We have all heard about such a genre of literature as an ode. So what is it? What is the history of this genre? Who is considered the ancestor of the ode? What is the theory of the genre? All these questions can be found in this article.
Definition of the concept of "ode"
Oda is an old song on any topic that was performed in Ancient Greece in chorus with musical accompaniment. Later, they began to call this a laudatory verse dedicated to the glorification of important historical events or prominent persons. Sometimes an ode glorifies the majestic natural phenomena... The style of such works is especially solemn, it is sustained in a sublime spirit with elements of pathos.
Translated from the ancient Greek ώδή (oide), ode is a song. Distinguished between laudatory, dance and deplorable.
V. Dombrovsky, for example, defined the concept as follows: “The word " ode "is in Greek the same as our "song". Not every song is an ode; this name is usually called a song in which a poet, touched by something lofty, unusual and worthy of surprise, an object with which universal, national or public interest, expresses his feelings with a fiery word, taken into all the means of pictoriality, expression and melody. "
Signs of an ode
An outstanding sign of an ode is an elated mood, a bold, uncontrollable flight of imagination, an ardent feeling of enthusiasm and adapted to this poetic form expression of thoughts. The themes for glorification and exaltation are taken by a song of praise from the sphere of high ideals, impulses, desires and competitions of a person. Will, advancement of humanity, love for native land, the struggle for the realization of high cliques of freedom, truth and brotherhood in life, ideal intentions and competitions, heroic deeds and exploits, the invincible power of the song - all this can give rise to a rise in spirit. And all this can be glorified in ode.
History
Oda is a genre of literature, the founder of which was the ancient Greek poet Pindar (IV century BC), who was the author of a number of songs of praise in honor of the gods, Olympic Games Oh. His poems of praise had a strict metric form and composition (stanza - antistrophe - epod). The Roman lyricist Horace, who lived in the 4th century BC, composed odes in honor of Venus, Bacchus, and also the emperor Augustus Octavian. During the Renaissance, the Frenchman P. Ronsard ( mid XVI v). His odes glorified nature, which brought joy and peace to people ("To Bellera's Stream"). Some of Ronsard's odes were written in honor of love. This is an ode to a woman (“My friend, they took me to live more comfortably”).
Ode genre theory
Oda is a genre that has developed alongside panegyric works, primarily a hymn and praises. These works were to be accompanied by playing on musical instruments(harp, cithare, etc.) and dances.
The ode acquired the canonical genre structure of the work, in which civil motives clearly dominate, in the work of Malerba, one of the founders of French classicism. Odes of Malerba ( early XVII c.) defended the inviolability of the principles of absolutist statehood, praised the monarch and his relatives, high dignitaries and commanders.
The song of praise received its theoretical substantiation in the poetic treatise by N. Boileau "Poetic Art". Along with tragedy, ode is a literary genre that was ranked among the highest. N. Boileau formulated the rules for writing odes concerning language, metrics, general poetic tonality. Compositionally, the song of praise begins with a song, followed by an exposition of "noble and important matter", which includes various episodes, and digressions, and the so-called lyrical disorder (the poet's "jumping" from one motive to another), and the ode ends with an ending. According to N. Boileau, the ode was able to touch the imagination of the reader with its state solemnity.
Prominent odographers in the literature of the 18th century were M.J. Chenier, Lebrun-Pindard (France), Klopstock, Schiller (Germany), Lomonosov, Kantemir, Trediakovsky (Russia). The latter introduced the term "ode" in Russian poetry. In the era of romanticism, the song of praise occupied a significant place in the works of Byron ("Ode to the authors of the bill against the destroyers of machine tools"), Shelley, Kuchelbecker.
In the literature of the 20th century, the ode is extremely rare. As examples, it is worth recalling "Ode to the Library" by S. Kryzhanovsky, his cycle "Odes" ("Ode in honor of a tree", "Ode to man", "Ode to speed"), "Ode to the human language" by I. Muratov, "Ode to revolution "V. Mayakovsky," Ode to conscience "by I. Drach.
Oda is a solemn poem. Once upon a time in ancient Greek poetry, an ode was called lyric poem, which was performed by the chorus. It is interesting that initially in Ancient Greece absolutely any form of poetic lyrics accompanying music was attributed to Ode.
