What is ode? An ode is a song of praise. Definition of ode What is a prose ode

Ancient Greece is famous for its great literature, architecture, sculpture and other forms of art. Since ancient times, people have given great preference to lyrics, which are often accompanied by music. Today, not every one of us knows what an ode is, but more than once we have heard a solemn poem performed by popular authors. This was revered and seemed to be the pinnacle of art. For the local population, the ode was a choral song with its inherent pomp and solemnity. Quite often one could hear it at competitions, for example, in honor of the winner.

The most famous writer among the Romans was Horace. He skillfully expressed all feelings and emotions, and also used elements of Aeolian poetry in his works. The writer created a whole collection of odes, which at that time were called “songs”. Horace skillfully adapted all his works to the Latin language and used the Alcaeus stanza. That is why odes and songs had practically the same meaning for people. Later, they began to be called “lyrical works”, which were created in a high style using ancient paragraphs.

Work in Rus'

The verse (ode) was considered the most amazing creation. During the birth of Russian literature, many writers tried to bring it to life. These include M.V. Lomonosov, A.S. Pushkin, N. Nekrasov and many others. Mostly these were poems dedicated to the queen, lovers, and life. There is a very simple answer to the question of what an ode is: a genre of lyrics, a solemn poem that is dedicated to someone or some event. The style of presentation is very melodic, enthusiastic, admiring.

History of the development of the ode

Types of poem

Very often the poems were of a solemn genre, but there are also moralizing, spiritual and love songs. Each of them is aimed at achieving a certain result, that is, the reader or listener must experience certain emotions. In this way, the poet seems to direct a person to the true path or tries to convey his feelings to him. At one time, odes to one's beloved were considered the most popular. Of course, such poems were intended only for one listener (reader) - the chosen one, the lady of the heart. They were written with such feelings and love that, it was assumed, they could melt the ice in a person’s soul or make him forgive all insults. Odes are very rare to find these days, but they are just as significant. Of course, poems created before our era are extraordinary and unique, but new literature is also full of surprises.

What is "Ode"? How to spell this word correctly. Concept and interpretation.

