B. Pasternak DEFINITION OF POETRY This is a steeply poured whistle, This is the clicking of crushed ice floes, This is the night chilling a leaf, This is a duel between two nightingales. This is the sweet stalled pea, These are the tears of the universe in the shoulder blades, This is from the consoles and from the flutes - Figaro Falls like hail onto the garden bed. Everything that is so important for the night to be found on deep bathed bottoms, and to bring the star to the fishpond on trembling wet palms. It’s stuffier than boards in the water. The firmament was filled with alder. It suits these stars to laugh, But the universe is a deaf place. 1. What is the name of the stylistic figure used by Pasternak in the first seven lines of the poem? 1. What is the name of the stylistic figure used by Pasternak in the first seven lines of the poem?
B. Pasternak DEFINITION OF POETRY This is a steeply poured whistle, This is the clicking of crushed ice floes, This is the night chilling a leaf, This is a duel between two nightingales. This is the sweet stalled pea, These are the tears of the universe in the shoulder blades, This is from the consoles and from the flutes - Figaro Falls like hail onto the garden bed. Everything that is so important for the night to be found on deep bathed bottoms, and to bring the star to the fishpond on trembling wet palms. It’s stuffier than boards in the water. The firmament was filled with alder. It suits these stars to laugh, But the universe is a deaf place. 2. What phonetic device does Pasternak use to enhance expressiveness in the highlighted words? 2. What phonetic device does Pasternak use to enhance expressiveness in the highlighted words?
B. Pasternak DEFINITION OF POETRY stars to laugh This is a cool whistle, This is the clicking of crushed ice floes, This is the night chilling a leaf, This is a duel between two nightingales. This is the sweet stalled pea, These are the tears of the universe in the shoulder blades, This is from the consoles and from the flutes - Figaro Falls like hail onto the garden bed. Everything that is so important for the night to be found on deep bathed bottoms, and to bring the star to the fishpond on trembling wet palms. It’s stuffier than boards in the water. The firmament was filled with alder. It suits these stars to laugh, But the universe is a deaf place. 3. What type of trope, based on the resemblance of inanimate objects to living beings, is used in the highlighted lines? 3. What type of trope, based on the resemblance of inanimate objects to living beings, is used in the highlighted lines?
B. Pasternak DEFINITION OF POETRY This is a steeply poured whistle, This is the clicking of crushed ice floes, This is the night chilling a leaf, This is a duel between two nightingales. This is the sweet stalled pea, These are the tears of the universe in the shoulder blades, This is from the consoles and from the flutes - Figaro Falls like hail onto the garden bed. Everything that is so important for the night to be found on deep bathed bottoms, and to bring the star to the fishpond on trembling wet palms. It’s stuffier than boards in the water. The firmament was filled with alder. It suits these stars to laugh, But the universe is a deaf place. 4. What three-syllable meter is the poem written in? 4. What three-syllable meter is the poem written in?
B. Pasternak DEFINITION OF POETRY Overthrown by hail, covered with alder This is a steeply poured whistle, This is the clicking of crushed ice floes, This is the night freezing a leaf, This is a duel between two nightingales. This is the sweet stalled pea, These are the tears of the universe in the shoulder blades, This is from the consoles and from the flutes - Figaro Falls like hail onto the garden bed. Everything that is so important for the night to be found on deep bathed bottoms, and to bring the star to the fishpond on trembling wet palms. It’s stuffier than boards in the water. The firmament was filled with alder. It suits these stars to laugh, But the universe is a deaf place. 5. Name the method of correlating various phenomena used by the poet in the highlighted phrases. 5. Name the method of correlating various phenomena used by the poet in the highlighted phrases.
The history of the creation of the novel shows that its title was carefully thought out by the author. “Doctor Zhivago” sums up the Russian novel of the 19th century with its fading poetry of “noble nests” and estates, the beauty of rural nature, the purity and sacrifice of the heroines, the painful reflection and tragic fate of the heroes. The main character - Yuri Andreevich Zhivago - closes the series of heroes of Lermontov, Turgenev, Tolstoy and Dostoevsky. In the context of Russian classical literature, Pasternak’s novel “Doctor Zhivago” was studied by such scientists as I.V. Kondakov, G.M. Lesnaya, I.N. Sukhikh and others.
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IDEATORICAL AND THEMATIC CONTENT
NOVEL “DOCTOR ZHIVAGO” BY BORIS PASTERNAK
The meaning of the title of the novel "Doctor Zhivago"
The history of the creation of the novel shows that its title was carefully thought out by the author. “Doctor Zhivago” sums up the Russian novel of the 19th century with its fading poetry of “noble nests” and estates, the beauty of rural nature, the purity and sacrifice of the heroines, the painful reflection and tragic fate of the heroes. The main character - Yuri Andreevich Zhivago - closes the series of heroes of Lermontov, Turgenev, Tolstoy and Dostoevsky. In the context of Russian classical literature, Pasternak’s novel “Doctor Zhivago” was studied by such scientists as I.V. Kondakov, G.M. Lesnaya, I.N. Sukhikh and others.
Pasternak not only follows the long tradition of Russian classical literature of the 19th century, in which the name of the main character is often included in the title of the work, but also indicates his profession - doctor. For the general concept of the work, this clarification is very significant, since the hero, involved in a whirlpool of terrible historical events, retains his view of the world, history, and man, determined by his humanistic position as a doctor. This is reflected in a number of plot collisions (Zhivago, as a doctor, visited the fronts of the First World War, then in a partisan detachment during the Civil War), he helps Lara’s mother and thanks to this he meets a girl, whose love he will carry throughout his life. But the most important thing is that the doctor’s duty is to help all those who suffer, regardless of which camp a particular person belongs to. Therefore, the definition of “doctor” takes on a deeper meaning associated with the Christian concept of mercy. In the terrible trials of world wars, revolutions, civil strife, which split not only the country, but also the person himself, the hero preserves what constitutes the basis of a person’s healthy moral nature, and helps others in this. He is, as it were, called upon to be a healer of human souls, and it is no coincidence that as the plot of the novel progresses, Christian motives intensify and are completed in the last poetic part.
Contrary to the traditions of the Russian novel, the author is more busy searching for meaning in the game of chance than constructing a logically completed series of events. The methods of characterization in the novel are correlated with the idea of resolving the problem of the irony of history, when in the process of conquering freedom it turns out to be impossible for a person to exist internally free and at the same time not separated from the whole and universal.
The character of the main character is not without the logic of natural development, and the pattern of personality development in contact with the circumstances of real life is revealed in him. In accordance with this artistic concept, the novel creates the image of Yuri Zhivago, a doctor and poet who embodied Pasternak’s idea of freedom and personalism. Yuri has a spiritual ideal, he is disgusted by everyday games, packs and clans - freedom and secret independence, a sense of the highest ideal are dear to him.
“Doctor Zhivago” is a spiritual biography of a man who found himself at a rift in time. Although the novel reflects the most important periods in the history of the country, it is not built according to the laws of an epic work. The main thing in the novel is not the history of life events, but the history of the spirit.
The 20th century created the type of strong hero as an active personality. B. Pasternak proceeds from a religious and philosophical understanding of strength as a moral, spiritual feeling. From this point of view, Christ is the embodiment of a new moral ideal, a turn in history. According to Pasternak, life is understood as spiritualized and spiritualizing matter, in perpetual motion. Death is seen as a temporary stage on a person’s path from life to immortality. The symbols of a candle, garden, cross, and bowl serve as a means of representing the concepts of “life” and “death”; in the text they manifest individual author’s associations that arise on the basis of traditional ones. [Chumak, 2004, p. 12].
The idea of life in the novel is manifested in its very title, in the profession and surname of the hero. The surname Zhivago introduces the action of the novel into the circle of Christian concepts and meanings. In this regard, Yuri Zhivago has the strength of spirit that allows him not to succumb to the temptation of simple, unambiguous decisions, to accept the world in all its complexity and diversity, denying what brings spiritual death.
The book of poems “My Sister is Life” sounded like a poetic manifesto of the poet’s blood relationship with life. It is significant that the Siberian surname of the hero is a form of the genitive and accusative case of the Church Slavonic adjective “zhivoy” (alive). In Orthodox liturgical texts and the Bible (in the Gospel of Luke), this word in relation to Christ is written with a capital letter: “Why are you looking for the living among the dead?” [Bible..., 2004, p. 238] - the angel addresses the women who came to the tomb of Christ, i.e. the doctor's name graphically coincides with one of the names of Christ, and thereby emphasizes the connection between the hero of the novel and his gospel prototype. According to the writer V. Shalamov, B. Pasternak explained the choice of a surname for his hero: “The surname of my hero? This is a complicated story. Even as a child, I was amazed and excited by the lines from the prayer of the Orthodox Church: “You are truly Christ, the son of the living God.” I repeated this line and childishly put a comma after the word “God.” The result was the mysterious name of Christ “Zhivago”. But I was not thinking about the living God, but about his new name, accessible only to me, “Zhivago.” It took my whole life to make this childhood feeling a reality - to name it after the hero of my novel.” [Borisov, Pasternak, 1998, p. 205].
