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Composition

M. V. Lomonosov is a great scientist and poet. He became a luminary Science XVIII V. and to this day his works have not been forgotten. For Lomonosov, poetry is not fun, not an immersion in the narrow, in his opinion, world of a private person, but a patriotic, civic activity. It was the ode that became the main thing lyrical genre in the works of Lomonosov.

One of the most famous works Lomonosov became an ode “On the day of the accession of Elizabeth Petrovna.” Lomonosov begins it with glorification of the world:

Kings and kingdoms of the earth are a delight,
Beloved silence,
The bliss of the villages, the city fence,
How useful and beautiful you are!

When she took the throne,
How the Supreme One gave her a crown,
Brought you back to Russia
Put an end to the war.

Sent a man to Russia
What has not been heard since ages.
Through all the obstacles he ascended
Head, crowned with victories,
Russia, I will trample on barbarism,
He raised him to the skies.

Describing Peter I, Lomonosov resorts to ancient mythology. He uses the images of Mars and Neptune to symbolize war and the sea, which adds even more solemnity to the ode.

The ode “On the day of the accession of Elizabeth Petrovna” is not only praise for the empress, but also an instruction to her. The Russia that Lomonosov wants to see is great country, she is powerful, wise and at peace, but the main thing is that such a future is possible if Russia is a sacred power, the existence of which is impossible without an enlightened monarch. In a digression to the era of Peter I, Lomonosov seems to be telling Elizabeth that she should take an example from her father and continue his great works, in particular, contribute to the development of science, as her father did:

...Divine sciences
Through mountains, rivers and seas,
They extended their hands to Russia...

Look at the mountains above,
Look into your wide fields,
Where is the Volga, Dnieper, where the Ob flows;
Wealth is hidden in them,
Science will be frank,
What blooms with your generosity.

Such a huge country, the expanses of which stretch from the western plains, through the Urals and Siberia to the Far East, needs educated people. After all, only people knowledgeable people will be able to reveal all the natural resources of Russia:

O you who await
Fatherland from their bowels,
And he wants to see them,
What calls from foreign countries!
Be of good cheer, now you are encouraged,
Show with your speech,
What can Platonov's own
And the quick-witted Newtons
Russian land gives birth.

In these lines, the poet also draws the readers’ attention to the fact that the Russian land is capable of producing minds equal to those “which it calls from foreign countries!” He makes it clear that Russia is rich not only natural resources, but also capable people. People who can not only absorb science, but also sow their fruits. A natural continuation odes become lines:

Science young men are fed,
Joy is served to the old,
IN happy life decorate,
Take care in case of an accident;
There's joy in troubles at home
And long journeys are not a hindrance.
Sciences are used everywhere -
Among the nations and in the desert,
In the city noise and alone,
Sweet in peace and in work.

Reading these lines, one cannot but agree with the author. A person who does not have knowledge is not only uninteresting and boring in himself, he also leads the same life. Without knowledge, a person is not able to develop spiritually, therefore, while praising science, the author also praises human soul. The glorification of man, his soul and genius is the main idea of ​​the ode; it is the connecting thread. Science and knowledge connect not only generations, but also peoples. Knowledge is the fundamental principle of everything.

Lomonosov's ode is more than just literary work- this is the message. A message not only to the empress and contemporaries, but also to descendants. An excellent example of the fact that his descendants followed his behests - State University named after Mikhail Vasilyevich Lomonosov.

Mikhail Vasilyevich Lomonosov is known not only as an outstanding scientist, but also as a talented writer and poet who made a great contribution to Russian literature. One of his famous works is “Ode on the day of accession to the All-Russian throne of Her Majesty Empress Elizabeth Petrovna in 1747.” We offer brief analysis“Ode on the accession of Elizabeth to the throne” according to a plan that will help in preparing for a literature lesson in the 8th grade.

Brief Analysis

History of creation- The verse was written in 1747.

Theme of the poem– Glorification of the great achievements of Empress Elizabeth Petrovna.

Composition– The composition conventionally consists of three parts: in the first part the monarch is glorified, in the second the wealth and opportunities of Russia are described, in the third part words of praise are again offered to the wise ruler.

Genre- Oh yeah.

Poetic size– Iambic tetrameter using cross, adjacent and encircling rhymes.

Metaphors – « give… the fruits of the mind.”

