Mozart and Salieri questions about the work. Test: Mozart and Salieri

“Our literature begins with Lomonosov... he was its father, its Peter the Great,” defined V.G. Belinsky the place and significance of the work of the outstanding Russian educator, scientist, naturalist Mikhail Vasilyevich Lomonosov in history Russian literature. He became not only a reformer of Russian versification, but also the author of remarkable poetic creations, which amounted to special page Russian poetry.

Maybe now we are not very interested in those statesmen, to whom Lomonosov’s poems are addressed, and for some, the name of Elizaveta Petrovna, to whom his ode, written in 1747, is dedicated, is completely unfamiliar. But the thoughts and feelings of a great man, citizen and patriot, a tireless researcher and discoverer of the unknown in natural world, is something that has not lost its value to this day and will probably remain so forever.

What does Lomonosov write about in his ode, titled, as was customary in poetry of the 18th century, very ornately: “Ode on the day of the accession to the All-Russian throne of Her Majesty the Empress Elizabeth Petrovna, November 25, 1747”?

The composition of the ode, in accordance with the requirements of classicism, is distinguished by its logical harmony. Each of the main topics receives its own justification and detailed development, each new thought logically follows from the previous one.

Like any solemn ode, in accordance with the rules of classicism, this poem begins with a majestic 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!

A natural continuation of this majestic picture is the praise of Elizabeth, who ensured the prosperity of the country primarily by bringing peace to it - after all, during her reign the wars that Russia had been waging for a long time actually stopped:

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 been unheard of since ages.

Through all the obstacles he ascended

The head, crowned with victories,

I will trample Russia under barbarism,

Raised with me to the skies,

Lomonosov, like Pushkin later, considered Peter I a great reformer, an enlightened monarch and a brilliant military leader - a genuine national hero. Talking about him, the poet resorts to personifications associated with images ancient mythology. For example, Mars and Neptune serve as symbols of the concepts of war and the elements of the sea. This imagery, along with the widespread use of Slavicisms, rhetorical questions, exclamations and appeals, creates a particularly solemn “high” style of the ode, corresponding to the subject of its depiction. This is very clearly visible in the description of Peter 1, his military victories that strengthened the power of Russia:

In the bloody fields Mars was afraid,

Petrov’s sword is in vain in his hands,

And with trepidation Neptune seemed to wonder.

Looking at the Russian flag.

For Lomonosov, as for Pushkin, Peter I is also a great builder northern capital, which opened up new development paths for Russia:

The walls are suddenly fortified

And surrounded by buildings,

Doubtful Neva advertisement:

“Or am I now forgotten?

And I bowed down from that path,

Which I flowed before?”

It is quite logical after this description that the idea develops that under Peter 1

...divine sciences Through mountains, rivers and seas,

They extended their hands to Russia...

Concluding the story about Peter 1 with a description of him tragic death, Lomonosov moves on to the next part of the poem: he again turns to modernity and expresses the hope that Elizabeth will follow the example of her father and begin to patronize the sciences and contribute to the strengthening and prosperity of Russia. He wants to see Elizabeth as an enlightened queen who cares about the good of the fatherland, and further in his ode he presents her with a kind of “program of action” that should ensure further development countries.

Calling on Elizabeth to be the patroness of education, sciences and crafts, Lomonosov shows that the country where she reigns is amazingly beautiful and has inexhaustible natural resources:

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.

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 characteristics 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.

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, according to 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 a 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. Lyrical pathos passes 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 happy life decorate,

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.

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.

To you, O source of mercy,

O Angel of our peaceful years!

The Almighty is your helper,

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. Beautiful and magnificent in abundance expressive means stanzas become 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 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 author's poetic spirit is ignited and guided by the remarkable deeds of Elizabeth, 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, the development of domestic sciences and education, the development of new lands and the 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 works strictly and consistently follow 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.

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 different phenomena or objects into one image, transferring 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 voluminous, 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 stretches out cold hands, 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 a special state of mind 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!

Ode on the day of Elizabeth Petrovna’s accession to the throne is a work by Lomonosov from 1747. She is completely dedicated to the new queen. The ode genre itself implies strong exaltation and admiration.

Artistic means here occupy one of the main places, since with the help of vivid epithets, metaphors and comparisons, Lomonosov speaks of the queen as the sun, as the mother of nations, as a great personality whose fame has spread throughout the world.

The main characters of the ode are Elizabeth herself, her father, with whom Lomonosov compares his daughter, and the author himself, from whose lips the speech comes.

The main theme and idea is the creation of a significant image of the queen, which would serve as a support for her powerful reign. Many people had never seen the queen with their own eyes, but with the help of the ode they got the impression that they were ruled by the goddess.

Oda also provided an opportunity to show all the advantages of the queen's reign. She led a peaceful international policy, was wise, developed science, took care of the new generation, and always delved into people's problems.

Lomonosov's ode is considered the best ode of that time, since it was ahead of all other works with its artistic sketches, style and idea.

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Updated: 2017-08-08

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