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 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 hard to imagine development in Russia literary language, poetry, grammar 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 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 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 ... - 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.

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 their 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, including introducing 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 magazine), 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 country's internal political life." 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 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. 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".

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 if 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 activity 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 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." "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 an invader of the throne and wished 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”, “The 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.

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 the famous old Russian stories "Derzhavin means a translated novel about Beauvais, which later turned into a Russian fairy tale. But every person is a lie - a quote from the Psalter, from Psalm 115.

Between the lazy and the grouch. Lentyag and Grumpy are the characters of the fairy tale about Tsarevich Khlor. “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. However, it was not for nothing that Pushkin called the “Instruction” “hypocritical”: a huge number of “cases” of people arrested by the Secret Expedition have come down to us on charges of “speaking” “indecent”, “obscene”, etc. words addressed to the Empress, heir to the throne, Prince . 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 an image 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 - i.e. bloodshed.

Tamerlane (Timur, Timurleng) - 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 by the empress, such as: educational home, hospitals, etc. 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.

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" by the great Russian revolutionary enlightener is one of the works most often found in the lists of free poetry from the end of the 18th century to the 1830s.

The ode was persecuted with particular fury by the censorship: its discovery by the authorities, even under random circumstances, promised serious reprisals.

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

The word "liberty" in the lexicon of the XVIII century meant independence, political freedom and had some semantic difference from the word "freedom": it was "Liberty" that was 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.

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 poetry late XVIII 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.

Bibliography

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

2. Herzen A.I. Preface to the book "On the Damage of Morals in Russia" by Prince M. Shcherbatov and "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. - t 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.

Lomonosov M.V. Full composition of writings. - M., 1955. - t 4, p. 165.

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

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

"Interlocutor", 1784, part 16, p. 8

Manuscript department of GPB, F. XIV. 16, p. 408

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

G.R. Derzhavin. Complete collection of poems. Leningrad "Soviet writer" 1957. - S. 236.

Nekrasov N. A. Autobiographical notes, From the diary // Full. coll. op. and letters. M., 1953. T. 12. S. 21

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 (b. 120 BC).

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 their 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 magazine), 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 country's internal political life." 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".

Annotation to work

The creator of the ode genre in Russian literature was M.V. Lomonosov. 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. 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. 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. By chance, the ode fell into the hands of one good friend of Derzhavin, an adviser to the director of the Academy of Sciences, a writer, figure in the field of public education, later Minister Osip Petrovich Kozodavlev (beginning. Thus, in the literature of the 18th century there were two trends: classicism and sentimentalism. The ideal of writers is classicists - a citizen and patriot, striving to work for the good of the fatherland.He must become an active creative person, fight against social vices, with all manifestations of "malice and tyranny" Such a person must abandon the desire for personal happiness, subordinate his feelings to duty.

Introduction

2. G.R. Derzhavin "Felitsa"

3. A.N. Radishchev "Liberty"

Conclusion

Bibliography

Introduction

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"

8. Tops of the Riphean ... - Ural.

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.

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 their 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 magazine), 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 country's internal political life." 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".

Your son is accompanying me. In the tale of Ekaterina, Felitsa gave Tsarevich Chlor her son Reason as a guide.

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.

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.

And you allow to know and think. In the “Instruction” of Catherine II, which she compiled for the Commission for the development of a draft new code and was a compilation of the works of Montesquieu and other philosophers of the Enlightenment of the 18th century, there are indeed a number of articles, a summary of which is this stanza. However, it was not for nothing that Pushkin called the “Instruction” “hypocritical”: a huge number of “cases” of people arrested by the Secret Expedition have come down to us on charges of “speaking” “indecent”, “obscene”, etc. words addressed to the Empress, heir to the throne, Prince . 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 an image 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 ended up in the Secret Chancellery. 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 - i.e. bloodshed.

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

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 greyhounds daredevils, both in prose and in verse, I am afraid of sensitive hearts and truth.