Epithets – « generous”, “earthly”, “great”, “deep”, “cruel”.

Comparisons – « the soul of her zephyr is quieter,” “the vision is more beautiful than paradise.”

Personifications – « whirlwinds, do not dare to roar,” “Mars was afraid.”

Hyperbola – « through mountains, rivers and seas."

Slavicisms – « hail", "daughter", "neck", "behold".

History of creation

“Ode on the day of accession...” was written by Mikhail Vasilyevich in 1747, on the sixth anniversary significant event- accession to the throne of Elizabeth Petrovna. In his work he noted positive sides the reign of the new empress, who continued the good undertakings of Peter I.

Elizabeth got busy restructuring the Academy of Sciences: she approved a new staff and a new decree, doubled the funds needed for the needs of the academy, and supported science and Russian scientists in every possible way.

During the same period, the question of Russia’s possible entry into new war. The coalition of Austria, Holland and England invited the Russian government to take part in the war against France and the German states for the right to receive the Austrian inheritance.

In his work, Lomonosov not only glorifies Elizabeth for her desire to take Russia to a new level in the matter of education, but also warns against entering the war, insisting on a peaceful program for the development of the state.

Subject

The central theme of the work is the glorification of the great deeds of Empress Elizaveta Petrovna, who, according to the author, chose the right course in governing the Russian state.

The main idea of ​​the work is duty to one’s Fatherland, whose service is the highest award and honor for every person, be it a simple worker or a monarch.

In essence, the ode is a message addressed not only to the empress, but also to the poet’s contemporaries and descendants. He passionately dreams of the prosperity and well-being of Russia, its spiritual development, life in peacetime, without wars and hardships.

Composition

The composition of the work fully complies with the basic rules for constructing an ode and consists of three conventional parts, logically connected to each other.

In the first part of the poem, the poet expresses his delight and praises the empress and her services to the fatherland. Also glorifies the past achievements of the state and its rulers, with special admiration remembers Peter I and his famous reforms. According to the author, it was from him that Elizabeth took over the baton of great deeds.

In the second part, the poet gradually retreats from the personality of the ruler and focuses on the majestic image of Russia, with its endless expanses, inexhaustible natural resources and enormous creative and spiritual potential. He sees the strengthening and enrichment of the state in the development of science, and the future of the country in educated, enlightened young people.

The final part of the work again glorifies the monarch for his actions aimed at the benefit of his homeland.

Genre

The work was written in the ode genre, which was a favorite literary genre Lomonosov. This is a solemn work designed to glorify significant person or an important event, and Mikhail Vasilyevich had no equal in the skill of writing odes.

The poetic meter of the work is iambic tetrameter, also Lomonosov’s favorite meter. He used it with great skill, giving the poem a special solemnity, sonority and musicality.

Rhyming in this work also deserves special attention. The first four lines are characterized by cross rhymes, followed by 2 lines with adjacent rhymes, and the poem ends with encircling rhymes.

Means of expression

The work is distinguished by its amazing diversity artistic means, with the help of which the ode acquires a solemn, high style. Among them comparisons(“her soul is quieter than zephyr”, “the vision is more beautiful than paradise”), personifications(“whirlwinds, do not dare to roar”, “Mars was afraid”), hyperboles("across mountains, rivers and seas"), Slavisms(“hail”, “daughter”, “neck”, “behold”), metaphors(“give… the fruits of the mind”).

A special place is occupied by incredibly colorful and imaginative epithets: “generous”, “earthly”, “great”, “deep”, “cruel”.

Thanks to the skilful use expressive means the author manages to fully reveal his creative intent.

Jul 21

Analysis of M. Lomonosov’s ode “On the day of the accession to the All-Russian throne of Her Majesty the Empress Elizaveta Petrovna, 1747”

Let us turn to the analysis of one of Lomonosov’s best odes, “On the day of the accession to the All-Russian throne of Her Majesty the Empress Elizaveta Petrovna, 1747.”

Lomonosov developed in practice and approved for decades to come the formal features of the genre (poetics). In the ode we encounter large-scale images; a majestic style that raises the described pictures above the everyday; "lush" poetic language, full of Church Slavonicisms, rhetorical figures, colorful metaphors and hyperboles. And at the same time, there is a classicist rigor of construction, “harmony of verse”: consistent iambic tetrameter, ten-line stanza, unbreakable flexible rhyme scheme ababvvgddg.

