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passion that one day he burst into the audience-room of the
German professor, and began to scold and abuse him.
When he was summoned before the consistory in regard
to it, he fell upon his associates with such abusive terms
that they refused to place them upon the record. He
was condemned to be punished with the knout for this,
but, “out of consideration for his services as a scholar,
and his superior intellectual qualities,” the sentence was
commuted to a reduction of his salary.
At this time it became established as an article of
faith that the intention of Peter the Great had been to
drive foreign culture out of the land as soon as it had
done its work; and as they now contended that its
mission was already accomplished, they succeeded in
being able to honor Peter also among the great national
rulers. Lomonósof, therefore, compares him in his
speeches with God himself. To the speaker’s servility
to Elizabeth, one of whose favorites he was, there is
naturally even less limit.
Lomonósof’s lyrical poems were at first didactic, like
the antiquated, naïve “About the Use of Glass,” which,
on account of the insight of the author into the natural
sciences, stands a little above the didactic poems of this
kind of the eighteenth century, and rather reminds us
of the cognate poems of Hans Christian Oersted. In
the next place he wrote religious poems, observations on
the greatness of God and on similar themes, in the same
style as Johannes Ewald among us, and finally hymns
in laudation of Elizabeth and her husband, which remind
us in the highest degree of the flights in the first ode
of Victor Hugo in Odes et Ballades.[1]
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