Biography of the Oda genre

Antique philologists applied this term in relation to various kinds of lyrical poems and divided O. from ancient lyrical formations the greatest importance for the ode as a genre of European literature are Odes of Pindar, see the Oda Pindar [V century. Local and personal elements binding to epic, his family, cities, competitions, etc., is inherent in a rich verbal ornamentation, which must aggravate the impression of solemnity, emphasized high -part, weak connection of parts.

The poet, considering himself as a “sage”, a teacher, only with difficulty collects together the elements of traditional glory. Pindarovskaya O. with the collapse of ancient ideology, this “poetic eloquence” gave way to the prosaic, and the social function of O. The archaic characteristics of O. Pindar in the era of French classicism were perceived as “lyrical mess” and “lyrical delight”.

Horace [I century. Oda Horace is usually addressed to some real person, whose will the poet supposedly intends to influence. The poet often wants to create an idea that the poem is really pronounced or even sung. In fact, the Horace lyrics of book origin. Grabbing the most diverse topics, Horace Odges are very far from any “high style” or overstrain of expression of expression excluding the so -called.

The term "O. It arose in European liters in the Renaissance, in the XVI century. In France, the founder of the ode was the poet Ronsar, see the five books of his OD [,] Ronsar gave examples of various types of Oddic poetry of antiquity Pindarovskaya, Horace and anacreontic odes. In the ODs of Pindar, who intended for him for singing, he retained their triple division of the stanza, anti -Strif, the estro that, together with the “scientist”, abundant ancient words, the dictionary subsequently gave an occasion and the possibility of “classics”, Boailo and others.

The theme of the OD Ronsar is very diverse: he praises “love, wine, cheerful feasts, dancing, masquerades” and tournaments and tournaments and tournaments and tournaments and tournaments ” Comrade Ronsar Odes with their anti -kicating and hedonistic trends is a typical product of the French Renaissance in his noble expression. The second and most significant moment in the history of the development of the French and European O.

In the work of Mlerb O., the social function of the ode becomes direct service to the stronger absolutism. Mlerb cultivated mainly the form of “solemn”, “heroic” ode. Its plot necessarily has an important “state” meaning of victory over external and internal enemies, the restoration of “order”, etc. The main feeling that is inspiring is delight. The main tone is the praise of the leaders and heroes of the monarchy: the king and person of the royal house.

Hence the general solemn ebelity of the style, rhetorical and in its nature and, in its very speech function, ODA was intended primarily for the solemn pronunciation, built on the unceasing alternations of exclamation and interrogative intonations, the grandeur of the image, the abstract "highness" of the language, equipped with mythological terms, personification, etc.

The very form O. The stanzic structure of O. One of the main provisions of the theory of the Oda Boailo was the so -called demand. A sharp change in majestic paintings, chaotic pile of images, one more grandiose more than the other, shifted by the “demon of inspiration”, inflating “to the clouds”, the poet is most easily carried out by the main task of the ode - to inform the ultimate emotional charging, shake the surprise, horror and delight of the heart of the listeners.

However, Boailo immediately complemented this requirement of a lyrical mess, characteristic of the rationalistic poetics of classicism with a restriction: he considers mandatory the presence in this apparent unrest of the inspiration “from himself” by strict internal orderliness. Boailo theory became the Classical Code of the Classical O. After the Maleta, the most prominent representatives of the Oda genre in France were J.

Rousseau, Lebren, Lefran de Pompinyan and Lamo. The genre of the Anacreontic O. genre Genre O. The development of the latter is widely used with the successes of European sentimentalism, the style of the rise of a petty bourgeoisie, which extended to fight the “old order” in its various manifestations. In the German literature, a new life in the genre of O.

with the revival in the era of the Great French Revolution of “Revolutionary Classicism” is revived and the genre of O., repelled from the classic stamps of Maleta and J. Rousseau, romantics are returning - as their own model to the old, rejected by Boailo Ronsar. Starting from the end of the first half of the XIX century. The first attempts to introduce the “classical” “classical” “classical” genre into the Russian poetry, Tredyakovsky composed a series of “nodel and divine” and, following Boailo, gave the following genre to the new genre: Oda “there is a high piquitic clan, however, the genuine founder of the Russian O.By virtue of this, the main species cultivated by Lomonosov was a solemn pindaric ode; All elements of her style should serve to identify the main feeling - enthusiastic surprise, mixed with reverence - - horror before the greatness and power of state power and its carriers.

This determined not only the “high”-“Slavic-Russian”-the language of O. The rhetorically-subordinate dresses of Lomonosov, proclaimed by contemporaries the “Russian Pindar” and “our countries of the Malet”, caused the reaction from Sumarokov Parodic and “Highly Dress”, which gave samples of the reduced O. the struggle of the traditions of the Lomonosov and Sumarokovskaya “O.

Of the Sumarokovites, herakov is of the greatest importance in the history of the genre - the founder of the Russian “philosophical ode”. Among the Sumarokovites, the anacreontic O. this struggle was a literary expression of the struggle of the two groups of feudal nobility: one-politically leading, most stable and socially “healthy”, and the other, departing from social activity, which was satisfied with the achieved economic and political domination.

In general, the “high” tradition of Lomonosov at this stage won. It was his principles that were the most specific to the genre of the Russian O. is indicative in this regard that Derzhavin was his theoretical “reasoning about lyrical poetry or clothes” -; See Derzhavin, i.e., in his rules for the exploration of Derzhavin, the Code of Boailo, Batte and their followers followed. However, in his own practice, he goes far beyond their borders, creating a mixed type of Oda-satire, combining the exaltation of the monarchy with satirical attacks against the court and written “high-and-minute” language on the basis of the “Horace Oda”.

Along with the high "Lomonosovskaya" O. Derzhavin’s work, marked by the highest heyday of the genre of the genre of the genre of “noblem,“ rulers and judges ”, etc. The public orientation, which is a characteristic feature of O. in Radishchev’s liberties, diametrically changed the main social function of O. But this kind of use could not give significant results. The ideology of the Russian bourgeoisie was significantly different from the feudal-holy-haired, who underwent significant changes under the influence of the growth of capitalism.

Since the end of the 18th century, together with the fall of Russian classicism as a lit-th ideology of the feudal nobility, the genre of O. The crushing blow to the genre inflicted Satire I. Dmitriev, directed against one-time poets, “pindicing” in their yawning poetry for “a reward of a ring, one hundred rubles Il friendliness with the prince. " However, the genre continued to exist for a rather long time.

The solemn O. But basically, the genre was increasingly passing into the hands of medigonal epigones like the notorious Count Khvostov and other poets grouped around Shishkov, and the “conversations of lovers of the Russian word”. The last attempt to revive the genre of “High” O. Kuchelbeker “On the direction of our poetry, especially the lyrical, in the last decade” in “Mnemosin”, part of the end of the 20th.

The first printed publication of Oda Derzhavin “Felitsa” - - disappeared from Russian poetry. Separate attempts to revive her, which took place in the work of the Symbolists, at best were the nature of the more or less successful stylization of e.g. Count O. Bibliography: Ostolopov N. Lange, M. Experience of the interpretation of the parody, “Poetics”, L.