Let's start analyzing the text from the first stanza:

Kings and kingdoms of the earth are a delight,

Beloved silence,

The bliss of the villages, the city fence,

How useful and beautiful you are!

The flowers around you are full of flowers

And the fields in the fields turn yellow;

The ships are full of treasures

They dare to follow you into the sea;

You sprinkle with a generous hand

Your wealth on earth.

As if from a bird's eye view, the poet surveys villages, cities, eared grain fields, ships plowing the seas. They are all covered and protected by “blessed silence” - there is peace and quiet in Russia.

The ode is dedicated to the glorification of Empress Elizabeth Petrovna. In the ode, the poet expresses his main and cherished idea: peace, not war, contributes to the prosperity of the country. The Empress, who enters the ode in the next stanza, turns out to be artistic logic derived from this all-encompassing peaceful silence (“The soul of her zephyr is quieter”). The poet maintains the parameters of the laudatory genre (“nothing in the world can be more beautiful than Elizabeth”).

Lomonosov strives to adhere to the compositional norms of the genre, that is, the principle of constructing an odic poem. The introductory part states the subject of chanting and the main idea works (the poet swapped them). The main part substantiates and proves the stated thesis about the greatness and power of the glorified subject. And finally, the conclusion (finale) gives a look into the future, into the further prosperity and power of the glorified phenomena.

The introductory part, or, as it is also called, the exposition, occupies twelve stanzas in this Lomonosov ode. The poet glorifies Elizabeth against the background of her predecessors on the throne, strictly following one after another. In the royal portrait gallery, the father of the current ruler, Peter I, is especially highlighted. This is the idol of the poet. It is clear to the reader from the detailed and pathetic characterization of Peter that it was from him that his daughter took over the baton of great deeds.

From the fourteenth stanza the ode enters its main part. The idea is expanding, and its artistic realization suddenly begins to show new, unconventional features. The lyrical pathos moves from the dynasty of rulers to the majestic image of the Fatherland, to its inexhaustible natural resources, enormous spiritual and creative possibilities:

Glory to You alone,

Monarch, belongs,

Vast is Your power,

Oh, how he thanks you!

Look at the mountains above,

Look into your wide fields,

Where is the Volga, Dnieper, where the Ob flows;

The wealth in them is hidden

Science will be frank,

Which blooms with Your generosity.

This is where there is room for inspiration lyrical hero! The virtues of “beautiful Elizabeth” gradually fade into the background. The poet's thoughts are now occupied with something else. It changes itself thematic direction odes. And the author himself is now not just a copyist. He is a patriotic scientist who draws readers' attention to pressing issues for Russia. The development of science will help to develop the riches of the North, the Siberian taiga and Far East. Russian sailors, with the help of cartographers, discover new lands, paving the way to “unknown peoples”:

There the wet fleet path turns white,

And the sea tries to give in:

Russian Columbus through the waters

Hastens to unknown nations

Proclaim your bounties.

Pluto himself, the mythical owner of underground wealth, is forced to give in to the mineral developers of the Northern and Ural (Rifean) mountains.

And behold, Minerva strikes

To the top of Rifeyski with a copy.

Silver and gold are running out

In all your inheritance.

Pluto is restless in the crevices,

What Rossum is putting into his hands

His metal is precious from the mountains,

Which nature hid there;

From the brilliance of the daylight

He turns away his gaze gloomily.

And yet, the main thing that will bring Russia into the ranks of world powers is, according to the poet, new generations of people: educated, enlightened Russian youths devoted to science:

O you who await

Fatherland from its depths,

And he wants to see them,

Which ones are calling from foreign countries,

Oh, your days are blessed!

Be of good cheer, now you are encouraged,

It’s your kindness to show

What can Platonov's own

And the quick-witted Newtons

Russian land gives birth.

Sciences nourish youths,

Joy is served to the old,

In a happy lives are decorated,

Take care in case of an accident;

There's joy in troubles at home

And in distant wanderings there is no hindrance,

Sciences are used everywhere:

Among the nations and in the desert,

In the city garden and alone,

In sweet peace and in work.

Topic decisive role science and education in the development of the country was stated, as we remember, by Cantemir. Trediakovsky served science with his creativity and his whole life. And now Lomonosov perpetuates this theme, puts it on a poetic pedestal. Exactly so, because the two stanzas just quoted are the culmination of the ode, its highest lyrical peak, the pinnacle of emotional animation.