O. Ivinskaya testifies that the very name “Zhivago” arose from Pasternak when he accidentally on the street “came across a round cast-iron tile with the “autograph” of the manufacturer - “Zhivago”... and decided that let him be like this, unknown, not released either from a merchant, or from a semi-intelligentsia environment; this man will be his literary hero.” [Ivinskaya, 1992, p.142].
The real person who was the prototype of Doctor Zhivago was probably the doctor Dmitry Dmitrievich Avdeev, the son of a merchant of the second guild, whom Pasternak met during the evacuation to Chistopol, where the writer lived from October 1941 to June 1943. It was in the doctor’s apartment that writers held creative evenings (by the way, it was called “a branch of the Moscow Writers Club”). And when Pasternak was looking for a title for his most significant work in 1947, he remembered his Chistopol acquaintance, Doctor Avdeev, and the novel was called “Doctor Zhivago.”
While writing the novel, Pasternak changed its title more than once. The novel could be called “Boys and Girls”, “The Candle Was Burning”, “The Experience of Russian Faust”, “There is No Death”. Initially, the novel contained fragments with crossed out titles - “When the Boys Grew Up” and “Notes of Zhivult”. The semantic identity of the surnames Zhivult and Zhivago is obvious and in itself indicates their undoubted emblematic nature, and not an accidental origin. In the fragment entitled “The Death of Reliquimini”, a variant of his name is found - Purvit (from the distorted French pour vie - for the sake of life), which, together with two others - Zhivoult and Zhivago - forms a triad of names-emblems identical in meaning. The triple form of this essentially single name contains the central intuition of all Pasternak’s work - the intuition of the immortality of life.
“The Notes of Patrick Zhivult” - Pasternak’s “general” prose of the 30s - was undoubtedly the most important link linking together all previous attempts at a “great novel” with the concept of “Doctor Zhivago”. A whole series of motifs, provisions, names and toponyms in the part that has come down to us (“The Beginning of Prose of the Year 36”) indicate this with complete clarity. Istomina’s appearance in the “novel about Patrick” anticipates some of the features of the future Lara Antipova. In the image of Patricius, on whose behalf the story is told, autobiographical features are easily recognizable, on the one hand, and signs that bring him closer to Yuri Zhivago, on the other.
The image of “a man in captivity, in a cage” explains the origin of another “talking” surname in the novel “Doctor Zhivago” - Guichard (from the French guichet - prison window) and, in combination with the Russian meaning of the name Larisa (seagull), makes clear the abundance of " bird" associations in the descriptions of the heroine of the novel. Symbolism of the name Larisa Fedorovna Guichard: Larisa - “Seagull” (association with Chekhov’s seagull), Fedor - “God’s gift”, Guichard - “lattice” (French). The name supports the metaphor “Lara – Russia”: Russia, spiritualized, humiliated, dying behind bars.
Thus, the very name of Zhivago contains life and literally repeats the Old Slavonic definition of “God of the Living.” Zhivago is a doctor, guardian of life, protector of it. In this regard, we can say that the hero’s life becomes a life, or rather being, overshadowed by the sign of eternity.
It is no coincidence that the hero's surname is included in the title of the novel. She is certainly speaking, associated with the Christian concept: “The Spirit of the Living God.” Already in the title of the work, the deep Christian foundations of the author's concept are defined, the main ideological and philosophical axis of the novel is the opposition of life and death. Indeed, much points to the messianic role of its central hero, who went through suffering and trials, became a kind of atoning victim of a formidable historical “surgery,” but gained immortality in his creativity and in the grateful memory of people.
The theme of personality and history in B. Pasternak’s novel “Doctor Zhivago”
One of the main emphasis is made by the author in solving the problem of the relationship between personality and history, character and circumstances. Despite the commonality of the common theme - the intelligentsia and the revolution, as well as its embodiment - showing the fate of a person changing under the influence of revolutionary events, the whirlpool of history that confronted an individual with the problem of choice, Doctor Zhivago is distinguished by a sharp dissimilarity of emphasis. Pasternak goes against the traditional interest of literature in the formation of the character of a new person in the conditions of the revolution and under its influence.
Russia for Zhivago is nature, the world, Russian history. Yuri witnessed such historical events as: the Russo-Japanese War, the unrest of 1905, the First World War, the revolution of 1917, the Civil War, the Red Terror, the first five-year plans, the Great Patriotic War. Almost all the heroes of Pasternak’s novel are also involved in their own way in the turbulent life of the century and take his life for their own. Everyone decides his own destiny, correlating with the demands of the time: war, revolution, famine and so on. Yuri Zhivago lives in his own space, in his own dimension, where the main ones are not everyday values, but the laws of culture. Roman B.L. Pasternak's Doctor Zhivago is based on fundamental archetypes recreated by the author in the images of the novel, which raises it to the level of the general cultural heritage of mankind and places it among the pinnacle achievements of Russian and world literature. [Avasapyants, 2013, p. 20].
The author talks about the fate of Yuri Zhivago in its historical context. The contrast between Rome, with its division into leaders and peoples, with its false gods, and the gospel recognition of the divine meaning of a separate human personality is translated into the author's plan, where an individual, Yuri Zhivago, is contrasted with a new society of leaders and slaves. For the revolution did not become a process of liberation of peoples, contrary to Vedenyapin’s dream. Instead of a utopian brotherhood of free individuals, a new Rome is slowly emerging from the chaos of war, a new barbaric division into rulers and the crowd. Doctor Zhivago confronts the new idols. [Kadiyalieva, Kadiyalieva, URL: http://www.rusnauka.com/8_NMIW_ 2012/ Philologia/8_104376.doc.htm].
In the literary process of the post-revolutionary years, B. Pasternak belonged to the camp of writers who objectively depicted both the positive and negative sides of the revolution. Yuri Zhivago does not find an answer to the question: what to accept and what not to accept in his new life. In describing the spiritual life of his hero, Pasternak expressed the doubts of his generation.
The main question around which the narrative about the external and internal lives of the heroes moves is their attitude to the revolution, the influence of turning points in the country’s history on their destinies. It is known that Pasternak’s attitude towards the revolution was contradictory.
Yuri Andreevich’s initial attitude to the revolution was as follows: 1) in the revolution he sees something “evangelical” [Pasternak, 2010, p. 88]; 2) revolution is freedom. “Just think what time it is now! The roof was ripped off from all over Russia, and all the people and I found ourselves in the open air. And there is no one to spy on us. Freedom! Real, not in words and in demands, but fallen from the sky beyond expectations. Freedom by accident, by misunderstanding.” [Pasternak, 2010, p. 88]; 3) in the revolution, Doctor Zhivago saw the course of history taking place and rejoices at this work of art: “The revolution broke out against the will, like a sigh held in for too long. Everyone came to life, was reborn, everyone had transformations, revolutions. We can say: two revolutions happened to everyone, one of their own, personal, and the other general” [Pasternak, 2010, p. 89]; 4) “What a magnificent surgery!” [Pasternak, 2010, p. 116]. Zhivago reacts unmistakably only to the true, the eternal.
But over time, Zhivago’s attitude towards the revolution changes: 1) “remaking life” [Pasternak, 2010, p. 197] - opposition to all living things; 2) “...Each installation of this power goes through several stages. At the beginning it is the triumph of reason, the critical spirit, the fight against prejudice. Then comes the second period. The dark forces of the “adjacent”, feigned sympathizers gain an advantage. Suspicion, denunciations, intrigue, hatred are growing... we are at the beginning of the second phase" [Pasternak, 2010, p. 236]; 3) fratricidal war (the case of Seryozha Rantsevich): “A crowd surrounded a bloody human stump lying on the ground” [Pasternak, 2010, p. 214]; 4) the story of Palykh: “He was clearly insane, his existence irrevocably ended” [Pasternak, 2010, p. 215]; revolution cripples people, depriving them of their humanity; 5) “...Man is a wolf to man. When a traveler saw a traveler, he turned aside, and the one he met killed the one he met so as not to be killed. Human laws of civilization have ended. Animals were in power” [Pasternak, 2010, p. 219]; 6) “The brutality of the warring parties had reached its limit by this time. The prisoners were not brought alive to their destination; the enemy’s wounded were pinned on the field” [Pasternak, 2010, p. 196]; 7) violence: “Commissars with unlimited powers, people of iron will, armed with intimidation measures and revolvers began to be appointed in all places” [Pasternak, 2010, p. 116]; 8) a revolution in life, when everything collapses. Lara: “What is happening now with life in general... Everything derivative, established, everything related to everyday life, the human nest and order, all this went to dust along with the revolution of the entire society and its reconstruction. Everything household has been overturned and destroyed” [Pasternak, 2010, p. 233].