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

The ode "Liberty" by the great Russian revolutionary enlightener is one of the works most often found in the lists of free poetry from the end of the 18th century to the 1830s.

The ode was persecuted with particular fury by the censorship: its discovery by the authorities, even under random circumstances, promised serious reprisals.

“The plot of Liberty is based on general educational theories of natural law and social contract, rethought by Radishchev in a revolutionary spirit.” (Zapadov V.A. Poetry A.N. Radishchev // Radishchev A.N. Poems. .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 oblique terms.The tyrannical pathos and the call for a revolution that should sweep away the power of the tsars determined the constant, deep influence of the ode.

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.

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 become an active creative person, fight against social vices, with all manifestations of "malice and tyranny." Such a person must give up the pursuit of personal happiness, 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.

Bibliography

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

2. Herzen A.I. Preface to the book "On the Damage of Morals in Russia" by Prince M. Shcherbatov and "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. V.A. Zapadov. 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.

In ancient times, the term "ode" did not define any poetic genre, denoting in general "song", "poem". Ancient philologists used this term in relation to various kinds lyric poems. From ancient lyric formations highest value for the ode as a genre of European literatures, the odes of Pindar and Horace have.

Ode to Pindar - the so-called. "Epinic", i.e., a laudatory song in honor of the winner in gymnastic competitions, whose task is to excite and encourage the will to win among the aristocracy. The ode is characterized by rich verbal ornamentation, which was supposed to aggravate the impression of solemnity, emphasized grandiloquence, and a weak connection of parts. Pindar's ode is characterized by abrupt, unmotivated transitions of the associative type, which gave the work a particularly difficult, "priestly" character. The archaic features of Pindar's ode during the era of French classicism were perceived as "lyrical confusion" and "lyrical delight".

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; his odes are dominated by a secular tone, sometimes with a slight admixture of irony.

The ode genre was revived in European literatures during the Renaissance. In France, the founder of the ode was the poet Ronsard. He gave samples of various types of odic poetry of antiquity (Pindar, Horatian and Anacreontic odes). During the 16th-17th centuries, the ode genre became widespread in other European countries. The second and most significant moment in the history of the development of the European ode is associated with the name of Malherbe. In his work, the ode acquired all the main features with which it entered the poetics of European "classicism" as the leading lyrical genre. social function ode becomes a direct service to the growing absolutism. Malherbe cultivated predominantly the form of a "solemn", "heroic" ode. Its plot necessarily has an important "state" significance (victories over external and internal enemies, restoration of "order", etc.). The main feeling that inspires her is delight. Hence the general solemn elation of the style, built on the incessant alternations of exclamatory and interrogative intonations, the grandeur of the image, the abstract “highness” of the language, equipped with mythological terms, personifications, etc. The practice of Malherbe was canonized by Boileau. One of the main provisions of the theory of Boileau's ode was the requirement of the so-called. "lyrical disorder", which consisted in the absence of a direct logical sequence in the deployment of the theme. With a sharp change of majestic pictures, a chaotic piling up of images, one grander than the other, possessed by the “demon of inspiration”, soaring “up to the clouds”, the poet most easily accomplishes the main task of the ode - to communicate the ultimate emotional charge, shake the hearts of listeners with surprise, horror and delight. Boileau's theory became the code of the classical ode in general.

RUSSIAN ODE. Elements of a solemn and religious ode are already present in the literature of southwestern and Muscovite Russia at the end of the 16th-17th centuries. (panegyrics and verses in honor of noble persons, the "welcome" of Simeon of Polotsk, etc.).

The first attempts to introduce the genre of "classical" ode into Russian poetry belong to Cantemir, but the term itself was first introduced Tredyakovsky in his "Solemn Ode on the Surrender of the City of Gdansk". Subsequently, Tredyakovsky 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 tender matter” (“New and a short way to the addition of Russian poetry").