But the poet seems to come to his senses, remembering that the ode is dedicated to an official event: the annually celebrated date of the empress’s accession to the throne. The final stanza again directly addresses Elizabeth. This stanza is obligatory, ceremonial:

To you, O source of mercy,

O Angel of our peaceful years!

Almighty on that assistant,

Who dares with his pride,

Seeing our peace,

To rebel against you with war;

The Creator will save you

In all ways I am without stumbling

And your life is blessed

He will compare it with the number of Your bounties.

In the ode, Elizabeth is presented as a peacemaker who stopped all wars for the sake of peace and happiness of the Russians: When She ascended the throne,

How the Most High gave her a crown,

Brought you back to Russia

Put an end to the war;

Having received you, she kissed you:

“I’m full of those victories,” she said, “

For whom blood flows.

I Rossov enjoy happiness,

I don't change their calmness

To the whole West and East.

With his ode, Lomonosov told Elizaveta Petrovna that Russia needs peace and does not need war. The pathos and style of the work are peacemaking, and not invitingly aggressive. The stanzas become beautiful and magnificent in terms of the abundance of expressive means when the poet addresses the theme of peace together with the sciences and demands that the “fiery”, that is, military, sounds fall silent:

Be silent, fiery sounds,

And stop shaking the light:

Here in the world to expand science

Elizabeth did so.

You impudent whirlwinds, don’t dare

Roar, but meekly divulge

Our names are beautiful.

Listen in silence, universe:

Lyra wants to be delighted

The names are great to say.

Lomonosov's metaphors are especially colorful. Lomonosov loved metaphors precisely for their ability to connect disparate details into a coherent grandiose picture, to lead to the main idea of ​​the work. “Metaphor,” he noted in his “Rhetoric” (1748), “ideas appear much more lively and more magnificent than simply.”

Here is one example of Lomonosov's metaphor. The fifth stanza from the ode “On the day of ascension...”: So that the word can be equal to them,

Our strength is small;

But we can't help ourselves

From the singing of Your praises;

Your generosity is encouraging

Our spirit is driven to run,

Like a swimmer's show-off, the wind is capable

The waves break through the ravines,

He leaves the shore with joy;

The food flies between the depths of the water.

Most of the space in this stanza is occupied by a complex and florid metaphor. More often, metaphors are several words or one sentence long. Here you are amazed at the scale metaphorical image. To isolate it, you will have to think carefully about the text. Before us is an exquisite compliment to the Empress. The poet complains that he does not have sublime words equal to the virtues of Elizabeth, and nevertheless, he decides to sing these virtues. At the same time, he feels like an inexperienced swimmer who has dared to swim alone “through the raging waves” of the “pont” (that is, the Black Sea). The swimmer is guided and supported along the way by a “capable”, that is, tailwind. In a similar way, the author’s poetic spirit is ignited and guided by Elizabeth’s remarkable deeds, her “generosity.”

Lomonosov resorted to bold combinations of words and concepts in his metaphorical style.

Let us turn to the analysis of one of Lomonosov’s best odes, “On the day of the accession to the All-Russian throne of Her Majesty the Empress Elizaveta Petrovna, 1747.” The term “ode” (from the Greek “ωδή, which means song) became established in Russian poetry, thanks to Trediakovsky, who, in turn, borrowed it from Boileau’s treatise. In the article “Discourse on Ode,” Trediakovsky described this genre as follows: “In ode material that is always and certainly described is noble, important, rarely tender and pleasant, in very poetic and magnificent speeches." Despite the hostility towards his literary opponent, Trediakovsky gave a definition of the genre, essentially based on Lomonosov's poetic experiments. This is exactly what Lomonosov's ode is. She addressed thematically to “noble and important matter”: peace and tranquility in the country, the wise rule of an enlightened monarch, development domestic sciences and education, development of new lands and prudent use of wealth in old lands.

Lomonosov developed in practice and approved for decades to come the formal characteristics of the genre, or, in other words, its poetics. In the ode we encounter large-scale images; a majestic style that raises the described pictures above the everyday; “lush” poetic language, rich in Church Slavonicisms, rhetorical figures, colorful metaphors and hyperboles. And at the same time - the classicist rigor of construction, the “harmony of verse”: consistent iambic tetrameter, ten-line stanza, unbreakable flexible rhyme scheme ababvvgddg.

