. His works in the field of literature and philology marked the rise of the national culture of Russia. It is difficult to imagine the development of the literary language, poetry, and grammar in Russia without the fundamental works of Lomonosov. Under his influence, a whole generation of Russian people grew up, which accepted his advanced ideas and sought to develop them further. Lomonosov was convinced of the need for a synthesis in poetry of the Russian and Church Slavonic languages, created a Russian ode, and was the first to write poetry in a language accessible to a wide range of readers. His undoubted merit in the field of the Russian language can be considered the creation of the first Russian grammar and the compilation of the first textbook of the Russian language. AAAAAAAAAAAAAAAAAAAAAAAAAAA
In this work, we aim to show that Lomonosov's achievements in poetry, philosophy and the theory of prose are not just the most important scientific discoveries, but are rightfully considered fundamental works in the field of literature, which marked a new rise in the national culture of Russia. V.G. Belinsky noted that he was her "father and tutor", "he was her Peter the Great", for he gave direction to "our language and our literature."
It was written in the year when Elizaveta Petrovna approved the new charter and staff of the Academy of Sciences, doubling the amount of funds for its needs. Here the poet glorifies the world, fearing a new war, in which Austria, England and Holland, who fought with France and Prussia, drew Russia, demanding that Russian troops be sent to the banks of the Rhine. In this ode, the contradiction of the entire genre of laudatory ode was especially acute - the contradiction between its complementarity and real political content: the poet, on behalf of Elizabeth, glorifies "silence", outlining his own peace program. 1. Joyful change. - Palace coup that brought Elizabeth to the throne. 2. He sent a Man to Russia. - Peter I. 3. Then sciences are divine. - we are talking about the Academy of Sciences founded by Peter I, opened after his death in 1725. 4. Jealously rejected by fate. - Peter I died in 1725. 5. Catherine I (1684-1727) - wife of Peter I, Russian empress. 6. Sequana is the Latin name for the Seine, an allusion to the Paris Academy of Sciences. 7. Russian Columbus - Vitus Bering (1681-1741) - Russian navigator.
8. The tops of the Riphean. - Ural.
9. Plato (427-347 BC) - Greek philosopher. 10. Newton - Isaac Newton (1643-1727) - English physicist and mathematician. 11. Science feeds young men. - the stanza is a poetic translation of a fragment from the speech of the Roman orator and politician Mark (106-43 BC) in defense of the poet Archius (born in 120 BC).
Deep ideological content, ardent patriotism, the majestic and solemn style of Lomonosov's ode to a new, unlike the others, type, its stable strophic organization, the correct size - iambic tetrameter, rich and varied rhyme - all this was new not only for Russian literature, but also for history of the genre as a whole. Pushing the boundaries of the genre, introducing patriotic pathos, Lomonosov turned the ode into a multi-volume work that served the highest ideals of the poet, his ardent interest in the fate of the Motherland.