The ancient Greek poet Pindar, who lived around 518–442 BC. e., sang in his odes of kings and aristocrats, who, in his opinion, were favored by the gods. Especially the genre of ode took root in the poetry of European classicism, where it became widespread.
The founder of French classicism F. Malerba (1555–1628) worked mainly in the Solemn Ode genre. His odes were about the glorification of the absolutist power in France. The work of J.J. Rousseau also gave rise to the genre of ode.
In Russia, the ode (as V. K. Trediakovsky wrote: "glorifies lofty, noble, sometimes delicate matter") played the role of the main genre of classicism poetry. Exemplary works of this genre belong to M.V. Lomonosov, and among the authors of odes was the poetic heir of M.V.Lomonosov V.P. Petrov and opponent A.P. Sumarokov. Representing special value works of this genre belong to G.R.Derzhavin. In addition to the solemn (pindaric) ode, the moral ode (aka Horatian), love (also called anacreontic) and spiritual (transcription of psalms) received their place in Russian poetry.
Together with the article "What is an ode in literature?" read:
In Russian poetry there is a large number of genres, many of which are actively used by modern writers, while others have receded into the past and are rarely used by authors. The second is an ode. In literature, this is an outdated genre that was in demand in the era of classicism, but gradually disappeared from the everyday life of the masters of the word. Let's take a closer look at this term.
Definition
In literature? The definition can be formulated as follows: this is a lyric genre of poetry, a solemn song dedicated to a person with the aim of his exaltation, praise. Also, in some, not a person is praised, but a certain an important event... The first author of odes in literature is the poet of ancient Greece, Pindar, who in his grandiloquent poems honored the winners of sports competitions.
In Russia, the heyday of the genre fell on the era of classicism, when the great classics - Derzhavin and Lomonosov - created their immortal works. By the 19th century, the genre had lost its relevance, giving way to easier-to-read lyrics.
Specificity of the genre
Ode in literature is a rather specific genre due to the following features:
- Using 4-foot iambic.
- The presence of high, often outdated, archaic vocabulary, which conceived made it difficult to understand the text.
- The text has a clear structure, at the beginning and at the end there must have been an appeal to the addressee. True, some authors have departed from this canon.
- An abundance of rhetorical questions, lush tropes, long common sentences.
- Often in solemn verses one can find an amazing interweaving of lyric and journalistic principles, which is especially characteristic of
- Most of the works are quite large in size.
- The replacement of the pronoun “I” with “we” in the text (which is also typical for Lomonosov) suggests that the author expresses not his personal opinion, but the position of the entire people.
Such works were intended to be pronounced aloud, only a loud emotional reading was able to convey all the feelings that burned in the author's soul. That is why many odes are learned by heart.
Subject
The most frequently used ode themes in literature are heroic deeds praising monarchs. So, the first solemn ode to Lomonosov is dedicated to the capture of the Turkish A. Derzhavin in his poetic work addressed Felitsa - this is how he calls Catherine II.
Ode is an interesting genre of Russian literature, in which we can look at the main events of Russian history from a different angle, find out the author's perception of a particular historical person, and understand its role. That is why, at first glance, such works, which are so complex at first glance, but really fascinating, can and should be read.
From history lessons, schoolchildren remember some literary terms. One of them is yes.
Ode is called a special genre of literature. It is intended for chanting something or praising someone, therefore another name for the ode is a solemn song. Historical research connect the appearance of the ode with ancient Greek times, and specifically with the poet of that time, Pindar. Exact dates his life is unknown, historians assign him only the approximate time calling the 6-5th century BC. Despite many inaccuracies, Pindar is credited as the originator of this laudatory genre. The verses of this ancient greek poet glorified the winners of the Olympic Games, which were already very popular in those days. All the works of the poet were created with the aim of exalting both the person himself and the events that take place around him. This principle became the basis of this new literary genre. Songs of praise were supported by subsequent generations of poets.
As you know, the beginning of the flowering of the ode is considered the first century of our era. It was then that Horace worked. In his work, the ode took the main place. The poet began to appeal to other heroes of his time. The object of the ode, he chose people who possessed power and significantly influenced the lives of others. Such people were called important and influential.