However, the true founder of the Russian ode, who established it as the main lyrical genre of feudal and noble literature of the 18th century, was Lomonosov. The solemn, or laudatory (Pindaric) ode was the main form of Lomonosov's poetic work. The solemn ode, as we know it from the work of Lomonosov, is an extensive poem consisting of many stanzas (10 verses each). Their writing and publication was most often timed to coincide with official celebrations: birthdays, accession to the throne, etc. empresses.

The basis of Lomonosov's political thinking was the idea of "enlightened absolutism". He believed that the absolute monarch is above the interest in the affairs of any of social groups the state subject to him, that the state structure of the country depends on the will and mind of the monarch-legislator. And so, the task set for himself by Lomonosov is to open the eyes of both the people and the empress. His odes are manifestos of that enlightened power that Lomonosov dreamed of, and not at all of a specific ruler. The idea of "enlightened absolutism" determined the predominance of the theme of depicting the ideal monarch in Lomonosov's odes. First, Elizaveta Petrovna, then Catherine 2, acts as such an ideal ruler. For tens of hundreds of verses, Lomonosov praises, extols the empresses, again and again returning to this topic. In his odes, he draws a lofty noble image of that ideal monarch that he dreams of, from whom he expects the bliss and progress of Russia. The task of the panegyric as a reality of culture is not to praise (“The donkey will remain a donkey, even if you shower it with stars” - G.R. Derzhavin), but to reveal the qualities of a monarch inherent in him in the world of ideas. Of course, the image created by Lomonosov, which so clearly exceeded all the real possibilities of genuine Russian autocrats, served them as a lesson, and in part a reproach. Lomonosov, as an educator, was not afraid to teach the kings. However, the greatness of the ideal monarch was for Lomonosov in fact only a symbol of the greatness of Russia itself. The glory and benefit of Russia is, in essence, the main, the only generalizing theme of almost all of Lomonosov's poetic work. Lomonosov's literary activity proceeded in the era of classicism. Of course, Lomonosov could not resist the inertia of this mighty style, but in general Lomonosov's poetry cannot be called classic. The rationalistic view of reality, the logical nature of the dryish classical semantics, the fear of fantasy underlying classicism could not be acceptable to Lomonosov the dreamer, the creator of grandiose visions of the future. The pathos of Lomonosov's ode, its grandiose scope, its vivid metaphorical manner brings it closer to the art of the Renaissance. The style of Lomonosov's ode is majestically solemn, elevated, lush. He considered “importance”, “splendor”, “elevation”, etc. to be the merits of poetic speech. He believes that it is necessary to enrich speech by all means, to “spread” it. In Lomonosov, the richness of each verse group distracts from the “backbone” of the construction - the “dry ode”. The composition of the ode is determined by several equivalent centers. The ode is not linear, but centric, rather even circular construction. The question of the intonational organization of the ode: the oratorical word should be organized according to the principle of the greatest literary wealth. It is also recommended to introduce the so-called. "florid speeches" that are born from "transferring things to an indecent place." At the same time, the ornate organization of the ode breaks with the closest associations as the least influencing. The connection or collision of the words "distant" creates an image. The usual semantic associations of the word are destroyed, instead of them - a semantic demolition. Lomonosov's favorite technique is the union of words that are distant in terms of lexical and subject lines (“The cooled corpse and the cold stinks”). The abundance in Lomonosov's odic speech of Slavonicisms and Biblicalisms maintains the general atmosphere of solemn style. The very selection of words in Lomonosov's style is characteristic: for him, the emotional coloring of a word is sometimes more important than its narrowly rational meaning (“There, horses with stormy legs lift thick dust to the sky ...”). The emotional upsurge of Lomonosov's odes is compositionally concentrated around the theme of the lyrical delight of the ode-writer himself. This poet, present in all Lomonosov's odes, is not Lomonosov himself. His image is devoid of specific individual human traits. Earthly objects cannot be seen by this poet, who soared in spirit to the superhuman greatness of the history of the people. Specific objects, themes, feelings appear as allegories, generalized to the limit. Odic delight is an indispensable condition for ode, necessary to bring the reader into a specific state. Lomonosov's ode is a verbal construction subordinated to the author's assignments. Poetic speech is sharply separated from ordinary speech. The oratorical moment became defining, constructive for Lomonosov's ode. Despite the excessive pomposity of the style, all the images are meaningful, everything is proportionate, the same principles are used.

