Harsha Ram (in The Imperial Sublime: A Russian Poetics of Empire) demonstrates how a certain set of formal traits pertaining to the ode, and in particular to the victory ode, as written by Mikhail Lomonosov and Gavrila Derzhavin in particular, became subject to formal experimentation by the Romantic poets, and most notably Alexander Pushkin. Thus, Pushkin's first published poem, Memories in Tsarskoe Selo [Vospominaniia v Tsarskom Sele], which Ram notes was declaimed in front of an aging Derzhavin, contains elements of the odic sublime mixed with elegy:
Instead of simply writing a patriotic ode celebrating Russia's victory over Napoleon, Pushkin feels compelled to frame that victory in a remembrance of the past. 'Vospominaniia v Tsarskom Sele' is less an ode, it seems, than an elegiac commemoration of the ode as a genre: the poet's stylistic distance from the ode precisely mirrors the temporal remove that separates him from the victory monuments he so wistfully contemplates (162).
Ram notes other examples of experimentation in different forms: "Pushkin's other political verse of the time is similarly hybrid: 'Derevnia' (The countryside') (1819) begins as a pastoral idyll and ends with an odic denunciation of serfdom (1:359-61), whereas Pushkin's celebrated poem to Chaadaev of 1818 superimposes the imagery of love poetry onto the political theme of liberty (1:346)" (162).
It is interesting that Pushkin, who is regarded as the founder of modern Russian literature and is a Shakespeare-like figure within the Russian canon, began his poetic career by violating established genre boundaries. And this experimentation in mixing the public, high-style elements of the ode with the topoi of private, elegiac reflection, for example, was intimately connected with Pushkin's creation of a unique literary language that would mix elements of the low and high styles. We are told in V. V. Vinogradov's History of the Russian Literary Language, for example, that Pushkin belonged to the Karamzin school, which believed in bringing the Russian literary language into accord with the spoken language of the intelligentsia and opposed the dominant use of the Church Slavonicisms, which was advocated by an opposing conservative camp headed by Admiral A. S. Shishkov. (Of course, Pushkin as a poet would grow to use all the stylistic resources of the Russian language as well as foreign borrowings.) So it is no wonder that a major aspect that bothered Pushkin about the unadulterated odic style was its exclusive use of what Lomonosov termed the high style, which is dominated by the Church language. Ram notes that in a letter to his brother, Pushkin expresses his dissatisfaction with an ode written by his fellow Tsarskoe Selo classmate, Wilhelm Küchelbecker, in which the latter uses "Slavo-Russian verse taken entirely from [the Book of] Jeremiah" to champion the Greek revolutionary cause in the early 1820s.