The meaning of the word "ode" What is ode? Ode is a song of praise

We have all heard about such a genre of literature as ode. So what is it? What is the history of this genre? Who is considered the founder of ode? What is the theory of genre? All these questions can be answered in this article.

Definition of "ode"

An ode is an ancient song on any topic that was sung in ancient Greece by a choir to musical accompaniment. Later, this began to be called a laudatory verse dedicated to the glorification of important historical events or prominent persons. Sometimes the ode glorifies majestic natural phenomena. The style of such works is especially solemn; it is maintained in a sublime spirit with elements of pathos.

Translated from the ancient Greek ώδή (oide), ode is a song. There were praise, dance and lamentation.

V. Dombrovsky, for example, defined the concept as follows: “Word " "ode" is the same as our "song" in Greek. But not every song is an ode; this name is usually given to a song in which a poet, touched by something lofty, unusual and worthy of surprise, an object with which universal human values are associated , national or public interests, expresses his feelings with a fiery word, using all means of picturesqueness, expression and melody.”

Signs of an ode

An outstanding feature of an ode is high spirits, a bold, uncontrollable flight of fancy, an ardent feeling of inspiration and a poetic form of expression adapted to this. The song of praise takes its themes for glorification and exaltation from the sphere of high ideals, impulses, desires and competitions of man. Will, the advancement of humanity, love for the native land, the struggle for the implementation in life of the high cries of freedom, truth and brotherhood, ideal intentions and competitions, heroic deeds and deeds, the invincible power of song - all this can give rise to an uplift of spirit. And all this can be glorified in an ode.

Story

Ode 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, Greek victories in wars and at the Olympic Games. His laudatory poems had a strict metrical form and composition (strophe - antistrophe - epod). The Roman lyricist Horace, who lived in the 4th century BC, composed odes in honor of Venus, Bacchus, and the emperor Augustus Octavian. During the Renaissance, the most famous composer of odes was the Frenchman P. Ronsard (mid-16th century). His odes sang of nature, which brought joy and peace to people (“To the Bellera Creek”). Some of Ronsard's odes were written in honor of love. This is an ode to a woman (“My friend, led me to live more comfortably”).

Theory of the ode genre

Ode is a genre that developed alongside panegyric works, primarily hymns and dithyrambs. These works were to be accompanied by playing musical instruments (harp, harp, etc.) and dancing.

The ode acquired the canonical genre structure of the work, in which civic motives clearly dominate, in the work of Malherbe, one of the founders of French classicism. Odes of Malherbe (early 17th century) defended the inviolability of the principles of absolutist statehood, praising the monarch and his relatives, senior dignitaries and generals.

The song of praise received its theoretical justification in N. Boileau’s poetic treatise “Poetic Art”. Along with tragedy, ode is a literary genre that was considered high. N. Boileau formulated rules for writing odes concerning language, metrics, and general poetic tonality. Compositionally, the song of praise begins with a chorus, followed by a presentation of “noble and important matter,” which includes various episodes, digressions, and the so-called lyrical disorder (“jumping” of the poet from one motive to another), and the ode ends with an ending. According to N. Boileau, the ode was able to touch the reader’s imagination with its state solemnity.

Outstanding odographers in the literature of the 18th century were M. J. Chenier, Lebrun-Pindar (France), Klopstock, Schiller (Germany), Lomonosov, Kantemir, Trediakovsky (Russia). The latter introduced the term “ode” in Russian poetry. In the era of romanticism, songs 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, and Kuchelbecker.

In the literature of the 20th century, 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 the Revolution” "V. Mayakovsky, "Ode to Conscience" by I. Drach.

Schoolchildren remember some literary terms from history lessons. One of them is ode.