Oh yeah ODA (from the Greek "???? = song) - a lyrical work dedicated to the depiction of major historical events or persons, speaking about significant themes of religious and philosophical content, saturated with a solemn tone, pathetic inspiration of the author, aware of himself in the power of higher powers, organ or divine will or popular reason. Initially, the verbal text of the ode was accompanied by music and dances; brought to life by the heroic events and religious experiences of the Greek people, it was distinguished by peculiar features that were organic to it and later became only conventionally decorative in the person of Pindar (518-442 BC. Kh.) ode had the most striking representative: the richness of images, the surprise of transitions from one subject to another, which, in addition to lyrical enthusiasm, stemmed from musical and orchestic motives, the depth of ideological themes, speech plasticity - all this became a role model for European lyricists of the 16th-18th centuries. centuries But the main strength of Pindar’s ode is its accessibility to the masses due to the nationwide nature of national mythological subjects; lyricism, not cooled by rationality and nourished by music and the rhythm of dance, and, finally, that great simplicity that flowed from the sincere feelings of the poet and the true colors of life - these traits were replaced by completely different ones in the new historical situation; the ode of Boileau and other French lyricists of the 17th century became a panegyric for the powerful of this world and, colored by the narrow class worship of the king and the court nobility, lost the character of conciliarity; drawing images from the mythology of the ancient world, she replaced the religious truth of Pindar with abstract figures that only embellished speech; the lyrical nature of the Greek ode in its syncretic attire was replaced by intense pathos, artificial excitement, resulting in the so-called “lyrical disorder”; the genuine inspiration of a disinterested poet who took part in a nationwide celebration in honor of the gods or victories over a national enemy was often replaced by a flattering, obsequious, insincere set of words. The French theory of ode, expressed in the works of Boileau “L"art po?tique" (1674) and "Discours sur l"ode", left a deep imprint on Russian ode writers of the 18th century. Tredyakovsky, following Boileau, gave for the first time (not counting the southern Russian poems and some translated articles from French) a trace. formulation for this genre: “An ode is a combination of many stanzas, consisting of equal and sometimes unequal verses, which always and certainly describe noble, important matter, rarely tender and pleasant, in very poetic and magnificent speeches.” The experiments of Lomonosov, who spoke with his first ode “To the Capture of Khotin” in 1739, were fully consistent with this theoretical view: they were dominated by significant themes (Peter the Great, the importance of science, reflections on God and nature) in a solemn verbal frame, with a pronounced declamatory warehouse, with features at the same time of foreign origin: mythology and that fiction that adorns the hero, which would give the illusion of greatness, close to the real. Living in the upper circle of Russian society, in the “new mannered” nobility, the Russian ode was exclusively sung by representatives of this class. The solemnity of the style was achieved by an abundance of Slavicisms. The ode reached its greatest sincerity when the poet spoke about something intimate to him, dear, long familiar: these are the spiritual odes of Lomonosov, in which he, a child of the schismatic north, who was keen on the Bible from childhood, touched on topics that were intimately close to him. Gradually, the Russian ode descended from its heights and replaced the solemn melodiousness with realistic details in a more insipid verbal frame. Derzhavin’s lot fell mainly on the role of transformer of the ode: strong in solemn themes and finding sonorous words in religious and philosophical odes, for which, in addition to his personal mood, the 18th century - the “age of enlightenment” - provided rich food; the lyricist of Catherine’s era sometimes turned an ode into an ode - satire and then real details, sarcastic hints, jokes were woven into the ode, simplifying it. These realistic details, borrowed from an unpretentious setting and giving rise from time to time to move on to reflections of a sublime order, fill many of D.’s odes, especially those in which another element of the ancient ode is reflected - the Horatian one (see, for example, “Invitation to Dinner”). . If the last element, which elevated the “simple” into the picturesque and used themes of personal life, ran through Russian lyric poetry of the 19th century and gave beautiful odes either by Pushkin (“Bacchic Song”) or by Fet, then the first solemn, declamatory flared up in countless songs of the time Napoleonic wars, then from individual lyricists, solemnly disposed about some event or ideological theme (Pleshcheev, Polonsky). A special place is occupied by Nekrasov’s lyrics, which often combined ode with satire and were built on minor chords caused by pressing social issues of the 19th century. The ode has been resurrected in our days: Mayakovsky and especially the proletarian poets are in many ways ode writers with all the typical features of this genre in its original form: the “Pindarism” of proletarian poetry is undeniable in the point of the poet’s sharply expressed consciousness of the conciliarity of his work, the expression of collective animation; only the old mythology was replaced by images of factory reality; poet - servant of the noble class in the 18th century. , became part of the mass of “blueblouses”, expressing all of humanity; a singer of personal sentiments in the 19th century, the new poet considers himself the bearer of universal human aspirations, protected by the “fourth estate.”

Oh yeah- ODA w. a solemn song (lyric) poem glorifying glory, praise, greatness, victory... Dahl's Explanatory Dictionary

Oh yeah- ODA, Tsy, w. A ceremonial poem dedicated to what Tsn. historical event or hero. Praise... Ozhegov's Explanatory Dictionary

Oh yeah- (from the Greek ???, abbreviation from ?????, song) - belongs to the family of so-called choral lyrics, developed...

Mikhail Vasilyevich Lomonosov did a lot for the development of Russian literature. In his work, the great Russian philologist relied on odes.

Preface

The origins of the ode go back to antiquity. The 18th century of Russian literary creativity is represented by a wide variety of odes, such as laudable, spiritual, victorious-patriotic, philosophical and anacreontic. As usual, it is a quatrain with a repeating rhyme. In its domestic version, most of the stanzas consisted of ten verses.

Victorious-patriotic “Ode to the Capture of Khotin”

Mikhail Vasilyevich presented his victorious and patriotic creation called “Ode to the Capture of Khotin” in 1739. In it, Lomonosov makes it possible to separate three basic parts: the introduction, the description of the battle scenes itself, and then the climax, represented by the glorification and awarding of the winners. The battle scenes are shown with Lomonosov's characteristic style of hyperbolization, with many impressive comparisons, metaphors and personifications, which in turn most clearly reflect the drama and heroism of military actions.

Drama and pathos intensify with the appearance of rhetorical questions and exclamations of the author, which he addresses either to Russian soldiers or to their opponents. In addition, there are also references to the historical past, which in turn enriches the ode, performed in the spirit of patriotism.