2. G.R. Derzhavin "Felitsa"
For the first time - “Interlocutor”, 1783, part 1, p. 5, without a signature, under the title: “Ode to the wise Kyrgyz princess Felitsa, written by a Tatar murza who has long settled in Moscow, and who lives on business in St. Petersburg. Translated from Arabic 1782. To the last words, the editors gave a note: "Although we do not know the name of the writer, we know that this ode was definitely composed in Russian." Having written the ode in 1782, Derzhavin did not dare to print it, fearing the revenge of noble nobles, depicted in a satirical way. The poet's friends, N.A., were of the same opinion. Lvov and V.V. Kapnist. By chance, the ode fell into the hands of a good friend of Derzhavin, an adviser to the director of the Academy of Sciences, a writer, figure in the field of public education, later Minister Osip Petrovich Kozodavlev (early 1750s - 1819), who began to show it to different people, including Among them, he introduced her to Princess E. R. Dashkova, who was appointed director of the Academy of Sciences in 1783. Dashkova liked the ode, and when the publication of The Interlocutor was undertaken in May 1783 (Kozodavlev became the editor of the journal), it was decided to open the first issue of Felice. The publication of the "Interlocutor" was due to the political events of the early 1780s, the intensification of Catherine's struggle with the noble opposition, the desire of the empress "to use journalism as a means of influencing the minds, as an apparatus for disseminating favorable interpretations of the phenomena of the internal political life of the country." One of the ideas persistently pursued by Catherine in the huge “Notes on Russian History” was the idea noted by Dobrolyubov that the sovereign “is never the fault of civil strife, but always the resolver of strife, the peacemaker of princes, the defender of the right, if only he follows the suggestions of his own hearts. As soon as he does an injustice that cannot be hidden or justified, then all the blame falls on evil advisers, most often on the boyars and the clergy. Therefore, "Felitsa", panegyric portraying Catherine and satirically - her nobles, fell into the hands of the government, Catherine liked. Derzhavin received a golden snuffbox containing 500 chervonets as a gift from the Empress and was personally introduced to her. The high merits of the ode brought her success in the circles of the most advanced contemporaries, wide popularity at that time. A.N. Radishchev, for example, wrote: “If you add many stanzas from the ode to Felitsa, and especially where the murza describes himself, almost the same poetry will remain without poetry” (Poln. coll. cit., vol. 2, 1941, p. 217). “Everyone who can read Russian has found herself in her hands,” Kozodavlev testified. The very name "Felitsa" Derzhavin took from "The Tale of Tsarevich Chlorus", written by Catherine II for her grandson Alexander (1781). “The author called himself Murza because he came from a Tatar tribe; and the empress - Felice and the Kyrgyz princess because the late empress composed a fairy tale under the name of Tsarevich Chlor, whom Felitsa, that is, the goddess of bliss, accompanied to the mountain where a rose without thorns blooms, and that the author had his villages in the Orenburg province in the neighborhood from the Kyrgyz horde, which was not listed as a citizen. In the manuscript of 1795, the interpretation of the name "Felitsa" is somewhat different: "wisdom, grace, virtue." This name was formed by Catherine from the Latin words "felix" - "happy", "felicitas" - "happiness".
Briefly:
Oda (from gr. ode - song) - a genre of lyric poetry, a solemn poem written to the glory of a person or historical event.
The ode originated in ancient Greece, like most lyric genres. But it gained particular popularity in the era of classicism. In Russian literature, the ode appeared in the 18th century. in the work of V. Trediakovsky, M. Lomonosov, V. Petrov, A. Sumarokov, G. Derzhavin and others.
The themes of this genre were not very diverse: the odes talked about God and the Fatherland, about the virtues of a high person, about the benefits of science, and so on. For example, “Ode to the blessed memory of the 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 the classic verses has become simpler and closer to spoken language only in Derzhavin's odes. Starting with A. Radishchev, solemn verses take on a different semantic sound, they contain the motive of freedom and a call for the abolition of serfdom. For example, in Pushkin's "Liberty" or Ryley's "Civil Courage". In the work of the authors of the second half of XIX and XX centuries. ode is rare. For example, "The City" by V. Bryusov, "Ode to the Revolution" by V. Mayakovsky.
Source: Schoolchildren'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", mentioned from the 7th-6th centuries. BC e. Only half a millennium later, Horace began to assert it, and since the middle of the last century it has already sounded completely archaic - like the piit that composed this healthy chant. However, the evolution of the phenomenon is not exhausted in this case by the history of the term.
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 does not at all canonize the odic genre: along with the Pindaric odes, Epicurean motifs also 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 started from 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 ones (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 to everything God's world, 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.
Introduction
1. M.V. Lomonosov "On the day of the accession to the throne of Empress Elizabeth ... 1747"
2. G.R. Derzhavin "Felitsa"
3. A.N. Radishchev "Liberty"
Conclusion
Bibliography
Introduction
The main direction in the literature of the XVIII century. became classicism. This style developed as a result of the creative assimilation of forms, compositions and samples of art from the ancient world and the Renaissance. The artist, according to the founders of classicism, comprehends reality in order to then display in his work not a specific person with his passions, but a type of person, a myth, in a word, the eternal in the temporal, the ideal in the real. If this is a hero, then without flaws, if the character is satirical, then it is base to the end. Classicism did not allow the mixing of “high” and “low”, and therefore between genres (for example, tragedy and comedy) boundaries were established that were not violated.
