ODE IN THE POETRY OF BORIS RYZSHY

The article is devoted to the problem of studying the odic tradition in the poetry of Boris Ryzhy. The genre of the ode and its Russian-language canon have already been studied in some detail at the level of pathos, stylistics, and verse practices. However, since Romanticism, the canon of the ode has been transformed, mandatory signs are violated, and the canon is replaced by the inner measure of the genre. At the same time, the issue of trends in genre change in the poetry of the twentieth century remains poorly understood. Practically nothing has been written about the odic tradition in Boris Ryzhy’s poetry, which is not at all surprising: firstly, Ryzhy himself is not very willing to give genre titles to poems, and secondly, his odic mode is clearly inferior to the elegiac. The subjectivity and imagery of Ryzhy’s texts also contradicts classical models. At the end of the twentieth century, the ode does not resemble its canonical invariant either stylistically or motifically, which may illustrate B.’s poem. The red-haired “Ode”, which is discussed in the article, explores in detail the genre title, stylistic markers, and subject relations in the text. The synthesis of subject and object in Red’s poetry can be traced not only in the odic, but also in the elegiac mode. In the poem “Angel, illuminated face, lit ...”, the praiseof poetry is devoid of traditional markers, on the contrary, it is associated with a dim fire, a ten-watt lamp, in which either death or poetry is possible, and everyday life is impossible and ridiculous. Thus, the antithesis of everyday life and poetry forms an ode in which poetry is praised through a self-evident belittling of everyday reality for the poet. The formula of correlation and comparison is extremely important for B.The redhead. An ode in which value orientations are fundamental is realized only when the object of praise has something to compare and contrast. Thus, the odic pathos is manifested in the Red-haired man’s poem “In a long Italian coat ...”. Schemes that are impossible in the canon become important; the genre relies on those characteristics that are opposite to the canonical ones. The very principle of the genre’s work in the lyrics of the twentieth century is changing: the canon is being destroyed, only genre memory remains.