Let's start analyzing the text from the first stanza:

The joy of kings and kingdoms of the earth, Beloved silence, The bliss of villages, the fence of cities, Since you are useful and beautiful! Around you the flowers are colorful and the fields in the fields are turning yellow; Ships full of treasures dare to follow you into the sea; With your generous hand You scatter Your wealth across the earth.

As if from a bird's eye view, the poet surveys villages, cities, eared grain fields, ships plowing the seas. They are all covered and protected by “blessed silence” - there is peace and quiet in Russia. The ode is dedicated to the glorification of Empress Elizabeth Petrovna, but even before her appearance in the ode, the poet manages to express his main and cherished idea: peace, not war, contributes to the prosperity of the country. The Empress, who enters the ode in the next stanza, turns out to be, according to artistic logic, derived from this all-encompassing peaceful silence (“The soul of her zephyr is quieter”). A very interesting move! On the one hand, the poet maintains the parameters of the laudatory genre (“nothing in the world can be more beautiful than Elizabeth”). But on the other hand, from the first lines of the work he firmly outlined his author's position. And then the poet’s lyrical voice, and not a projection onto the image of the empress, will more and more clearly lead the development of the narrative. The dominant role of the lyrical hero in the ode is undeniable artistic achievement Lomonosov in this traditional classic genre.

Lomonosov strives to adhere to the compositional norms of the genre, that is, the principle of constructing an odic poem. The introductory part states the subject of the chanting and the main idea of ​​the work (though, as we have seen, the poet swapped them). This is the thesis. The main part substantiates and proves the stated thesis about the greatness and power of the glorified subject. And finally, the conclusion (or ending) gives a look into the future, into the further prosperity and power of the glorified phenomena. The norms of classicism are rationalistic, therefore one compositional part of the work strictly and consistently follows the prescribed other.

The introductory part, or, as it is also called, the exposition, occupies twelve stanzas in this Lomonosov ode. The poet glorifies Elizabeth against the background of her predecessors on the throne, strictly following one after another. In the royal portrait gallery, the father of the current ruler, Peter I, is especially highlighted. This is the idol of the poet. It is clear to the reader from the detailed and highly pathetic characterization of Peter that it was from him that his daughter took over the baton of great deeds.

From the fourteenth stanza the ode enters its main part. The idea expands, and its artistic implementation suddenly begins to exhibit new, unconventional features. The lyrical pathos moves from the dynasty of rulers to the majestic image of the Fatherland, to its inexhaustible natural resources, enormous spiritual and creative possibilities:

This glory belongs to You alone, Monarch, Your vast power, Oh, how it thanks You! Look at the high mountains, Look at your wide fields, Where the Volga, the Dnieper, where the Ob flows; The wealth in them is hidden, Science will reveal, That blooms with Your generosity.

This is where there is scope for the inspiration of the lyrical hero! The virtues of “beautiful Elizabeth” are gradually fading into the background. The poet's thoughts are now occupied with something else. The very thematic direction of the ode changes. And the author himself is now not just a copyist. He is a patriotic scientist who draws readers' attention to pressing problems for Russia. The development of science will help to master the riches of the North, the Siberian taiga and the Far East. Russian sailors, with the help of cartographers, discover new lands, paving the way to “unknown peoples”:

There the wet path of the fleet turns white, And the sea strives to give way: Russian Columbus through the waters Hastens to unknown nations to proclaim Your bounties.

Pluto himself, the mythical owner of underground wealth, is forced to give in to the mineral developers of the Northern and Ural (Rifean) mountains. Let us remember, by the way, that Lomonosov perfectly studied the mining business:

And behold, Minerva strikes the top of Rifeyski with a spear. Silver and gold flow through all your inheritance. Pluto is restless in the crevices, That Ross is given into his hands Dragging his metal from the mountains, Which nature hid there; From the brilliance of the daylight He turns away his gloomy gaze.