Then came the period of extinction of the era of ode. Many more poets will turn to her, but the ode no longer had great popularity. Such a slow decay of this literary genre continued for quite a long time. Only the 16th century of our era is called the second breath of the ode. By that time, the formation of the monarchy began in the main countries of Europe. An absolute monarchy, for the maintenance of which the support of poets as well was critical. It is not surprising that the ode in these times is being turned into a state genre. Poets simply had to exalt the monarch, create songs praising the ruler. Poets vied with each other to exercise the syllable and grace of the texts. Ronsard, the French poet, turned out to be incredibly successful in this genre of literature. His work flourished in the 16th century.
What are the characteristics of an ode as a genre? First of all, it is vocabulary. She must be exalted. No colloquial words and vernacular is not allowed. Ode does not allow poets to use territorially specific words, nor can they invent new words. The lyrics of the ode only adhere to the high style. The ode is full of mythological images.
The ode came to Russia in the 18th century. Trediakovsky is considered to be the forefathers of the Russian ode. His most famous odes are considered the following odes: "Ode to the impermanence of the world", which is dated 1730 and "Solemn ode on the surrender of the city of Gdansk", created three years later. Favored by this literary genre and M.V. Lomonosov. "Ode on the day of the accession to the throne of Empress Elizabeth Petrovna" is widely known.
But the ode did not become very popular even in those centuries. And in the 19th century, its rapid decline began. This was facilitated by changes in the life of society, when the praise of autocracy began to be considered "bad form" among writers. The "fatal" blow to the genre was dealt by I.I. Dmitriev, having created the satire "Alien Sense". In the work, the poet harshly ridiculed the "penny" scribblers who were ready to sell their talent for a piece of silver. Very few poets began to turn to this genre, although it did not completely disappear. For the sake of fairness, we can recall that "Ode to Revolution", written by Mayakovsky, was raised to the heights in the 20th century.
Video review
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Oh yeah, odes, wives (Greek oda) ( lit.) A solemn lyric poem, preim. classical style, glorifying some events historical significance or the hero and his deeds. A false classic ode from the 18th century. "Vladimir would write odes, but Olga did not read them." Pushkin.
Culturology. Reference dictionary
(Greek ode) - a solemn song praising an event of historical significance or a hero and his deeds.
The ancient world. Reference dictionary
(from Greek ode - song)
genre of lyric poetry and music, expressing a solemn, elated mood. The most famous are the odes of Sappho, Alkea, Pindar, Bacchilis, Horace. In the Middle Ages, Fr. received a second birth.
(I.A. Lisovy, K.A. Revyako. Ancient world in terms, names and titles: Dictionary-reference book on the history and culture of Ancient Greece and Rome / Scientific. ed. A.I. Nemirovsky. - 3rd ed. - Minsk: Belarus, 2001)
initial every song. Then they began to call it that different kinds lyric poems. O. wrote on the most different topics concerning human life, and did not require the obligatory presence of solemn intonation. O. called the manuf. Alkea, Sappho, Pindara, Horace.
(Ancient culture: literature, theater, art, philosophy, science. Dictionary-reference book / Under the editorship of V.N. Yarho. M., 1995.)
Terminological dictionary-thesaurus on literary criticism
(from Greek ode - song) - a solemn pathetic, glorifying poetic work.
RB: genres and genres of literature
Gender: lyric genres
Persian: Pindar, G. Derzhavin, Voltaire, M. Lomonosov
* "The prototype of the ode in the ritual choral lyrics was a solemn song of praise in honor of the gods - a hymn among the ancient Greeks. On this basis, songs of praise dedicated to people arose" (LV Chernetz).
“In Russia, the ode became the main genre of poetry for M. Lomonosov, expressing patriotic, religious and philosophical enthusiasm. I.V. Stahl). *
Dictionary of Forgotten and Difficult Words of the 18th-19th Centuries
, NS , f.
A poem in a solemn, upbeat tone in honor of any significant event or person.
* Admirer of fame and freedom, In the excitement of his stormy thoughts, Vladimir would write odes, Yes Olga did not read them... // Pushkin. Eugene Onegin // *
ODIC.
Dictionary of Music Terms
(from gr. ode - song) - solemn musical composition created in honor of an event or an outstanding person.