Oda is a special genre of literature. It is intended to sing something or praise someone, so another name for an ode is a solemn song. Historical research associates the appearance of the ode with ancient Greek times, and specifically with the poet of that time, Pindar. The exact dates of his life are unknown; historians give him only an approximate time, calling the 6-5th century BC. Despite many inaccuracies, Pindar is considered the creator of this laudable genre. The poems of this ancient Greek poet glorified the winners of the Olympic Games, which were already very popular in those days. All the poet’s works were created with the goal of exalting both the person himself and the events that occur 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 first century AD is considered to be the beginning of the flowering of ode. It was then that Horace created. The ode took a central place in his work. The poet began to turn to other heroes of his time. He chose as the subject of the ode people who had 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 would turn to it, but the ode no longer had great popularity. This slow decay of this literary genre continued for quite a long time. Only the 16th century of our era is called the second wind of the ode. By that time, the formation of a monarchy began in the main countries of Europe. An absolute monarchy, for the maintenance of which the support of poets, including, was critically necessary. It is not surprising that ode in these times is being turned into a state genre. Poets were simply obliged to exalt the monarch and create songs praising the ruler. Poets vied with each other to practice the style and elegance of their texts. Ronsard, the French poet, turned out to be incredibly successful in this genre of literature. His work flourished in the 16th century.

By what criteria is ode determined as a genre? First of all, this is vocabulary. She must be sublime. No colloquial or colloquial words are allowed. The ode does not allow poets to use territorially specific words, nor can they invent new words. The texts of the ode adhere only to high style. The ode is full of mythological images.

The ode came to Russia in the 18th century. Trediakovsky is considered the founder of the Russian ode. The following odes are considered his most famous odes: “Ode on the Impermanence of the World,” which dates back to 1730, and “Solemn Ode on the Surrender of the City of Gdansk,” created three years later. M.V. also had a favorable attitude towards this literary genre. Lomonosov. “Ode on the day of the accession to the throne of Empress Elizabeth Petrovna” is widely known.

But the ode did not gain much popularity 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 “deadly” blow to the genre was dealt by I.I. Dmitriev, creating the satire "Someone else's sense." In the work, the poet harshly ridiculed the “penny” scribblers who are ready to sell talent for a piece of silver. Very few poets began to turn to this genre, although it did not completely disappear. In fairness, we can recall that “Ode to the Revolution”, written by Mayakovsky, was raised to the top in the 20th century.

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Briefly:

Ode (from gr. ode - song) is a genre of lyric poetry, a solemn poem written in honor of a person or historical event.

Ode appeared in Ancient Greece, like most lyrical genres. But it gained particular popularity in the era of classicism. The ode appeared in Russian literature in the 18th century. in the works of V. Trediakovsky, M. Lomonosov, V. Petrov, A. Sumarokov, G. Derzhavin and others.

The themes of this genre were not very diverse: the odes talked about God and the Fatherland, the virtues of a high-ranking person, the benefits of science, etc. For example, “Ode of blessed memory to Empress Anna Ioannovna for the victory over the Turks and Tatars and for the capture of Khotin in 1739” by M. Lomonosov.

Odes were composed in a “high style”, using Church Slavonic vocabulary, inversions, pompous epithets, rhetorical appeals and exclamations. The pompous style of classicist verses became simpler and closer to colloquial language only in Derzhavin’s odes. Starting with A. Radishchev, solemn poems acquire a different semantic meaning; the motif of freedom and a call for the abolition of serfdom appear in them. For example, in Pushkin’s “Liberty” or Ryleev’s “Civil Courage”. In the works of authors of the second half of the 19th and 20th centuries. ode is rare. For example, “To the City” by V. Bryusov, “Ode to the Revolution” by V. Mayakovsky.

Source: Student's Handbook: grades 5-11. - M.: AST-PRESS, 2000

More details:

The path of the word “ode” is much shorter than that of such concepts as “elegy” or “epigram”, which were mentioned from the 7th-6th centuries. BC e. Only half a millennium later, Horace begins to affirm it, and from the middle of the last century it already sounds completely archaic - like the pyit who composed this healthy chant. However, the evolution of the phenomenon is not limited to the history of the term in this case.

Ode: history of the genre

Even in Ancient Greece, numerous hymns and dithyrambs, paeans and epinikias were created, from which the ode subsequently grew. The founder of odic poetry is considered to be the ancient Greek poet Pindar (VI-V centuries BC), who composed poems in honor of the winners of Olympic competitions. Pindar's epics were distinguished by their pathetic glorification of the hero, whimsical movement of thought, and rhetorical construction of poetic phrases.