And yet, the main thing that will bring Russia into the ranks of world powers is, according to the poet, new generations of people: educated, enlightened Russian youths devoted to science:

O you, whom the Fatherland expects from its depths, And desires to see such, Whom it calls from foreign countries, Oh, your days are blessed! Dare, now encouraged, to show with your zeal that the Russian land can give birth to its own Platos And quick-witted Newtons. Sciences nourish young men, serve joy to the old, decorate them in a happy life, protect them in an unfortunate event; There is joy in difficulties at home And in distant travels there is no hindrance, Sciences are used everywhere: Among peoples and in the desert, In the city garden and alone, In sweet peace and in work.

The topic of the decisive role of science and education in the development of the country was stated, as we remember, by Cantemir. Trediakovsky served science with his creativity and his whole life. And now Lomonosov perpetuates this theme, puts it on a poetic pedestal. Exactly so, because the two stanzas just quoted are the culmination of the ode, its highest lyrical peak, the pinnacle of emotional animation.

But the poet seems to come to his senses, remembering that the ode is dedicated to an official event: the annually celebrated date of the empress’s accession to the throne. The final stanza again directly addresses Elizabeth. This stanza is obligatory, ceremonial and therefore, I think, not the most expressive. The poet effortlessly rhymes the boring word “without stumbling” with the epithet “blessed”:

To you, O Source of mercy, O Angel of our peaceful years! The Almighty is a helper to him who dares with his pride, seeing our peace, to rebel against you in war; The Creator will preserve you in all your paths without stumbling, and will compare your blessed life with the number of your bounties.

Clearly not the best stanza! Let's try to pose the question as follows: if the genre of the classicist ode is an expression of certain political and state views, then in Lomonosov's ode whose views are these? to a greater extent, the empress or the poet himself? In answering this question, the third stanza is especially important. In it, Elizabeth is presented as a peacemaker who stopped all wars for the sake of peace and happiness of the Russians:

When She ascended the throne, As the Most High gave her a crown, She returned You to Russia, Put an end to the war; Having received you, she kissed you: “I am full of those victories,” she said, “For which blood flows.” I enjoy Ross's happiness, I do not exchange their peace for the whole West and East.

But in reality, Elizabeth was not a peacemaker at all! The warlike ruler conceived new and new campaigns on the borders Russian state. Military battles placed a heavy burden on the families of Russian working people. How little did the real Elizaveta Petrovna correspond to the ideal of the ruler of the country that is recreated in the work! And what kind of person you had to be, not just brave, but daring, to praise the empress for foreign policy, the opposite of what she established in relation to military operations! With his ode, Lomonosov told Elizaveta Petrovna that Russia needs peace and does not need war. The pathos and style of the work are peacemaking, and not invitingly aggressive. The stanzas become beautiful and magnificent in terms of the abundance of expressive means when the poet addresses the theme of peace together with the sciences and demands that the “fiery”, that is, military, sounds fall silent:

Be silent, fiery sounds, And stop shaking the light: Here in the world, Elizabeth deigned to expand science. You impudent whirlwinds, do not dare to roar, but meekly divulge Our beautiful names. In silence, listen, universe: Behold, the delighted Lyra wants to say great names.

Lomonosov's metaphors are especially colorful. Metaphor (in Greek metaphora´ means transfer) is artistic technique, connecting into one image various phenomena or objects that carry the properties of these various items Each other. Because phenomena or objects are compared within the image, it receives additional emotional and semantic meanings, its boundaries are expanded, the image becomes three-dimensional, bright and original. Lomonosov loved metaphors precisely for their ability to connect disparate details into a coherent grandiose picture, to lead to the main idea of ​​the work. “Metaphor,” he noted in his “Rhetoric” (1748), “ideas appear much more lively and more magnificent than simply.” Artistic thinking Lomonosov was essentially, as they would say now, synthesizing.

Here is one example of Lomonosov's metaphor. The fifth stanza from the ode “On the Day of Ascension...”:

So that the word can be equal to them, the abundance of our strength is small; But we cannot refrain From singing Your praises; Your generosity encourages Our spirit and directs us to run, Like a capable wind in a swimmer’s show-off, The waves break through the ravines, He leaves the shore with joy; The food flies between the depths of the water.

Most of the space in this stanza is occupied by a complex and florid metaphor. More often, metaphors are several words or one sentence long. Here you are amazed at the scale of the metaphorical image. To isolate it, you will have to think carefully about the text. Before us is an exquisite compliment to the Empress. The poet complains that he does not have sublime words equal to the virtues of Elizabeth, and nevertheless, he decides to sing these virtues. At the same time, he feels like an inexperienced swimmer who has dared to swim alone “through the raging waves” of the “pont” (that is, the Black Sea). The swimmer is guided and supported along the way by a “capable”, that is, tailwind. In a similar way, the poetic spirit of the author is ignited and guided by the remarkable deeds of Elizabeth, her “generosity.”