Zhivago feels the history as a given. Trying not to participate in remaking the world, Zhivago is nevertheless not an outside observer. His position could be compared with the position of M. Voloshin, who wrote: And I alone stand between them // In roaring flames and smoke. // And with all my strength // I pray for those and for others [Voloshin, 1989, p. 178].
In the novel Doctor Zhivago, Pasternak revives the idea of the intrinsic value of the human personality. The personal dominates the narrative. All artistic means are subordinated to the genre of this novel, which can be conditionally defined as prose of lyrical self-expression. There are, as it were, two planes in the novel: an external one, telling about the life story of Doctor Zhivago, and an internal one, reflecting the spiritual life of the hero. It is more important for the author to convey not the events of Yuri Zhivago’s life, but his spiritual experience. Therefore, the main semantic load in the novel is transferred from the events and dialogues of the characters to their monologues. The novel reflects life story a relatively small circle of people, several families, connected by relationships of kinship, love, and personal intimacy.
The fate of Doctor Zhivago and his loved ones is the story of people whose lives were thrown out of balance and destroyed by the elements of revolution. Pasternak says that everything that happened in Russia in those years was violence against life and contradicted its natural course. Refusal from the past turns into a rejection of the eternal, of moral values.
Thus, the idea of life is opposed to the idea of the inanimate, dead, unnatural, artificial, therefore Yuri Zhivago evades the violence of history. In his opinion, the events of the revolution cannot be avoided, they can be interfered with, but they cannot be changed. The novelty of Pasternak's solution is due to the fact that he rejects the traditional tragic resolution of the conflict due to the inability of the hero to ideologically correspond to the grandeur of the events. The concept of his novel reveals the inferiority of the revolutionary process itself, the neglect in its course of both the ideas about true humanity that have developed over the centuries, and the capabilities of the individual human personality in its independent revolutionary degeneration.
Christian theme in the novel "Doctor Zhivago"
Despite the variety of research positions, one of the aspects in the study of Doctor Zhivago remained on its periphery. This is the powerful influence of the Christian tradition of Russian literature (Dostoevsky), as well as Gospel and liturgical texts on Pasternak as a decisive factor in the creation of the novel “Doctor Zhivago”. [Ptitsyn, 2000, p. 8]. J. Börtnes, T.G. devoted their works to identifying the religious and philosophical roots in Doctor Zhivago. Prokhorova, I.A. Ptytsin et al.
The novel contains a huge amount of information, including many subjects, phenomena, eras and figures in the overall cultural and historical work. The text of Doctor Zhivago comes from many sources. Pasternak’s “inscription” of various pretexts into the images of these characters actualizes the plots and details of the latter in projection onto the modernity depicted by the writer and allows him to give hidden assessments of it.
The world of history and a person’s entry into it is determined for Pasternak by the dimensions that he outlined in a Christian vein: “free personality,” “love for one’s neighbor,” and “the idea of life as a sacrifice.” The highest sphere where this understanding of the world of history is embodied is, according to the writer, art. Pasternak saw such art as realistic and corresponding not only to the truth of history, but also to the truth of nature. [Kutsaenko, 2011, p. 3].
The main thing in the novel is the discovery of internal connections between people and events, which leads to an understanding of history as a natural and consistent process. It is in revealing this inner content of the novel that Christian motifs play the most important role.
There is also a lot of debate about Yuri Zhivago’s Christianity, and the main complaint against Pasternak here is the hero’s identification with Christ. Pasternak just set himself the task of proving that a very good person is precisely the most honest follower of Christ in the world, because... sacrifice and generosity, submission to fate, non-participation in murders and robberies are quite enough to consider oneself a Christian.” [Bykov, 2007, p. 722].
The hero, capable of voluntarily dooming himself to suffering, entered Pasternak's work early. Yuri Zhivago symbolized the figure of Christ. For Pasternak, the following Christian idea is very important: he who obeys the calls of Christ, makes an effort on himself, diligently transforms his entire life. [Ptitsyn, 2000, p. 12].
In light of the problems of B. Pasternak’s novel “Doctor Zhivago,” the parallelism between the image of Yuri Zhivago and the image of Jesus Christ in the novel becomes fundamentally important. However, there is reason to talk not just about the parallelism of images, but about the parallelism of the entire story of Yuri Zhivago, the entire plot of his fate with biblical history about the life, works, death and resurrection of Jesus Christ. This parallelism forms the key structure of Pasternak's novel. This parallelism is formed in the phases of the plot action, and in the system of characters, and in stylistic “consonances”, and finally, a whole range of special signals is oriented towards it.
The heroes of the entire work live by the idea of life as a victim. For Pasternak, the theme of the compassionate identity of the soul of one person to another, the idea of the inevitability of giving all of oneself for people, is important. Only in the context of eternity does the life of a person and all humanity gain meaning for the writer. All the events of the novel, all the characters are continually projected onto the New Testament tradition, intertwined with the eternal, be it the obvious parallelism of the life of Doctor Zhivago with the way of the cross, the fate of Lara with the fate of Magdalene, Komarovsky -
With the devil. “The mystery of life, the mystery of death” - the thought of the author of Doctor Zhivago struggles with this mystery. And Pasternak solves the “mystery of death” through life in history-eternity and in creativity.
Pasternak is concerned with the theme of the spiritual resurrection of the individual. The first lines of the book (the funeral of Yura’s mother, the blizzard night after the burial, the child’s experiences) are the semantic beginning of this theme. Later, Yuri Andreevich imagines that he is writing the poem “Confusion” about those days that passed between the death of Christ and his resurrection, about that space and time when there was a struggle between the resurrection potency of life and the “black earthly storm.” [Pasternak, 2010, p. 123]. The main character of the novel understands resurrection this way: “...You are afraid whether you will be resurrected, but you were already resurrected when you were born, and you didn’t notice it” [Pasternak, 2010, p. 45].
In the novel “Doctor Zhivago,” both the moral aspects of the gospel teaching and others related to the main idea brought by Christ to humanity were embodied. Doctor Zhivago believes that man in other people is the soul of man, his immortality: “You were in others, and you will remain in others. And what difference does it make to you that later it will be called memory. It will be you, who has become part of the future.” [Pasternak, 2010, p. 45].
“There will be no death” - this is one of the author’s options for the title of the future novel. According to Pasternak, a person should carry within himself the idea of immortality. He cannot live without this. Zhivago believes that immortality will be achieved by a person if he becomes “free from himself” - he accepts the pain of time, accepts all the suffering of humanity as his own. And it is significant that the main character is not only a doctor, but also a poet. The collection of his poems is the result, the summation of his life. This is Yuri Zhivago's life after death. This is the immortality of the human spirit.
The ending of the novel is conceptually important. It contains two epilogues: the first is the result of the hero’s earthly life, and the second is the result of his creativity and miracles. A deliberately reduced image of the death of Yuri Zhivago is replaced by the apotheosis of the hero - the publication, many years later, of his bookpoems. This is a direct plot materialization of the idea of immortality. In his poems, which captured the miracle of life, expressing his attitude and understanding of the world, Yuri overcame the power of death. He preserved his soul, and it again entered into communication with people.
The immortality of man for Yuri Zhivago is life in the minds of others. Yuri speaks the words of Christ about the resurrection as a constant renewal of the same eternal life. The mystery of the Incarnation is the main Christian motif in the novel Doctor Zhivago. It sounds in the reasoning of Uncle Yuri, the heretic Vedenyapin, already in the first book. [Pasternak, 2010, p. 2]. Truth is known through everyday life, and the human image of Christ is the cornerstone of Vedenyapin’s historiosophy, which, according to him, is built on the idea that “man lives not in nature, but in history, and that in the current understanding it is founded by Christ, that the Gospel there is its justification" [Pasternak, 2010, p. 13]. Vedenyapin's view of history and human personality is opposed to antiquity, which did not have such an understanding of history. In ancient times, the human person had no value, and rulers likened themselves to gods, turning people into slaves.
The quotation plan with the theme of Christ appears again at the end of the second book, in the thirteenth and seventeenth parts. The topic has undergone some changes. By this time, Yuri Zhivago had already been to the front, experienced the defeat of the Russians in the First World War, the civil war and the complete collapse of Russian society. One day he accidentally hears Simushka Tuntseva analyzing liturgical texts, interpreting them in accordance with Vedenyapin’s ideas.