The most talented successor of Pindar in Roman literature is Horace, who glorified “valor and righteousness” and “Italic power.” He develops, but by no means canonizes the odic genre: along with Pindaric ones, Epicurean motifs also sound in the poet’s odes; civic pride in his nation and power does not obscure the delights of intimate existence for Horace.

Opening the next page of the odic anthology, you almost don’t feel the centuries-old pause that separated the ode to antiquity and the late Renaissance: the Frenchman P. Ronsard and the Italian G. Chiabrera, the German G. Weckerlin and the Englishman D. Dryden consciously started from classical traditions. At the same time, Ronsard, for example, drew equally from the poetry of Pindar and from Horatian lyricism.

Such a wide range of standards could not be acceptable to practitioners and theorists of classicism. Already Ronsard's younger contemporary F. Malherbe organized the ode, building it as a single logical system. He opposed the emotional chaos of Ronsard's odes, which made itself felt in composition, language, and verse.

Malherbe creates an odic canon, which could either be epigonically repeated or destroyed, developing the traditions of Pindar, Horace, Ronsard. Malherbe had supporters - and among them very authoritative ones (N. Boileau, in Russia - A. Sumarokov), and yet it was the second path that became the main road along which the ode then moved.

The ode genre in the works of Lomonosov

The title of “Russian Pindar” was established in the 18th century. behind M. Lomonosov, although we will find the first examples of Russian panegyric poetry in S. Polotsky and F. Prokopovich. Lomonosov understood the possibilities of the odic genre widely: he wrote both solemn and religious-philosophical odes, sang “ecstatic praise” not only to Empress Elizabeth Petrovna, but also to the entire God’s world, the starry abyss, and simple glass. Lomonosov's ode often resembles a state manifesto, and not only the content, but also the form of its odes is programmatic. It is constructed as an oratorical monologue of an author convinced that he is right and expresses the existing emotional states: delight, anger, grief. His passion does not change, it grows according to the law of gradation.

Another characteristic feature of Lomonosov’s odes is the “conjugation of far-flung ideas,” increased metaphoricality and paradoxicality. However, Lomonosov's associations grow on a rational basis. As Boileau wrote,

Let the Ode of fiery whimsical thoughts move,
But this chaos in it is the ripe fruit of art.

The unexpectedness of metaphors is always balanced here by the desire to develop, demonstrate, and clarify them.

A. Sumarokov fiercely fought against Lomonosov’s interpretation of the genre, who instilled moderation and clarity in the ode. His line was supported by the majority (Vas. Maikov, Kapnist, Kheraskov and others); but among Lomonosov’s followers there was not only the pompous Vasily Petrov, but also the brilliant Derzhavin.

The ode genre in Derzhavin’s work

He was the first to snatch ode from the clutches of abstraction. The life of his heroes does not consist of only public service - there is a lot of everyday vanity in it: everyday life and leisure, troubles and entertainment. However, the poet does not castigate human weaknesses, but, as it were, recognizes their naturalness.

That's it, Felitsa, I'm depraved!
But the whole world looks like me, -

he makes excuses. In “Felitsa” a collective image of a nobleman of Catherine’s times is drawn, his portrait is predominantly an everyday one. The ode here comes close not to satire, but to an outline of morals. Accordingly, the images of statesmen are secularized - and not only in Felitsa. The praise for “And there was a nobleman” according to Derzhavin’s rating scale is almost the highest (“On the birth of a porphyry-bearing youth in the North”, “On the return of Count Zubov from Persia”, “Snigir”).

Of course, Derzhavin’s traditional odic image descended from heaven to earth, however, immersed in everyday life, his hero feels his involvement in God and eternal nature. His man is great as an earthly reflection of a deity. In this impulse towards eternal ideals, and not in transient lusts, the poet finds the true purpose of people - this is how the fervor of odic pathos is maintained (“On the Death of Prince Meshchersky”, “God”, “Waterfall”).

