This article continues the study of the poetics of the battle ode, which we began by analyzing the works of Trediakovsky ("Ode to the Surrender of Gdansk ...") and Lomonosov ("Ode to the capture of Khotyn"), which are crucial for the formation of artistic principles of the genre in the context of the correlation between acoustic and visual parameters of "high" imagery. If the fundamental formula of such a relationship is formed in the works of these authors, associated with the unconditional primacy of the acoustic principle, then in the case of Sumarokov and Derzhavin, it is appropriate to speak not about the direct continuation and development of the traditions laid down by their predecessors, but about very original versions, rather leading the battle ode away from the artistic magistracy of Trediakovsky and Lomonosov. Thus, Sumarokov ignores the register of poetic "delight" that is key to the style of the ode and, while maintaining the priority of the auditory, completely changes its structure, moving from solemn "full-voice" to the ratio of different voices as projections that dynamically correlate with each other. Derzhavin, even against the background of Sumarokov, looks even more original, since his odes and creativity as a whole are characterized by the dominant authorial principle as the leading category of the text, which, overcoming a priori genre attitudes, takes the text beyond the limits of "corpus" poetics. Moreover, it is Derzhavin, who begins to use the visual principle as an obvious priority for a number of reasons. It is important that he professes the logic of metapoetic causality less than others, making, for example, his own biographical realities the basis for the genesis of the work.
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