The views of Vedenyapin's historiosophy strikingly coincide with the views of Yuri Zhivago, which are reflected in his poetry, in which the theme of Christ is repeated, and again in a new interpretation. Like Vedenyapin, Simushka is clearly influenced by Hegel in assessing the significance of Christianity for modern man, who no longer wants to be either a ruler or a slave, in contrast to the pre-Christian social order with its absolute division into leaders and peoples, into Caesar and the faceless mass of slaves. “An individual human life became God’s story, filling the space of the universe with its content” [Pasternak, 2010, p. 239].
Pasternak forces Simushka to express the idea that underlies the Orthodox theory of salvation and the teaching of the Orthodox Church about the transformation of man into God. According to this teaching, a person must strive to repeat the life of Christ, become like him, work to return sinful nature to a state of paradisiacal pristineness, and return Divine meaning to it.
The main things in life for Yuri Zhivago are: noble culture and the ideas of Christianity: Yuri Andreevich about uncle Nikolai Nikolaevich: “Like her (mother), he was a free person, devoid of prejudice against anything unusual. Like her, he had a noble sense of equality with all living things” [Pasternak, 2010, p. 12]; “This, firstly, is love for one’s neighbor, this highest type of living energy that overflows the human heart... the idea of a free personality and the idea of life as a sacrifice” [Pasternak, 2010, p. 13].
Thus, one of the interpretations of the legend of Christ, which is a constant element of culture, was included in the content of the novel about Yuri Zhivago - an eternal theme - Christian - was embodied in his personality and fate. B. Pasternak raised mortal man to the same level as Jesus Christ, proving the equivalence of the earthly life of a spiritualized man, his tragedy of the existence of that fate, which became for humanity a symbol of martyrdom and immortality. The parallelism between the fate of Yuri Zhivago, a Russian intellectual who lived in the first third of the 20th century, and the story of Jesus Christ became in the novel the most important way of discovering the moral essence of man’s struggle with his time, a form of enormous artistic generalization.
The idea of the purpose of art in a novel
Yuri Zhivago repeats the path of Christ not only in suffering. He participates in the divine nature of Christ and is his companion. The poet, with his gift of seeing the essence of things and existence, participates in the work of creating living reality. The idea of the poet as a participant in the creative divine work is one of those thoughts that occupied Pasternak all his life and which he formulated in his early youth.
In the fourteenth poem of the cycle “August,” the idea of the poet’s involvement in the creation of a miracle is most clearly expressed. The hero of the poem has a presentiment imminent death, says goodbye to work, and meanwhile the foliage is burning, illuminated by the light of the transformed Lord. The light of the Transfiguration of the Lord, captured in the word, remains to live forever thanks to the poet: “Farewell, azure of the Transfiguration // And the gold of the second Savior... // ... And the image of the world, revealed in the word, // And creativity, and miracles” [Pasternak, 2010, p. 310].
The construction of the image of Yuri Zhivago differs from that accepted in classical realism: his character is “given”. From the very beginning, he has the ability to put his thoughts into poetic words; from an early age he takes on the mission of a preacher, or rather, he is expected and asked to preach. But the messianic in Yuri Zhivago is inseparable from the earthly. Immersion in life, completely devoid of snobbery, this fusion with earthly flesh makes Yuri Andreevich receptive to the world, makes it possible to discern in the litter and trifles of everyday life glimpses of the beauty of earthly life, hidden from people. [Leiderman, Lipovetsky, 2003, p. 28].
According to Pasternak, poetic creativity is a work equal to God. The process of poetic creativity itself is depicted in the novel as a divine act, as a miracle, and the appearance of the poet is perceived as the “appearance of Christmas.” In their own creations, poets perpetuate life, overcome death, embodying everything that existed in words.
The novel does not end with the death of Doctor Zhivago. It ends with poetry - with the fact that it cannot die. Zhivago is not only a doctor, he is also a poet. Many pages of the novel are autobiographical, especially those devoted to poetic creativity. D.S. Likhachev says in his “Reflections on the novel by B.L. Pasternak’s “Doctor Zhivago”: “These poems were written from one person - the poems have one author and one common lyrical hero. Yu.A. Zhivago is Pasternak’s lyrical hero, who remains a lyricist even in prose.” [Likhachev, 1998, vol. 2, p. 7].
The writer, through the mouth of the lyrical hero Yuri Zhivago, speaks about the purpose of art: “It relentlessly reflects on death and relentlessly creates life through this” [Pasternak, 2010, p. 58]. For Zhivago, creativity is life. According to Zhivago, “art has never seemed like an object or aspect of form, but rather a mysterious and hidden part of content” [Pasternak, 2010, p. 165]. The author, being extremely sincere, shows the moment of inspiration when the pen cannot keep up with the thought:“...And he experienced the approach of what is called inspiration...” [Pasternak, 2010, p. 252]. The author also makes the reader a witness and participant in the most difficult work on the word: “But what tormented him even more was the anticipation of the evening and the desire to cry out this melancholy in such an expression that everyone would cry...” [Pasternak, 2010, p. 254].
Pasternak exposes Zhivago's creative process. The lyrical hero is the clearest expression of the poet. According to D.S. Likhachev, “there are no differences between the poetic imagery of the speeches and thoughts of the main character of the novel. Zhivago is the exponent of Pasternak’s innermost.” [Likhachev, 1998, vol. 2, p. 7]. Yu. Zhivago’s life credo is freedom from dogma, any parties, complete freedom from reason, life and creativity by inspiration, and not by coercion (Sima’s conversation with Lara about Christian understanding life): “She wanted, at least for a short while, with his help, to break free, into fresh air, from the abyss of the suffering that entangled her, to experience, as it used to be, the happiness of liberation” [Pasternak, 2010, p. 288].
The motive of love is combined with the motive of poetic creativity in the novel. In Pasternak’s value system, love is equal to poetry, for it is also insight, also a miracle, also a creation. And at the same time, love becomes the main reward for the poet: Tonya - Lara - Marina - this is, in a certain sense, a single image - the image of a loving, devoted, grateful one. Life manifests itself most brightly and fully in love. Love is shown in everyday, ordinary expression. Love and beauty are depicted by the writer in a purely everyday manner, using everyday details and sketches. Here, for example, is an image of Lara’s appearance through the eyes of Yuri Andreevich. [Pasternak, 2010, p. 171]. Love for Yuri Zhivago is connected with the life of home, family, marriage (both with Tonya and Lara). Tonya personifies a family hearth, a family, a person’s native circle of life. With the advent of Lara, this circle of life expands; it includes reflections on the fate of Russia, the revolution, and nature.
All the years of Yuri’s tragic life were supported by creativity. “The Poems of Yuri Zhivago” constitute the most important part of the novel, performing a variety of functions in it, for example, conveying the inner world of the hero (the poem “Separation”).
Thus, the novel “Doctor Zhivago” is a novel about creativity.The idea of the human personality as a place where time and eternity converge was the subject of intense thought by Pasternak both at the beginning and at the end of his creative career. The idea that to live means to realize the eternal in the temporal underlies the idea of the purpose of the poet in the novel “Doctor Zhivago”: everything in the world is filled with meaning through the word of the poet and thus enters into human history.
To understand the reasons for Zhivago’s behavior in certain situations, you need to understand the meaning of nature for him and its place in the work.
The novel is based on traditional literary motifs of nature and the railway, i.e. life and death. These two motifs take on different guises throughout the book: living history and anti-spirituality. The motives are in dialectical contradiction. The antithesis of life in nature is the railroad, the rails, which are symbols of the inanimate, the dead.
Pasternak's heroes are revealed through communication with nature. Nature in the novel is an embodied miracle, a miracle of life: “The miracle came out. Water ran out from under the shifting snow cover and began to scream.” In the novel, nature is not only enlivened by the gift of a living spirit, but promises the presence of higher goals in the world. Nature is the sphere that absorbs the space of the novel. “Nature in Pasternak’s light,” as V.N. correctly wrote. Alfonsov, is one of the synonyms of life.” [Alfonsov, 1990, p. 319]. A. Akhmatova: “All his life nature was his only full-fledged muse, his secret interlocutor, his bride and lover, his wife and widow - she was to him what Russia was to Blok. He remained faithful to her to the end, and she royally rewarded him.” [Fokin, 2008, p. 341]. V. Shalamov in a letter to Pasternak: “Where the novel is truly remarkable and unique... is in the extraordinary subtlety of the depiction of nature and not just the depiction of nature, but that unity of moral and physical world... the only skill ... to grow together so that nature lives together and in tune with the spiritual movements of the heroes... Nature itself is part of the plot.” [Talk about the most important thing..., 1988, p. 5].
In its special quality, Pasternak’s “non-classical” psychologism manifests itself through the sphere of nature (landscape, the system of natural images of vertical and horizontal space), which becomes in “Doctor Zhivago” a single - both material and spiritual, and symbolic authority, allowing facts to be conscious and spiritual life of the subject to find its “manifestation”. [Di Xiaoxia, 2012, p.10].