Much more than in the solemn odes of Lomonosov, his poetic language in the "spiritual" odes is simple. In this genre, he relies on a fairly strong tradition (in particular, on Jean-Baptiste Rousseau). Perhaps it is precisely this influence that can explain the greater simplicity, lightness, and clarity of the language of Lomonosov's spiritual odes compared to solemn odes. However, a significant role here was played by themes, more "human" than state.

Lomonosov's rhetorically solemn odes provoked a reaction against him from Sumarokova, who gave samples of a reduced ode, which to a certain extent met the requirements of clarity, naturalness and simplicity put forward by him. Sumarokov is opposed to "loudness" and "ardor", they are opposed to "wit". The virtues of the poetic word are its "stinginess", "brevity" and "accuracy". Sumarokov struggles with the metaphorism of the ode. “The conjugation of distant ideas” is opposed by the requirement to conjugate close words (instead of “for beads, gold and purple” - “for beads, silver and gold”). Sumarokov considered the change in the meaning of a word as a violation of the correctness of the grammatical nature. He also protests against the deformation of the verse structure of speech (for example, he does not accept "incorrect stresses"). Sumarokov believed that his poetic activity is a service to society, a form of participation in the political life of the country. According to his political views, he is a nobleman-landowner. thought serfdom necessary, but the nobleman, in his opinion, does not have the right to consider the peasants his property, to treat them like slaves. He must be the judge and chief of his vassals and has the right to receive food from them. Sumarokov believed that the tsar must obey the laws of honor embodied in state laws.

The struggle between the traditions of the Lomonosov and Sumarokov odes spanned a number of decades, especially escalating in the 50s and 60s of the 18th century. The most skillful imitator of the first is the singer of Catherine II and Potemkin - Petrov. He was a poet who willingly carried out the plans of the government, par excellence an ode-writer-praiser. Petrov's odes are tensely pathetic, grandiose both in their images and in their volume. Petrov glorified the monarchy and its "heroes" in a deliberately complex, upbeat language. These odes have an effect, sparkle with the splendor of verbal ornament; in the noisy stream of verse speech, oratorical and pathetic, separate thoughts sink, logical connections crumble.

Of the Sumarokovites, the most important in the history of the genre is Kheraskov- the founder of the Russian "philosophical ode". Kheraskov's od-thinking style is extremely restrained, not devoid of signs spoken language. He has neither the tense solemnity of Lomonosov's speech, nor the emphasized vulgarity of Sumarokov. Kheraskov creates a single "middle" light syllable. He writes poetry that gives the impression of a freely flowing intimate conversation. The “middle”, conditionally selected words of the poetic purist language habitually fit in his poems into the obligatory schemes of a logically coherent and clear phrase. Habituality, smoothness of constantly repeating few metric schemes and syntactic forms are characteristic and fundamental for Kheraskov.

As a result, it turns out that both Petrov and Kheraskov are very different in style from their teachers => there were no Lomonosov and Sumarokov schools, but simply poetry.