Russian classicism attached particular importance to “high” genres: epic poem, tragedy, solemn ode. The creator of the ode genre in Russian literature was M.V. Lomonosov.
The purpose of this essay is to review and study the evolution of the ode in Russian literature of the 18th century (from the ode of Lomonosov to the ode of Derzhavin and Radishchev).
1. M.V. Lomonosov "On the day of the accession to the throne of Empress Elizabeth ... 1747"
M.V. Lomonosov philologist, writer. His works in the field of literature and philology marked the rise of the national culture of Russia. It is difficult to imagine the development of the literary language, poetry, and grammar in Russia without the fundamental works of Lomonosov. Under his influence, a whole generation of Russian people grew up, which accepted his advanced ideas and sought to develop them further. Lomonosov was convinced of the need for a synthesis in poetry of the Russian and Church Slavonic languages, created a Russian ode, and was the first to write poetry in a language accessible to a wide range of readers. His undoubted merit in the field of the Russian language can be considered the creation of the first Russian grammar and the compilation of the first textbook of the Russian language.
In this work, we aim to show that Lomonosov's achievements in poetry, philosophy and the theory of prose are not just the most important scientific discoveries, but are rightfully considered fundamental works in the field of literature, which marked a new rise in the national culture of Russia. V.G. Belinsky noted that he was her "father and tutor", "he was her Peter the Great", for he gave direction to "our language and our literature."
It was written in the year when Elizaveta Petrovna approved the new charter and staff of the Academy of Sciences, doubling the amount of funds for its needs. Here the poet glorifies the world, fearing a new war, in which Austria, England and Holland, who fought with France and Prussia, drew Russia, demanding that Russian troops be sent to the banks of the Rhine. In this ode, the contradiction of the entire genre of laudatory ode, the contradiction between its complimentary nature and real political content, was especially acute: the poet, on behalf of Elizabeth, glorifies "silence", outlining his own program of peace. 1. Joyful is the change... the palace coup that brought Elizabeth to the throne. 2. He sent a Man to Russia ... Peter I. 3. Then the sciences are divine ... we are talking about the Academy of Sciences founded by Peter I, opened after his death in 1725. 4. Jealously rejected by fate... Peter I died in 1725. 5. Catherine I (16841727) wife of Peter I, Russian empress. 6. Sequana is the Latin name for the Seine, an allusion to the Paris Academy of Sciences. 7. Columbus Russian Vitus Bering (16811741) Russian navigator.
8. Tops of the Rifey... Ural.
9. Plato (427347 BC) Greek philosopher. 10. Newton Isaac Newton (16431727) English physicist and mathematician. 11. Science feeds young men... the stanza is a poetic translation of a fragment from the speech of the Roman orator and politician Mark (10643 BC) in defense of the poet Archius (b. 120 BC).
The deep ideological content, ardent patriotism, the majestic and solemn style of the Lomonosov ode to a new, unlike the rest, type, its stable strophic organization, the correct size of iambic tetrameter, rich and varied rhyme, all this was new not only for Russian literature, but also for the history of this the genre as a whole. Pushing the boundaries of the genre, introducing patriotic pathos, Lomonosov turned the ode into a multi-volume work that served the highest ideals of the poet, his ardent interest in the fate of the Motherland.