To convey the greatness and scope of thought to the ode, Lomonosov had to resort to difficult turns of phrase. In his "Rhetoric" he theoretically substantiated the legitimacy of the "decoration" of the poetic syllable. Each phrase, obeying the high odic style, should give rise to a feeling of pomp and splendor. And here, in his opinion, even inventions are commendable: for example, such “sentences in which the subject and predicate are combined in some strange, unusual or unnatural way, and thus constitute something important and pleasant.” G.A. Gukovsky figuratively and accurately spoke about this poet’s desire for both colorful splendor and harmonious harmony: “Lomonosov builds entire colossal verbal buildings, reminiscent of Rastrelli’s huge palaces; his periods, by their very volume, by their very rhythm, give the impression of a gigantic rise of thought and pathos. Groups of words and sentences symmetrically located in them seem to subordinate the immense elements of the present and future to human thought and the human plan.”

The splendor and splendor of the poetic style help Lomonosov to recreate the powerful energy and colorful clarity of the paintings described. For example, in an ode from 1742 it is surprising bright picture military battle, in the center of which is the personified image of Death. The contemplation of this image gives me goosebumps:

There the horses with stormy feet soar thick ashes to the sky, There Death between the Gothic regiments Runs, furious, from rank to rank, And the greedy jaw opens, And the cold stretches out his arms, Their proud spirit is snatched away.

And what wonderful horses with “stormy legs”! You can’t express yourself like that in ordinary speech, but you can in poetic speech. Furthermore, the “stormy legs” of horses, flying thick ashes to the sky - almost a cosmic image. Carried out along a very thin poetic blade. A little to the side, and everything will break into absurdity.

Half a century later, the innovative poet, founder of Russian romanticism V.A. Zhukovsky, describing special condition soul, inspired by the twilight descending in rural silence, will write: “The soul is full of cool silence.” He will amaze his contemporaries with an unprecedentedly bold combination of words. "Can silence be cool!" - strict critics will reproach the poet. But Lomonosov was the first in Russian poetry to resort to bold combinations of words and concepts in his metaphorical style!

The founder of syllabic-tonic versification and the magnificent poet Lomonosov, despite his commitment to enlightened absolutism, which can be historically explained by the limited political views of the poet-scientist, directed all his activities for the benefit of the people, because he always felt his closeness with them. That is why patriotism is the leading line of his poetry.

Lomonosov's work displays such themes as nature and its knowledge from the point of view of science, homeland and its prominent figures. To reveal these topics, the author uses a high style, since he believed that such topics, being high, should be written in an elevated language. And his preferred genre was ode.

“Ode on the day of the accession to the throne of Empress Elizabeth Petrovna, 1747.” absorbed all the features of Lomonosov's poetry. The silence that the poet glorifies at the beginning of the ode is associated with the absence of war. The poet credits the empress with ending the war during her reign. The author of the ode does not forget to mention Elizabeth’s father, Peter I, who was assessed by Lomonosov as a national hero.

The poet believes that the empress, continuing the path of her father, will contribute further development Sciences. In fact, the poem is more of an edification to Elizabeth than a eulogy to her. After all, Lomonosov believed that only an enlightened ruler is capable of caring for the welfare of his subjects and his fatherland.

In Lomonosov’s depiction, the image of various landscapes of the vast Russian land comes to life before the reader’s eyes. At the same time, the author calls on the younger generation to put the country’s natural resources at the service of the people. But this is possible, according to the author, only thanks to deep knowledge. That is why at the end of the ode a hymn praising science sounds.

The composition of the ode is strictly within the framework of classicism and compiled in compliance with the logical sequence of the events depicted. And the author’s use of Old Church Slavonic words, along with native Russian words, was done with the aim of adding solemnity to the ode.

The ode also contains images from Greco-Roman mythology. Thus, Minerva personifies reason and science, and Mars and Neptune represent war and the sea element.

The work contains a lot of various comparisons, epithets, metaphors that help the poet to most clearly reveal his creative intention.