In the semantics of the forest image, pagan and Christian tradition, this image has several, often contradictory, functions. Tracing the dynamics of the development of the image of the forest in the minds of Yuri Zhivago, one can see that even in childhood the forest turns for him into a biblically ambiguous metaphor for the world. Nature is close to God, and man, by approaching nature, approaches God. It is in the forest that Yuri Zhivago finds peace of mind and relaxation. A clean, bright forest is like a temple in which thoughts are purified, the most sincere feelings awaken, and forgotten childhood sensations are resurrected. The forest is a healer not only of the soul, but also of the body. [Skoropadskaya, 2006, p. 18].
Even Christianity here is inevitably natural: either Jesus appears as “a shepherd man in a flock of sheep at sunset,” or flowers accompany Zhivago to another world, because “the plant kingdom is the closest neighbor to the kingdom of death. The mysteries of transformation and the mysteries of life are concentrated in the greenery of the earth" [Pasternak, 2010, p. 201].
Zhivago’s whole life is an instinctive desire to dissolve in nature, not to resist it, to return to childhood, where “the outside world surrounded Yura on all sides, tactile, impenetrable and undeniable, like a forest... This forest was made up of all the things in the world... All with his half-animal faith, Yura believed in the God of this forest, as in a forester” [Pasternak, 2010, p. 56].
The doctor is interested in everything around him, he is always in harmony with nature: “Everything wandered around, grew and sprang up on the magical yeast of existence. Admiration for life, like a quiet wind, went in a wide wave, without knowing where, across the ground and through the city, through walls and fences, through wood and the body, covering everything along the way with awe” [Pasternak, 2010, p. 284].
Nature lives and feels, just like humans:“The first harbingers of spring, a thaw. The air smells of pancakes and vodka, like at a butter salon... The sun squints sleepily, with oily eyes in the forest, sleepily, with needle eyelashes, the forest squints, the puddles glisten oilily at noon. Nature yawns, stretches, rolls over and falls asleep again.” [Pasternak, 2010, p. 85].
Having moved away from God, and thereby from nature, in his youth, Zhivago during the civil war, when “the laws of human civilization ended” and the pressure of reason weakened, returned to nature through his love for Lara. In the novel, the “naturalness” of love is constantly emphasized: “They loved because everything around them wanted it that way: the earth under them, the sky above their heads, clouds and trees.” [Pasternak, 2010, p. 288].
Nature is feminine in the novel: “Some kind of living intimacy developed between the birds and the tree. It was as if the mountain ash saw all this, was stubborn for a long time, and then gave in and, taking pity on the birds, gave in, unbuttoned and gave them her breast, like a mother to a baby.” [Pasternak, 2010, p. 205]. Lara appears in the form of either a swan or a rowan tree, it becomes clear that for Zhivago Lara is the embodiment of nature itself: “Since childhood, Yuri Andreevich loved the evening forest through the fire of dawn. At such moments, it was precisely that he let these pillars of light pass through himself... “Lara!” - closing his eyes, he half-whispered or mentally addressed his whole life, to all of God’s earth, to all the sun-lit space stretched out before him.” [Pasternak, 2010, p. 200].
The hero feels that Lara is a continuation of nature, feels that the desire for her is a desire for life. It is precisely because Lara personified all of nature for Zhivago that can explain his instinctive desire for her. He had to dissolve in it, as then in the forest, when he lay down on the lawn and “the variegation of sun spots, which had put him to sleep, covered his body stretched out on the ground with a checkered pattern and made him undetectable, indistinguishable in the kaleidoscope of rays and leaves, as if he had put on a hat invisible." [Pasternak, 2010, p. 201]. Dissolving in nature, a person has equal rights with animals: they are equal brothers even with an insect. [Pasternak, 2010, p. 201].
B. Pasternak focuses on individual elements of nature. He fragments the world, because for him it is valuable in every manifestation. Uncultivated, pristine nature is symbolized by the forest. The man in the forest is a guest. The forest takes on human characteristics; it is a hospitable host who welcomes guests and generously gives them gifts. People should not live in the forest; nature opposes this. The fields are the opposite of the forest. Without a person they are orphaned. [Sokolova, 2005]..
Returning to the forest, to the beginning, when everyone was equal, is the only way out for Zhivago as a creative person, otherwise he will constantly feel the inferiority of his existence. He and Lara are a single whole, this is what nature requires, this is what his soul requires. The fields, “orphaned and damned without man,” evoke in Zhivago a feeling of feverish delirium: he sees how “the mocking smile of the devil snakes across them”; while in the forests, freed from man, they show off “like prisoners released” [Pasternak, 2010, p. 270], God dwells, and a state of enlightenment and recovery descends on man. Pasternak makes Zhivago feel not only the internal manifestations of nature, but also external ones, some of which become constant messengers of joy or misfortune.
Thus, the highest values for Yuri Zhivago are nature, love, poetry - what forms the basis of the hero’s inner world, allows him to maintain inner freedom in the most difficult vicissitudes of time. The love of the heroes is necessary and natural, like life, like nature. Yuri Zhivago and Lara love because they are equally close in their understanding of life and nature. Nature in the concept of the novel is the embodiment of life, its all-encompassing beginning.
ORIGINALITY OF THE POETICS OF BORIS'S NOVEL
PASTERNAK "DOCTOR ZHIVAGO"
The problem of the genre of the novel "Doctor Zhivago"
Pasternak wanted to create a novel that would give feelings, dialogues and people in a dramatic embodiment, and would reflect the prose of the time. The diversity of opinions was caused by the particularly ambiguous nature of the novel, where behind the external simplicity of the style there was hidden content that was significant for the author, and in specific plot situations there was a generalized meaning. The multiplicity of forms also predetermined the diversity of interpretations.
B.M. studied certain aspects of the novel and its poetics. Gasparov, I.L. Smirnov, I.M. Dubrovina, L.A. Kolobaeva, O.V. Sineva, N.A. Fateeva and others. The problem of genre features of the novel was studied from different points of view. Doctor Zhivago is not recognized as a complete epic work - a novel in the full sense of the word.
A. Popoff considers Doctor Zhivago a lyrical novel. Pasternak's prose is the poet's personal prose. The characters in the novel express the author's ideas and speak in his poetic voice. The lyrical content in the novel is concentrated in its last part - a book of poems by Yuri Zhivago. The novel "Doctor Zhivago" was discussed in criticism and from the standpoint of novelistic prose XIX century, and as a work created under the influence of the ideas of the Symbolists. [Popoff, 2001, p. 319].
The poems of the hero of the novel are a lyrical diary in which human history is interpreted in the light of the Christian ideal. A. Voznesensky sees in Doctor Zhivago “a novel of a special type - a poetic novel,” in which the lack of epic objectivity was more than compensated for by an intense lyrical beginning. He gives a figurative explanation: “The huge body of prose, like an overgrown lilac bush, carries terry clusters of poems crowning it. The purpose of the novel is the poems that grow from it in the finale.” [Voznesensky, 1990, p. 226].
O. Kling defined the novel as “late symbolist.” He believed that symbolism had a strong influence on Pasternak. The late symbolist novel does not mean a return to symbolic canons, but their enrichment at the plot level. The work absorbed “features of symbolist aesthetics.” [Kling, 1999, p. 20].
From the position of biographer and researcher of Pasternak’s work D. Bykov, the novel can be represented as a system of symbols that operate at the level of title, plot, composition and reveal another reality of the existence of the work. D. Bykov calls the “symbolic plan” of Pasternak’s novel obvious. [Bykov, 2007, p. 722].
Another researcher, I. Sukhikh, demonstrates the multidimensional structure of a character-symbol using the example of the protagonist, in whom he sees “an attempt to synthesize ... various aesthetic and historical ideologies,” as a result of which Yuri Zhivago can be perceived both as “an image of a poet and a symbol of a Russian intellectual ( physician-writer Chekhov), and the continuation of the literary tradition (ideological hero, extra person), and a certain figure historical era, a sign of a generation." [Sukhikh, 2001, p. 78].
B.M. Gasparov called the novel “Doctor Zhivago” a post-realistic work, because its structural construction is associated with the nonlinearity and polyphony of a musical composition. Search theme song Pasternak's work should be directed not at the material, but at the internal structure of his works. From this point of view, Doctor Zhivago is of exceptional interest. It is in music that this phenomenon receives its most complete embodiment and becomes a universal formative device on which the entire composition is based. [Gasparov, 1994, p. 198].
But behind these plans lies another one -autobiographical , because Doctor Zhivago is a novel about the development of a poet. However, the figurative presentation of this path is not limited to the experience of Pasternak alone. The special role of the symbolist poet is evidenced by a fact from the creative history of the novel - Pasternak initially intended to call his work “Boys and Girls,” which is a reference to Blok’s poem “Willows.” [Lesnaya, 1996, p. 105].