2. G.R. Derzhavin "Felitsa"
For the first time, “Interlocutor”, 1783, part 1, p.5, without a signature, under the title: “Ode to the wise Kyrgyz princess Felitsa, written by a Tatar murza who has long settled in Moscow, and who lives on business in St. Petersburg. Translated from Arabic 1782. To the last words, the editors gave a note: "Although we do not know the name of the writer, we know that this ode was definitely composed in Russian." Having written the ode in 1782, Derzhavin did not dare to print it, fearing the revenge of noble nobles, depicted in a satirical way. The friends of the poet N.A. were of the same opinion. Lvov and V.V. Kapnist. By chance, the ode fell into the hands of a good friend of Derzhavin, an adviser to the director of the Academy of Sciences, a writer, figure in the field of public education, later Minister Osip Petrovich Kozodavlev (early 1750s 1819), who began to show it to various people, including introduced her to Princess E. R. Dashkova, who had been appointed director of the Academy of Sciences since 1783. Dashkova liked the ode, and when the publication of The Interlocutor was undertaken in May 1783 (Kozodavlev became the editor of the journal), it was decided to open the first issue of Felice. The publication of the "Interlocutor" was due to the political events of the early 1780s, the intensification of Catherine's struggle with the noble opposition, the desire of the empress "to use journalism as a means of influencing the minds, as an apparatus for disseminating favorable interpretations of the phenomena of the internal political life of the country." One of the ideas persistently pursued by Catherine in the huge “Notes on Russian History” was the idea noted by Dobrolyubov that the sovereign “is never the fault of civil strife, but always the resolver of strife, the peacemaker of princes, the defender of the right, if only he follows the suggestions of his own hearts. As soon as he does an injustice that cannot be hidden or justified, then all the blame falls on evil advisers, most often on the boyars and the clergy. Therefore, "Felitsa", panegyric portraying Catherine and satirically her nobles, fell into the hands of the government, Catherine liked it. Derzhavin received a golden snuffbox containing 500 chervonets as a gift from the Empress and was personally introduced to her. The high merits of the ode brought her success in the circles of the most advanced contemporaries, wide popularity at that time. A.N. Radishchev, for example, wrote: “If you add many stanzas from the ode to Felitsa, and especially where the murza describes himself, almost the same poetry will remain without poetry” (Poln. coll. cit., vol. 2, 1941, p. 217). “Everyone who can read Russian has found herself in her hands,” Kozodavlev testified. The very name "Felitsa" Derzhavin took from "The Tale of Tsarevich Chlorus", written by Catherine II for her grandson Alexander (1781). “The author called himself Murza because ... he came from a Tatar tribe; and the Empress Felice and the Kyrgyz princess because the late empress composed a fairy tale under the name of Tsarevich Chlor, whom Felitsa, that is, the goddess of bliss, accompanied to the mountain where a rose without thorns blooms, and that the author had his villages in the Orenburg province in the neighborhood of Kyrgyz horde, which was not listed as a citizen. In the manuscript of 1795, the interpretation of the name "Felitsa" is somewhat different: "wisdom, grace, virtue." This name was formed by Catherine from the Latin words "felix" "happy", "felicitas" "happiness".
Your son is accompanying me. In the tale of Ekaterina, Felitsa gave Tsarevich Chlor her son Reason as a guide.
Not imitating your Murzas, that is, courtiers, nobles. The word "Murza" is used by Derzhavin in two ways. When Murza speaks about Felitsa, then Murza means the author of the ode. When he speaks, as it were, about himself, then Murza is a collective image of a nobleman-court. You read, you write before the tax. Derzhavin has in mind the legislative activities of the empress. Naloy (obsolete, colloquial), more precisely "lectern" (church.) A high table with a sloping top, on which icons or books are placed in the church. Here it is used in the sense of "table", "desk". You can't saddle a parnasca horse. Catherine did not know how to write poetry. Arias and poems for her literary works were written by her state secretaries Elagin, Khrapovitsky and others. The Parnassian horse Pegasus. You don’t enter the meeting of the spirits, You don’t go from the throne to the East, that is, you don’t attend Masonic lodges, meetings. Catherine called the Freemasons "a sect of spirits." "Easts" were sometimes called Masonic lodges Masons in the 80s. 18th century members of organizations ("lodges") that professed a mystical and moralistic doctrine and were in opposition to the Catherine's government. Freemasonry was divided into various currents. One of them, Illuminism, belonged to a number of leaders of the French Revolution of 1789. In Russia, the so-called “Moscow Martinists” (the largest of them in the 1780s were N.I. on publishing, I. V. Lopukhin, S. I.
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