Further development of the Russian ode

In Derzhavin's work, the development of the classical ode is completed. But, according to Yu. Tynyanov, it “as a direction, and not as a genre, does not disappear,” and here not only Katenin and Kuchelbecker, but also Mayakovsky were meant.

Indeed, for two centuries, odic traditions have been among the most influential in Russian and Soviet poetry. They become especially active when drastic changes are planned or made in history, when the need for such verses arises in society itself. These are the era of the Patriotic War of 1812 and the Decembrist movement, the revolutionary situations of the second half of the 19th - early 20th centuries, the period of the Great Patriotic War and the middle of the last century.

Odic lyrics are a form of the poet establishing a connection between his moods and general ones. What is alien becomes ours, what is mine becomes ours. It is not surprising that odic poets - these “knights of immediate action” - are interested in the widest possible publicization of their creations and intensifying their dialogue with people. During times of social upheaval - “in days of celebration and troubles of the people” - poetry always appears in the stands, squares and stadiums. Let us remember the moral resonance of the siege poems (odic and neodic) by O. Berggolts, with which she spoke on Leningrad radio. The poet takes on the guise of a people's herald in odic lyric poetry; he not only formalizes the experiences of many - general premonitions receive from him the power of confidence. In this sense, we can talk about the ideological and even visionary nature of odic lyrics.

Explanatory Dictionary of the Living Great Russian Language, Dal Vladimir

Oh yeah

and. a solemn song (lyric) poem glorifying glory, praise, greatness, victory, etc.

Explanatory dictionary of the Russian language. D.N. Ushakov

Oh yeah

odes, w. (Greek oda) (lit.) Solemn lyric poem predominantly. classical style, glorifying some. events of historical significance or a hero and his deeds. False-classical ode of the 18th century. Vladimir would have written odes, but Olga did not read them. Pushkin.

Explanatory dictionary of the Russian language. S.I.Ozhegov, N.Yu.Shvedova.

Oh yeah

Y, f. A solemn poem dedicated to someone. historical event or hero. Laudatory about. Odes of Lomonosov.

adj. odic, -aya, -oe- O. genre. BORROW see borrow.

New explanatory dictionary of the Russian language, T. F. Efremova.

Oh yeah

A vocal or symphonic work of a solemn nature, dedicated to someone. significant event or feat.

Encyclopedic Dictionary, 1998

Oh yeah

ODA (from Greek ode - song) a genre of lyric poetry and music; solemn, pathetic, glorifying works. As a choral song, the ode originated in antiquity (Pindar); in the 16th-18th centuries. the genre of high lyricism (for example, Voltaire, G. R. Derzhavin). From the 17th century also a vocal-instrumental piece of music written on occasion of certain events, glorifying an idea or personality; in the 19th-20th centuries. Purely instrumental odes are also created.

Oh yeah

ODA Nobunaga (1534-82) Japanese commander, the first of the three unifiers (Oda, H. Toyotomi, I. Tokugawa) of the country. Having deposed the last shogun from the house of Ashikaga in 1573, he united about a third of the country under his rule.

Oh yeah

Oh yeah- a genre of lyric poetry, which is a solemn poem dedicated to an event, hero, or a separate work of such a genre.

Ode (disambiguation)

Oh yeah (Oda) may mean:

Ode is a genre of lyric poetry, which is a solemn poem dedicated to an event or hero, or a separate work of such a genre.
Rod Oda
1144 Oda is an asteroid.
Izh 2126 is a Russian small-class passenger car produced by IzhAvto from 1990 to 2005.

Oda (Archbishop of Canterbury)

Oh yeah, otherwise Odo- 22nd Archbishop of Canterbury (941-958).

Oda (genus)

Ode to Nobunaga with three coins. - samurai clan in medieval Japan. They belong to the Taira clan, directly from the Taira Shigemori. The first in the family was Tikazane, son of Taira Sukemori and grandson of Taira Shigemori. The family comes from the local nobility of Echizen Province (modern Fukui Prefecture).