Academician D.S. Likhachev believed that the novel “Doctor Zhivago” was an autobiographical novel. Pasternak writes not about himself, inventing his destiny, but at the same time precisely about himself, with the goal of revealing his own life to the reader. inner life. The lyrical voice of the protagonist, his philosophy are inseparable from the voice and beliefs of Pasternak himself. The researcher classified this novel as a “kind of autobiography,” “biography of time.” He wroteabout the novel “Doctor Zhivago” as “an autobiography in which, surprisingly, there are no external facts that coincide with the real life of the author. And yet, the author (Pasternak) seems to be writing for someone else about himself. This is Pasternak’s spiritual autobiography, written by him with utmost frankness.” [Likhachev, 1988, p. 4] Other literary scholars also wrote about the autographic nature of the work.[Bondarchuk, 1999, p. 6].
Pasternak needed a “different” person to express himself. There are no pages in the novel where the author openly expresses his thoughts or calls for something. This is Pasternak's creative method. Continuing the traditions of Chekhov, he does not seek to assure the reader of the impeccability of his convictions. It only shows the world, but does not explain it. The reader himself must explain the world, thereby becoming, as it were, a co-author of the novel. In general, Pasternak accepts life and history as they are.
According to a number of researchers of Pasternak’s work, the novel “Doctor Zhivago” should be considered “prose of lyrical self-expression.” Finally, there is an opinion that Pasternak’s novel is “a parable full of metaphors and exaggerations. It is unreliable, just as life at a mystical historical turning point is unreliable.” [Bykov, 2006].
In a genre sense, the novel was read in different ways, depending on the reader’s attitude and his “genre expectations.” An alternative to socialist realism turned out to be new realism. The new problematic has put the novel at the head of the realistic genre system, the genre content of which is most adequate to the study of the relationship between personality and history. In Doctor Zhivago, a novel was discovered that continued the traditions of realistic psychological prose of the 19th century, where, according to N. Ivanova, the main character “closes the ranks of the heroes of Lermontov, Turgenev, Tolstoy and Dostoevsky.” [Ivanova, 1988].
Pasternak himself called his method subjective biographical realism. The method of realism for Pasternak was a special degree of authorial accuracy in reproducing the spiritual world. “My plan was to give prose that, in my understanding, was realistic...” [Pasternak, 1997, p. 621].
The novel presented a generalized portrait of Russian culture of the 19th - early 20th centuries. I.V. Kondakov, who studied the novel “Doctor Zhivago” in the context of Russian literature, emphasized that Pasternak did not join “any bright tradition of classical Russian prose, nor any great novelistic style of Russian literature.” [Kondakov, 1990, vol. 49]. Indeed, a novel that chronologically spans almost half a century: from 1903 to 1929, and with an epilogue - until the early 50s. - densely “populated” with many major and episodic characters. All characters are grouped in one way or another around the main character, described and evaluated through his eyes, and “subordinated” to his consciousness.
According to O.A. Grimova, the novel “Doctor Zhivago” should be considered as a genre polyform, the elements of which are genetically connected with the most significant stages in the development of literature (myth - folklore - literature). [Grimova, 2013, p. 7]. Various genre vectors interact in the novel. A visual representation of Pasternak’s novel as a genre polyform is contained in Appendix No. 3.
Doctor Zhivago combines the features of a philological meta-novel and a narrative organized by an emphasis on orality. HELL. Stepanov believes that the dominance of the orientation towards orality and the activation of primary speech genres are marked by crisis and transition periods in the history of literature. [Stepanov, 2005, p. 63]. This is precisely the transitional, summative character of Pasternak’s work, and this is precisely his era.
One of the features of genre dynamics that determines the appearance of Doctor Zhivago is the combination of opposite processes - the exaggeration of genre characteristics and its blurring. The author's desire for the effect of spontaneity, unintentionality, and involuntary text generation is noted. M. Shapir connects this effect with the “aesthetics of negligence,” which largely determines Pasternak’s idiostyle. [Shapir, 2004]. Echoing an impressive number of genre paradigms, Doctor Zhivago does not fit into any one, and this probably indicates the formation within its framework of a new type of artistic integrity, which is now defined as a “total novel.” [Grimova, 2013, p. 41].
In the mid-90s. I.P. Smirnov put forward the hypothesis that Doctor Zhivago is a text that, like Dostoevsky’s The Brothers Karamazov, is “beyond literary genre" While talking about the fact that these texts are “not literature,” the scientist does not classify them as “some kind of discourse of historical time other than literature.” [Smirnov, 1996, p. 154]. It’s hard not to feel the “post-classical” nature of this text, which P.P. Smirnov defines it as belonging to a “secondary style,” that is, one of those that “identify actual reality with the semantic universe.” [Smirnov, 2000, p. 22].
In the space of other scientific interpretations, the novel turns into a fact of life creativity (the concept of the “novel-deed” by M. Aucouturier) or even religious creativity: the concepts of F. Kermode, M.F. Rowland and P. Rowland, A. Sinyavsky (“treatise”, “theology”), V. Gusev (“either a life or a biography”), G. Pomerantz. Versions are put forward about the intermedial nature of the novel, about the presence of a musical code in it (B. Gasparov’s idea of musical counterpoint as the basis of text composition; G. Gachev’s reading of JD as an “opera novel”), pictorial and cinematic codes (I. Smirnov). [Grimova, 2013, p. eleven].
According to S.G. Burov, the genre dominants of the novel are not of a static nature, they are characterized by movement. [Burov, 2011, p. 54]. “Doctor Zhivago” gives the researcher solid grounds to see in it “the epilogue ... of the Russian classical novel as a single text of an already completed era of the flourishing of national culture,” a factor that reveals this unity in diversity. [Tamarchenko, 1991, p. 32].
Thus, although the novel is built on the principle of concatenation of episodes, and the fates of the heroes and the events of their lives are subordinated to the course of history, this work cannot be called either a historical novel or an epic. There are too many conventions, symbolic meetings, monologues, details and images.
“Doctor Zhivago” has a summary character: it summarizes the individual author’s experience, the experience of the era. It not only sums up the classic novel of the 18th – 19th centuries, but also paves the way for the modern novel. The most succinct summation of the unique combination of such poetic features as universality, paradox, multi-level dynamism is the definition of the essential nature of Doctor Zhivago as a “novel of secrets” (concepts of I. Kondakov, I. Smirnov).
Ways to recreate artistic space in a novel
The dynamics of the unfolding of the narrative in Doctor Zhivago are determined by an algorithmically organized linear structure, to which the implementation of certain themes and motives in the literary text is subordinated. The action of the novel covers the years 1903 – 1929. Outwardly, the narrative is quite traditional: it tells about the fate of a person in the era of revolution. But the events of the novel are given through the perception of the main character; this subjective perception constitutes the plot. [Khalizev, 1999, p. 116].
The novel “Doctor Zhivago” is based on the life story of several families connected by friendship and family ties. The plot of the novel consists of the hero’s constant and unsuccessful attempts to hide from a terrible and cruel era, to find for himself and his family a niche in which he can escape the violence of history and find the happiness of everyday life. At the heart of Pasternak’s picture of the world is the idea of “life” as a “self-revealing”, “spiritualizing” beginning, a subject of world history. [Kretinin, 1995]. The life of Doctor Zhivago and his loved ones is destroyed by two revolutions and a civil war. Intense work is going on in his soul to comprehend what is happening. It is on the inner, spiritual life of his hero that the author focuses his attention - and, as a result, the main semantic load in the novel falls on the monologues and poems of the hero.
The novel consists of 2 parts: prosaic and poetic. 16 parts of the novel tell about people, events, big history, and the tragic fates of Zhivago, Tony, Lara and other heroes. It also shows a multifaceted image of Russia in the pre-revolutionary and post-revolutionary years. In the last, 17th part, all this extensive material seems to be repeated again, but this time in poetry.
The novel has two plots - “external” and “internal”. The external action is a biography of Yuri and the characters associated with him. The apparent chaotic nature of the external action makes us think about its conventionality, indicating the presence of a second, internal action, the subject and hero of which is reality itself. In the construction of the external plot, numerous plot clichés are used, characteristic of an adventure narrative and partly a fairy tale: the kidnapping of the hero by robbers, imaginary death, etc. The internal, main action is the image of Russian reality, the manifestations of which were the historical vicissitudes of the first half of the 20th century. The internal plot conveys the sequence of transformations occurring in reality. [Kuznetsov, Lyalyaev, 2013, p. 45].
The storylines are artificially intertwined, there are too many coincidences. But the author needs all these coincidences in order to build cause-and-effect phenomena in their continuous chain. The beginning of the narrative is no less surprising, representing a dense plot knot in which the fates of most of the main characters of the novel are invisibly intertwined: Yuri Zhivago, his uncle Nikolai Nikolaevich Vedenyapin, who is given the role of the main interpreter of historical events; Lara, Yuri Zhivago's beloved and Pavel Antipov-Strelnikov's wife - Nika Dudorov, whose path is traced in a dotted line until the end of the novel.
