Ode is one of the leading genres in the poetry of European and Russian classicism. It is noteworthy that for Russian literature it became one of the very first genres cultivated by those authors, who linked their work with the new 25 cultural paradigm that began to take shape during the reign of Peter the Great. Trediakovsky, Lomonosov, Sumarokov, Derzhavin and many others constantly referred to the ode, due to a number of reasons. Firstly, it is one of the key genres for the aesthetics of classicism and therefore so widespread. Secondly, the external, extra-aesthetic circumstances in the 18th century are such that the Russian poet is least dependent on internal choice, if not to say arbitrariness in his work, but is a kind of executor of an order, directly or indirectly transmitted by the institution of absolute monarchy. Thirdly, only by the end of the century does a more familiar character of relations between the poet and the authorities, which can be called oppositional in the broad sense, develop in Russia. But this is not typical of the classicists: they could have their own opinion, but in general they shared the ideals of enlightened monarchism, which also determines the relevance of turning to the genre of the ode. In the framework of our study, we pay attention to one of the most fundamental aspects of odic aesthetics, namely the relationship between the auditory and visual principles in the figurative system of the genre. This relationship matures in the odic variety of battle. We demonstrate the formation of this opposition in Trediakovsky's pioneer ode and the ordering of the principles of interaction between the two principles in Lomonosov's "Khotyn Ode". Thus, the battle ode becomes a preamble to the main variety of the genre, the laudatory ode itself.
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