The first to use male and female rhymes in his odes was Lomonosov. The ode genre is the true pinnacle of his creativity. Subsequently, iambic tetrameter was also presented in the works of Pushkin, Lermontov, Nekrasov, Yesenin, Blok and other poets.

Laudatory odes

Most of the odes written by Mikhail Vasilyevich were associated with the coronation of one or another ruler. He dedicated his odes to John IV Antonovich, Peter III, Anna II and others. An integral part of the idle coronation was the genre of ode. Lomonosov was overwhelmed by inspiration, and each of his creations described the official court role of rulers in a much broader and more colorful way. In each of the odes, Mikhail Vasilyevich put his own ideological plan and anticipated the bright future of the Russian people.

The ode genre was used by Mikhail Vasilyevich as one of the most convenient forms of conversation with crowned rulers. In the form of this praise for deeds that, as a rule, the monarch had not yet performed, Lomonosov expressed his preferences, instructions and advice in favor of a great power state. The ode allowed them to be presented in a soft, approving and flattering tone for the rulers. The wishful thinking in Lomonosov's coronation praise was passed off as reality and thus obliged the monarch to prove worthy of it in the future.

The ode genre in the work of Mikhail Vasilyevich also reflected various events in the political life of that time. The greatest attention was paid to battle events. The great Russian poet was proud of the glory of Russian artillery and the greatness of the Russian state, capable of resisting any enemy.

The poetic individuality of Mikhail Vasilyevich’s laudable odes is completely identified with their ideological content. Each ode is an enthusiastic monologue of the poet.

Spiritual odes

Lomonosov fully showed himself in writing spiritual odes. In the 18th century they were called poetic expositions of biblical writings with lyrical content. At the forefront here was the book of psalms, where poets continually looked for themes similar to their thoughts and experiences. For this reason, spiritual odes could carry a wide variety of directions - from a particularly personal performance to a lofty, general civil one.

Lomonosov's spiritual odes are filled with rapture, delight, harmony and splendor of the universe.

When presenting one of the most dramatic biblical books, “The Book of Job,” Lomonosov isolated its pious and ethical problematics and provided the foreground with a description of its truly reverent pictures of living nature. And again, before us, the readers, there appears an immense sky painted with stars, a raging deep sea, a storm, an eagle, abstractly soaring in the heavenly expanses, a huge hippopotamus, furiously trampling the raging thorns, and even the mythical Leviathan in its splendor, living at the bottom of the ocean.

In contrast to commendable ones, the genre of spiritual ode is distinguished by its laconicism and elegance of presentation. Stanzas consisting of ten verses are here replaced, as a rule, by quatrains with a ring or The style of writing spiritual odes seems laconic and devoid of various kinds of “decorations”.

Finally

An ode was presented to our attention. What other genre can boast such beautiful lyrical content? Thanks to the variety of means of expression and ideological content used, the works of Mikhail Vasilyevich Lomonosov to this day occupy their rightful place among the majestic creations of Russian poetry.

An ode is a poetic work that is written in a sublime style. Usually this genre of literature is dedicated to a particular event or a specific character. Answering the question of what an ode is, we can say that it is a song of praise or a poem of praise that elevates a certain person above the rest of the world.

What is an ode in literature

The first odes belong to the literature of Ancient Greece. It was then, in 400 BC, that the Greek poet Pindar lived here. His odes were admired by the entire people of this state, because in them he praised kings and gods, noble aristocrats and rich people. But in later times, already in France, such a great poet as J.-J. wrote odes. Rousseau.

In Russia, two great authors loved to compose odes - M.V. Lomonosov and G.R. Derzhavin. However, the progenitor of this genre in Russian literature has always been known as Cantemir Antioch. But we need to talk in more detail about what ode is in Russia. If great foreign poets praised great people in their odes, then Russian authors of this genre exalted everything in the world in their odes. For example, in personal odes they praised love and joy, a richly laid table or a beautiful waterfall, and many other objects of everyday life.

But over time, the ode in literature lost its former meaning, and was replaced by ballads and elegies. Today, few people use this genre to exalt a hero or event; it has become unpopular, but the best odes remain forever in the history of literature.