In a novel where many private destinies intersect against the backdrop of global historical events, Pasternak has to find compositional techniques that would help coordinate the plot lines. The composition of the novel can be considered circular: the narrative begins with the death of Zhivago’s mother and ends with the death of the main character. The work contains the motif of the hero’s way of the cross, the motif of memory. The main principle of writing is antithesis, the opposition of “dead” and “alive”.
On the peculiarities of the composition, specialist in the field of symbolism L.A. Kolobaeva writes that the main theme of the novel is the problem of the flow of life. She believes that the structure of the novel helps develop the theme. This flow of life fits into the microstructure of the novel's composition. The structure of micro chapters captures the fleeting moments of life and contributes to the saturation of the text with the breath of the lyrics. [Kolobaeva, 1999, p. 9].
The main formative principle of the entire novel is counterpoint - the combination of several relatively autonomous and parallel lines flowing in time along which the text develops. The principles of counterpoint in the novel are manifested at the level of verse, prose, images, plot, type of narratives, etc. So, at the level of the plot, the installation of the wardrobe is a key event in the life of Anna Ivanovna, daughter and Yu. Zhivago. When installing the wardrobe, the first storyline is established - the death of Anna Ivanovna, she is injured and dies), the second - Yu. Zhivago marries Tona (spiritual connection between them), the third - during installation Yu. Zhivago meets the daughter of Markel’s servant Marinka and then marries her (material relations). Parallel to the birth of storylines, their dying occurs. “Living life is not a field to cross” - this phrase is an illustration of counterpoint. At the level of images - the image of a candle (a symbol of life) appears again and again in the novel, as well as images of the elements (wind, blizzard), the image of a train, etc.
The main compositional feature of the novel is the repetition of the memory motif. The motif of memory, one of the main ones in the novel, announced from the first page by the title of the psalm performed during the church funeral, serves as an example of how a motif can vary and be filled with new meaning through comparison with one or another hero of the novel. This motif is repeated in the monologue about the meaning of resurrection that young medical student Yuri Zhivago delivers to the dying Anna Ivanovna, his adoptive mother and the mother of his future wife Toni.
Pasternak reduced to a minimum the role of traditional intrigue, philosophical dialogues, pictures of nature, the change of seasons, scenes of the senseless horrors of war and brief moments of happiness - from all this the biography of Yuri Zhivago is built - a harmonious whole, in which, like in a piece of music, the main melody. [Bertnes, URL: http://philolog.petrsu.ru/filolog/konf/1994/28-byortnes.htm].
Researcher V.I. Tyupa in his article “The verse-like composition of Doctor Zhivago” [Tyupa, 2012, p. 8–10] emphasizes the originality of the compositional division of the novel “Doctor Zhivago” into chapters, giving rise to the effect of “poet’s prose”. According to the author, in Pasternak’s text composition has a constructive function in organizing the meaning of the whole, similar to the strophic structure of a poetic text. It is concluded that the author's intention of the novel lies not in the opposition of verse and prose, but in their meaningful gradation.
Orlitsky Yu.B. notes that in Pasternak the plot-thematic unity of the text is compositionally broken by divisions that do not have a generally accepted name. These chapters act as a kind of macrostrophes of a complexly ordered whole, between which a “vertical, “verse” way” of connection is found [Orlitsky, 2008, p. 189-190], suggesting significant connections not only between adjacent, but also between distant components of the text. Thus, the researcher highlights “the special compositional role of Zhivago’s diary, located exactly in the center of the novel - in the 9th part” (more precisely, in the tenth chapter of the ninth part). The nine chapters of the novel are identical to the nine diary entries.
The parts and chapters of the novel are in a vertical compositional relationship. The sixteen chapters of the central ninth part of the novel are connected by semantic echoes with the sixteen prose parts corresponding in number. At the same time, the ninth chapter, dedicated to the appearance of Evgraf, serves as the semantic center of the entire work. A striking example of vertical compositional connections between stanza-like chapters of a text is the role of the number fourteen in the structure of the artistic whole. The fourteenth part of the novel is the climax: twelve days of the hero’s happy family and creative life pass here; by the end of the thirteenth day, the doctor loses Lara, and from the next (fourteenth) day the peak of his desperate creativity begins; This key part ends with Strelnikov’s suicide. Similarly, poem number 14 (“August”) occupies in many ways key position in the poetic cycle that concludes the novel, there are many points in common with the fourteenth part: the motives of dreams and awakening, death and immortality, love and creativity. [Tyupa, 2011].
The compositional and semantic significance of the number fourteen is enhanced by its allusive and semantic load in the text of the novel. This is the adolescence of growing up; this is the year the war began, which led to the revolution; This is the number of the train car in which Zhivago and his family travel from Moscow to the Urals. In addition, one of the important rites of the Catholic Church is the rite of the Cross, performed on Fridays during Lent; it consists of fourteen “standings”. As rightly noted by I.A. Sukhanov, in the poems of Yuri Zhivago the Gospel text is read through the prism of the traditions of Western Christianity. [Sukhanova, 2000].
In the novel Doctor Zhivago, the relationship between the heroes and their destinies is built on the principle of dialogue. [Orlova, 2008, p. 20]. All the characters in the novel are compared with Zhivago, and everyone bears a reflection of his personality. This is the meaning of the composition, built on countless meetings of the main character with minor ones: remaining unchanged at different stages of his own and general biography.
Important observations on the poetics of B.L. Pasternak is contained in the works of L.Ya. Ginzburg, which emphasizes the multi-subject nature, the absence of boundaries and hierarchy in the poet’s artistic world, as well as the universal cohesion of a wide variety of things and phenomena expressed in metaphor. The absence of boundaries in Pasternak’s poetic world, noted by L.Ya. Ginzburg, also determines such a feature of his space-time organization as “the blurring of boundaries between the external and internal world, between subject and object.” [Ginsburg, 1989, p. 41].
The same feature is highlighted by L.A. Ozerov: “Between objects and phenomena outside world and there are no partitions in the inner world. The subjective is often objectified; trees and clouds speak in the first person, on behalf of the poet who perceives them. The objective takes the position of the subject.” [Ozerov, 1990, p. 64]. The very form of Pasternak’s verse creates the impression of overcrowding and dynamism. art world the artist, the complexity of the spatio-temporal organization of his poetic works.
How is artistic space recreated in the novel? The theme of death introduces the meaning of eternity, the timelessness of what is happening and thus, as it were, includes the flow of events described in the general course of time, in the spatio-temporal context of history. The novel opens with the funeral scene of the mother of ten-year-old Yuri Zhivago. From the depths of childhood, the hero’s sense of time was gradually born - a subjective, personal perception of a series of events - but through an understanding of space, through a sense of its details, significant and not significant for the hero. At the same time, the author is detached: he is outside of time, outside of events, he is an outside observer.
In this “timeless” picture, two perceptions of the event are given: objective and subjective, because a tragic event seems to stop time. There is a contrast between the performance of the anthem “ Everlasting memory"and deliberate ordinariness, everyday life in the depiction of the event itself. Two spheres, two different planes are connected here. The first plan is a description of the funeral as an episode from the life of the main character of the novel, Yuri Zhivago (author’s plan). The second plan, which consists of fragments of borrowed texts, is the quotation plan. A completely different function is performed by Christian elements introduced into the novel with the help of quotes, when they are correlated with the main characters: Yuri Zhivago, Larisa Guichard, Uncle Yuri, Vedenyapin, Simushka Tuntseva [Bertnes, URL:http://philolog.petrsu.ru/filolog/konf/1994/28-byortnes.htm ].
As children grow older, understanding creeps into them. social inequality: external, objective time-space penetrates the child’s subjective world, imbuing it with class and political sorrows, since one has to give up joys and interests. Awareness of the sequence of events and times makes the idea of subjective time part of the poetics of the novel. In the child’s subjective perception, there is a kind of awareness of time through spatial orientations, through their alternation (rhythm). [Pasternak, 2010, p. eleven].
The minimum unit of plot division is motive. The image of time is derived through the motif of memory, combining personal ideas about the past, present and future into a single whole. The awareness of the sequence of events and times appears especially clearly in Ivan Ivanovich’s remark about the significance of the religious and biblical understanding of time: “I think we must be immortally faithful to this other name of life, a little strengthened. We must remain faithful to immortality, we must be faithful to Christ” [Pasternak, 2010, p. 13].
The combination of the two categories of death and immortality, both in a religious and ideological-thematic sense, informs about the understanding of the spatio-temporal parameters of life through the idea of time and eternity as the main signs of the inclusion of the hero’s personality in both objective time and objective space.