At the beginning of the Muromachi period (1338 - 1573), members of the Oda clan served as deputy governors of Echizen. The functions of governors were performed by representatives of the Shiba clan, advisers to the shoguns. In connection with the appointment of the latter as governors of Owari (modern Aichi Prefecture), their Oda vassals were relocated to this province to carry out administrative work. Due to the crisis of central power and the decline of the Shiba clan, the Oda became the real rulers of the lands.

The war of the Onin period (1467 - 1477) split the Oda clan into two warring factions - the so-called Oda Ise and Oda Yamashiro clans. In the 16th century, a representative of the latter, Oda Nobuhide, began a successful struggle to unite the clan and the province of Owari. This work was completed by his son Oda Nobunaga, who not only conquered all of Owari, but captured the capital of Kyoto and began implementing a plan to unite all of Japan. It was during the reign of Nobunaga that the Oda clan was called “Lords of the Celestial Empire.”

However, Oda's "golden period" ended with the death of Oda Nobunaga in 1582. The place of ruler of Japan was seized by his general Hashiba Hideyoshi. Nobunaga's sons were unable to maintain their father's conquest and the Oda clan split into several branches.

During the Edo period (1603 - 1867), there were several branches of the Oda clan, which received small han holdings from the Tokugawa shoguns. These domains were Tendo-han in Mutsu Province (annual income 20,000 koku), Yanagimoto-han in Yamato Province (annual income 10,000 koku), Kaiju-han in Yamato Province (annual income 10,000 koku) and Kaibara-han in Tamba Province (annual income 20,000 koku).

Examples of the use of the word ode in literature.

Readers of liberal views were outraged by apostrophes, prosopopoeia and other rhetorical figures in the works of the young ultra-royalist, and they were not inclined to recognize the poetic merits of his od.

IN odah For Horace, the ancient Greek lyricists Archilochus, Alcaeus, Sappho, Anacreon, and Pindar were of fundamental importance.

Obviously, he was well acquainted with Louise Labe and her entourage, primarily with the Poittois poets Peletio du Man, Antoine de Baif, as well as with Olivier de Magny, who dedicated Aubert od well from our own od.

He called himself the singer of Kubra, after the name of the river that flowed on his estate, and willingly compared himself with Horace in variety: he wrote fables, odes, eclogues, epistles, epigrams and translated a lot.

The dishwasher is dead and dirty, and Oh yeah Nobunaga had already taken the hilt of his sword, but then the doomed dish-licker, driven by despair, was found.

But when then the watchmaker Zamwald began to talk about paradise and heavenly joys, then, on the one hand, it was not entirely possible to agree with his story, since it concerned the confirmation training of the already disappeared boy Gedicke, on the other hand, however, it sounded like laudatory Oh yeah to the man Gedik, who has already been to a better world.

On the stage the poet read the election campaign ode, but I did not hear a single word: only the measured swings of the hexametric pendulum, and with each swing the appointed hour was getting closer.

If Kapnist were not the son of a Mirgorod colonel, the lies underlying his odes, it wouldn’t be so conspicuous.

Be silent about the cuckoo cackling of your lonely heart, for there is no rhyme for this, no meter for this: neither drama, nor Oh yeah, no psychological novel can accommodate the cuckoo's crow, not a single dictionary, not a single printing house will find vocabulary or letters for your wordless rage, for your pain, for your love-sickness.

Therefore, having listened favorably to Mouravi, he wrote at night ode about an obliging bee who, wanting to treat a friend with honey, stung him on the lip.

Then everyone started talking at once, interrupting each other, and only Yves sat in silence, suddenly terribly weak, and thought that now he must return to Mawson as soon as possible and find Odu.

For some reason he was firmly convinced that with Oda nothing could happen that they would meet again, although Mawson was destroyed, and he knew nothing about Oda’s fate.

It seemed that millennia would pass, the wind would carry people into the forests, the ruins of a four-dimensional mill would be covered with dust, and this table, under the Maekle terrace, would rise unshakably, reflecting the light of tears with the moraine of its boards, and messengers from other civilizations would fold odes in his honor, touched by the power of the human mind.