Explanatory dictionary of the Russian language (Alabugin)
NS, f.
A solemn poem dedicated to some n. historical event or a hero.
* Odes of Lomonosov. *
Antiquity from A to Z. Dictionary-reference
an ancient concept that initially denoted any song, then, also among the Romans, a lyric poem written in an exquisite stanza form (translated from Greek - "song"). The largest odic poets of antiquity: Sappho, Alcaeus, Pindar, Horace.
encyclopedic Dictionary
(from Greek ode - song), genre of lyric poetry and music; solemn, pathetic, glorifying works. How the choral song ode originated in antiquity (Pindar); in the 16-18 centuries. genre of high lyricism (for example, Voltaire, G.R.Derzhavin). From the 17th century. also a vocal and instrumental piece of music written about certain events glorifying any idea or person; in the 19th and 20th centuries. purely instrumental odes are also created.
Ozhegov Dictionary
O YES, NS, f. Solemn poem dedicated to kakayun. historical event or hero. Laudatory about. Odes of Lomonosov.
| adj. odic, oh, oh. O. genre.
Efremova's Dictionary
- f.
- :
- One of the genres of lyrics, which is a solemn poem dedicated to someone. event or hero.
- A separate work of this genre.
- A solemn vocal or symphonic work dedicated to smb. significant event or feat.
- :
Encyclopedia of Brockhaus and Efron
(from the Greek. ώδή, abbreviation from άοιδή, song) - belongs to the genus of the so-called choral lyrics, which developed mainly among the Dorians. Lyrics of this kind were performed by a dancing choir, to the accompaniment of flutes and lyres, at public celebrations, mainly in honor of the gods. O. was intended for large circle listeners and had to be distinguished by serious content, objectivity, solemn tone; this is its difference from the Aeolian lyrics, which expressed the poet's more subjective moods and was designed for an intimate circle of admirers (see Lyrics). Doric lyrics differed from Aeolian and form: instead of short, couplet stanzas, she created stately, long stanzas, of which each fell into three parts (stanza, antistrophe and epode: the first two were composed of the same number verses, and the episode was shorter), corresponding to the movement of the chorus to the right, movement to the left, and a stop, after which the movement resumed with a new stanza. The content of O. was God, religion, nature, art, truth, fatherland, and the like, necessarily grandiose plots. In terms of its content, O. disintegrated into O. itself, a hymn (see) and praises (see). There is no doubt that ancient Greek O. was created under the influence of Eastern civilization. O. in the form of a hymn praising the deity is a favorite kind of Hebrew poetry (David's Psalms in the Psalter, Moses' song in Exodus, ch. 15, Deborah's hymn in the Book of Judges of Israel, ch. 5, etc.). The Greek ode, in the narrow sense of the word, assumed, in contrast to the hymn and the dithyramb, a certain share of the rational, didactic and philosophical element, although it cannot be attributed to the genus of didactic poetry (see). The best odographers ancient Hellas considered: Aeolian Alkey (see), best known for his patriotic O., praising bravery, hatred of tyranny, the delights of freedom, the grief of exile; Dorian Alkman (see), famous for his "parfenii" (songs for girls' choirs) of religious and sensual content and choral songs dedicated to political events; Ionian Simonides, who wrote songs of praise in honor of the winners of the public games (epicia). Higher development these songs were received from Pindar (6th century BC), who combined the seriousness of Dorian poetry with the imagery of the Aeolian and grace of the Ionian school. Hymns and praises also existed in ancient folk Latin poetry, in the form of priestly songs (songs of the Arval brothers, priests of Saliev), but did not receive literary development, since all lyric poetry of the subsequent time imitates Greek models. Pindar imitated Horace (see), in the most solemn of his O. and in his "Song of the century" (Carmen Saeculare); O. epicurean character, constituting the majority in the collection of Horace, caused by imitations of Alkeus, Sappho, Anacreon and go beyond the concept of O. in the narrow sense of the word. The Horace O.'s form is not as strict and dignified as that of Pindar; his stanza is usually quatrained (it was convenient for Fet to translate these O. in quatrain verses); he used for the most part, a short stanza - alkaic, sapphic and asklepiadic. With the Renaissance, O was also revived; the most prominent representative of O. in Italy in the 16th-17th centuries. there was Chiabrera (see), who abandoned the sonnet