The ode was important not only as a genre, but also as a certain direction in poetry. In contrast to the younger genres, the ode was not closed and could attract new materials to absorb into itself, animated at the expense of other genres, etc. New way Derzhavin destroyed the ode as a canonical genre, but retained and developed the stylistic features determined by the ornate beginning. The strict rules of classic poetry did not constrain his work. Elements of the middle (and even low) style were introduced into the high-style vocabulary, the ode is oriented towards the prose of satirical magazines. The verbal development of images has lost its significance, because. the former semantic demolition has become stylistically common. Therefore, the introduction of sharply different means of style into the ode had the task of maintaining its value. Derzhavin's images are picturesque, their subject relatedness is concrete. "The lyrical high consists in the rapid soaring of thoughts, in the uninterrupted presentation of a multitude of pictures and feelings." Lomonosov's intonation prims are developed and sharpened. Diversifying the lyrical stanza, Derzhavin introduces the strophic practice of the Lomonosov canon into new variants (for example, the unsteady system in an 8-line stanza of the type aAaA + vVvV). Often stanzas like aaaa+b are used, where a 4-line stanza is followed by a non-rhyming verse => double intonation effect. Derzhavin's ideal is an "onomatopoeic" poem, subordinated to general requirement"sweetness". In the ode "Key" readers could not help but be struck by the vivid images of nature, concrete verbal painting. In the ode "On the death of Prince. Meshchersky" Derzhavin opened to his contemporaries not only new depths of philosophical thought, but also the lyricism of individual human soul. Ode "God" became one of his most famous works. In it, he spoke out against the atheism of the French materialists of the 18th century, but not from an official church position, but relying on a romantic worldview, on a sense of the fusion of man with nature, with the whole universe. The idea of the unity of human nature, bringing together the king, the poet and, in principle, any person, was also manifested in the "Ode to Felitsa". Its novelty was obvious. The empress was praised here primarily for her human qualities - simplicity, mercy, enlightenment, modesty - and not for state merits, or, rather, it was precisely these spiritual virtues that, under Derzhavin's pen, turned out to be the main qualities of a real empress. The readers were also struck by the unusual form of the ode. Appeals to the empress were interspersed here with digressions describing the life of the poet himself - an unheard-of situation for a traditional ode. In addition, the grandiloquent and solemn style, befitting a high genre, was also decisively discarded, it was replaced by a much simpler language. Derzhavin also writes civic satirical odes, which acquire the highest sound from him in such works as "The Nobleman" - a pathetic, bold satire on the vicious rulers of the state, combining mockery with high anger and glorification of the ideal of a wise statesman. His largest ode "Waterfall", which speaks of the death of the "magnificent Prince of Taurida", Potemkin, belongs to the same period. In “Waterfall”, the author, mourning the death of Prince Potemkin, focuses primarily not on his military or state successes, that is, not on what, from the point of view of that era, should have been preserved for centuries, but on an exclusively personal sense of transience, temporality everything that exists, whether it be fame, success or wealth: ... And all, that shone near you, It became depressing and sad. Here, in the "Waterfall", Derzhavin creates an absolutely innovative landscape for that time. Rather abstract descriptions of nature in the poems of his predecessors are replaced by a sublime, romanticized, but still a description of a very specific place - the Karelian Kivach waterfall.

From the end of the 18th century along with the beginning of the fall of Russian classicism, he began to lose his hegemony and the ode genre, giving way to the emerging verse genres of elegy and ballads. A crushing blow to the genre was dealt by Dmitriev's satire "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 some time. for a long time. Solemn odes were also written by Dmitriev himself.

Then the beginning of the spoken word and the verbal image is opposed to the subordinating musical beginning. The word is now "coherent", "simplified" ("artificial simplicity"). The intonation system obeys the verse melody. Of decisive importance were small forms arising from non-literary series (letters are interspersed with “quatrains”, the cultivation of burime and charades reflects an interest not in verbal masses, but in individual words. Words “match” according to the nearest subject and lexical series.

Zhukovsky uses the word, isolated from large verbal masses, highlighting it graphically into a personified allegorical symbol (“remembrance”, “yesterday”). The elegy, with its melodious functions of the fading word, is like a semantic purification. A message appears that justifies the introduction of colloquial intonations into the verse.

But the ode as a direction does not disappear. It emerges in the revolt of the archaists (Shishkov, then Griboyedov, Kuchelbeker). The ode is reflected in the lyrics of Shevyryov and Tyutchev (principles of the oratorical position + melodic achievements of the elegy.

The struggle for a genre is essentially a struggle for the function of the poetic word, its setting.

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

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.

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 magazine), 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 country's internal political life." 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.