form, beloved by the followers of Petrarch, and returned to the stanza-like construction of the lyrics; his examples were Pindar and Horace, and he became the founder of the Pindarist school. The originator of Latin O. in France was in the 16th century. Ronsard and his friends (the so-called "Pleiades"), who composed O. "Horacian", "Anacreontic", "Pindaric", etc. Both Chiabrera and Ronsard used elements of the nationality: Chiabrera found a "stanza" in Italian folk songs, and Ronsard could find the makings of an ode in the echoes of the troubadours' creativity, who created a solemn political song (for example, on the crusade - chanson d "outré e). In England, where the people were especially favored by the lyric-epic song praising the exploits of Robin Hood, the heroic O. revival got the right to exist thanks to the 17th century poets Cowley (see) and especially Dryden (see), who wrote the famous O. to glorify the patroness of music, St. Cecilia - "Alexander" s feast "(set to music by Handel). In the XVIII century. O. received a particularly strong development in all European literature, after the authority of Boileau raised the imitation of ancient Roman forms and genera to the degree of the highest ideal of poetry. Poetic examples of the courtier, flattering O. gave as early as the 17th century. Malherbe (see), who praised Louis XIII, Richelieu and distinguished guests of the Rambouillet hotel; he happened to work for a whole year on one O. in order to achieve clarity, accuracy and virtuosity of verse. Malerba had many imitators; of them Jean-Baptiste Rousseau is better known (see). Klopstock (see) idealized the fallen O., filled it with religious content and diligently cultivated it in Germany. In Western European lyric poetry of the XIX century. O. no longer plays a prominent role; it is pushed aside by the smaller and more popular "song" forms of romantics. The great lyric poets, who combined enthusiasm and the power of fantasy with a philosophical education, nevertheless resorted to O., although they did not adhere to its traditional metric forms; Thus O. wrote: in Germany - Goethe, in England - Shelley, in France - Victor Hugo, in Italy - Manzoni, etc. Many of these odographers, like romantics, carefully avoid the outdated "pseudo-classical" word "O." ... The mass of the newest poems "in case" are of the character and stanza-like structure of O.
In Russian folk poetry, the character of O. is distinguished by the so-called "spiritual verses" (see) or senile songs - the poetic thoughts of the people about the higher issues of life, as well as some of the ritual songs, since they relate to pagan deities, some of the round dance (the song "Tsar Glory" : "Glory to God in heaven" etc. can serve good example folk O.). The first attempts of artificial O. belong to Kantemir (see); his "songs" were written in the manner of Western European O. (for example, the song "To the Praise of Sciences", set forth in six-line stanzas). In a more solemn tone (stanzas of ten verses), using everything beloved by the odographers of the 18th century. the mythological arsenal of metaphors and assimilations, written by Tredyakovsky "A solemn ode to the surrender of the city of Gdansk, 1734" (to the capture of Danzig); the verse in it (tonic 4-foot trochee) is more correct than the syllabic verses of Cantemir, but the content is only a rehash of the motives of Boileau and Malerba. The first, completely literary in form and original in content, Russian O. were O. Lomonosov (see), in which, with the spontaneity and liveliness of a newly awakened literary genius, patriotic enthusiasm is expressed (O., in which Peter the Great is praised) or religious and philosophical pathos (O. on a theme from the book of Job, beginning with the words: "O thou, that in grief you murmur in vain against God, man!"). A new and higher stage in the development of Russian O. is the poetic activity of Derzhavin (see), who introduced an extraordinary variety into the content of his O. , and pindaric pathos, combined with deistic ideas new philosophy("God"), and O. descriptive ("Waterfall"), and O.-satire ("To the rulers and judges"). O. Derzhavinskaya "God" can be considered almost the most famous of all European works of this kind: it has been translated into many languages. Derzhavin's type O. became the guiding norm for a long time; her influence on literature continues right up to Pushkin. Pushkin, with new forms of romantic poetry and all his artistic realism, finally brought out of fashion the old O., ridicule over which begins already from the time of I. I. Dmitriev (see), who ridiculed the Odographers in "Alien Sense".
Sun. Ch.