In artistic consciousness, time is often updated by referring to the category of eternity. B. Pasternak mythologizes time and space by concentrating attention on the smallest, hastily snatched from reality, details of the surrounding world, any of which reflects the “essence” of existence, and on the shortest, indecomposable periods of time - moments that are equivalent to eternity due to their indivisibility. [Pudova, 2011, p. 20].
According to L.I. Ermolov, in the novel one can distinguish two ways of transmitting time: “according to the calendar” (directly indicating a time date) and transmitting time through the movement of images - changes in nature, its subtlest shades. In temporal organization, we can designate memory time, memories of the author and heroes, linear time, cyclical time (of nature), eternity. [Ermolov, 2012, p. 80].
The early period is the childhood of humanity, there was no understanding of time, there was only an attempt to understand space. The author is trying to express this idea by entrusting religious reasoning about space-time to his hero. The philosophical and artistic parallelism between religious consciousness and the perception of the child (the main character) most accurately reflects the spatio-temporal parameters of the narrative. It is no coincidence that the author introduces the symbol of space-time through the motif of anxiety: “In the distance, across the plain, a neat yellow-blue train, greatly reduced by distance, was rolling from right to left. Suddenly they noticed that he stopped. White balls of steam rose above the locomotive. A little later, the whistles came" [Pasternak, 2010, p. 14]. The train appears as a spatial image of time.
However, the author characterizes the chain of events through the consciousness of the child. Therefore, the first motif that the author introduces through the image of a train is the motif of the road: “Russia, fields and steppes, cities and villages, flew past in clouds of hot dust, whitened by the sun like lime.” [Pasternak, 2010, p. 14]. Through children's perception, the endless Russian space is characterized, appearing outside of time, as stopped, frozen in the flow of history. [Correspondence of Boris Pasternak..., 1990, p. 224].
The image of the road, as a key spatial image in the composition of the novel, is developed through the image of the railway station and the accompanying concerns of the railway workers. The author takes great place a description of the life of the railway station, its workers, including their worries, hardships, and socio-political cataclysms.
The artistic space of B. Pasternak’s novel “Doctor Zhivago” is characterized by a combination of the real and the conventional. So, for example, the real topoi are Moscow, the Urals, St. Petersburg, Galicia, and the conditional (fictional) topoi are Yuryatin, Varykino and Melyuzeev. But even in the depiction of real space, the device of convention is often used. Toponyms play an important role in the artistic space of the novel. The composition of toponyms reflects the different regions of Russia, as a result, the novel “Doctor Zhivago” recreates the model of all of Russia. The most significant for the novel are the toponyms Moscow and the toponyms of the Urals.
The spatial images considered in the work: a road, a circle and a triangle, a window, a forest, perform structure-forming functions at the compositional level of the text of the novel “Doctor Zhivago” (they connect the poetic and prose chapters, serve as a leitmotif in the context of the entire novel), as well as on the lexical level -semantic level of the text (see, for example, the polysemantic words path and circle, increments of the meaning of the lexeme road), at the phonetic-graphic level of the text (building a sound space based on the semantics of circle, vocabulary with the root -colo-), at the ideological and semantic level and the philosophical and symbolic level of organization of the text of the novel (semantics of a circle enclosed in a triangle). [Smirnova, 2009, p. 8].
Geocultural topoi on the poetic map of B.L. Pasternak - signs of the poet’s special relationship to the world, in which space is one of the main arguments that determine the fate of both the hero and the poet. Any lyrical experience is based on the reflective properties of consciousness, where a possible object of reflection can be natural landscape, and cultural space. Pasternak's Moscow is formed at the intersection of cultural, historical, folklore, literary facts and is a more developed space for the lyrical hero. [Pudova, 2011].
Political events intensively draw the novel's heroes into the whirlpool of historical changes. Through their depiction, the artistic space is intensified. In local images, as if in focus, the plot, fable, spatial and temporal parameters of the artistic whole intersect, which creates a special narrative mood that combines place, time and history.
The key image of the story is a person. Many literary heroes seem alive to the reader, taken from real life, because the author uses artistic means to create the image of his hero, creating the illusion of reality. It is the image of a person, as a meaning-giving image, that focuses the author’s worldview quest and helps him overcome the specifics of existentiality (beingness) in order to come to an understanding of human existence as a mystery. But the diversity of epic lines significantly complicates the specific spatiotemporal parameters of human existence and indicates the predetermination and uncertainty of his life at the same time.
An important feature of the organization of the artistic space of the novel “Doctor Zhivago” is the alternation of everyday and historical space, access to outer space, for example: “In the distance there was a field in the snow and a graveyard, / Fences, gravestones, / Shafts in a snowdrift, / And the sky above the cemetery, full stars // And nearby, unknown before, / More shy than a bowl / At the window of the gatehouse / A star flickered on the way to Bethlehem // ... // It rose like a burning stack / Of straw and hay / Among the whole universe, / Alarmed by this new star” [ Pasternak, 2010, p. 314].
So, in the context of Pasternak’s concept artistic reality The spatial-temporal organization in the novel has a number of features. The categories of space and time are correlated, the spatial characteristics of reality are, as it were, “absorbed” by the temporal ones, time prevails over space. Time in the novel is presented as a series of intersecting mutually defining layers: the author's time, the time of lyrical experience, the time of characters, the reader's time, breakthroughs to Eternity, creating a complex unity of the narrative structure.
The creative beginning of the novel “Doctor Zhivago” is revealed in three forms: 1) a lyrical hero speaking in poetry (in the prose parts of the novel he acts as an epic hero); 2) a narrator speaking in prose; 3) a virtual author “clothed in silence” (according to M.M. Bakhtin), manifesting himself through a verse-like composition of an artistic whole. The author's intention does not consist in the opposition of verse and prose, but in their gradation. The poems of Yuri Zhivago, being a way of overcoming death and communion with eternity, appear as a kind of final stage of a life story, a compositionally “ripening” poetic form in it.
Function, theme and poetics of the cycle of poems by Yuri Zhivago
The problem of Pasternak's path to Doctor Zhivago was most fully considered by B.C. Baevsky. [Baevsky, 1997]. The author names five roads along which Pasternak moved towards his novel: prose sketches, poetic epic, lyrics, dramaturgy, translations. “Doctor Zhivago” is connected with each book of Pasternak’s lyrics by many verse, thematic, figurative, mythopoetic, stylistic, and linguistic bonds. [Radionova, 2002].
Poetry and prose in B. Pasternak’s novel form a unity and are, in fact, a new genre form. The synthesis of prose and poetry is the fundamental principle of the organization of a literary text and one of the artistic features of Doctor Zhivago. [Ivashutina, 2004, p. 23].
The novel is permeated with high poetics, accompanied by poems by the main character - Yuri Andreevich Zhivago. The cycle “Poems of Yuri Zhivago” is the final lyrical chord of the narrative, related to the general themes of the novel; a lyrical plot relating to the entire prose text. Yuri Zhivago's testimony about his time and himself are the poems that were found in his papers after his death. In the novel they are separated into a separate part, representing not just a small collection of poems, but a whole book with its own strictly thought-out composition. The special poetic and functional significance of Yuri Zhivago’s poems in the general context of Pasternak’s novel is determined by the fact that this poetic cycle is the seventeenth, final (immediately following the epilogue) part of it. [Vlasov, 2002, p. 19].
The book of poems by Yuri Zhivago is his spiritual biography, correlated with his earthly life, and his “image of the world revealed in words.” D. Obolensky, in an article devoted to the poems of Yuri Zhivago, notes that the three main themes of “25 poems by Yuri Zhivago” are nature, love, Yuri Zhivago’s understanding of the meaning and purpose of life. [Im Hye-yong, 2000, p. 5].
In its modern meaning, the term “mythopoetics” can be interpreted as the study of the “projection” of a myth (mythological plot, image, motif, etc.) onto a work. [Belokurova, 2005]. Mythopoetic motifs and images of Pasternak’s novel have repeatedly come into the focus of research attention. The most obvious and popular comparisons are made between the image of Yuri Zhivago and the image of Christ, Lara and Mary Magdalene, between the Komarovsky-Lara-Zhivago triangle and the story of the snake fighter St. George.
Allusions to the passions of the Lord and the reflections of the hero are woven together, predetermining the compositional design of the future poem by Yuri Zhivago, which, like a code, will concentrate all the main themes of the novel. This poem, called “Hamlet,” opens a cycle of poems by Yuri Zhivago. The appeal to the image of Hamlet shows Pasternak’s desire to rethink Shakespeare’s hero, paying tribute to the mythologization of Hamlet, i.e. Pasternak moves to the level of literary allusions, endowed with a mythopoetic meaning of the image of Western European literature. The name of Hamlet in the title indicates even more clearly not the “intertextual”, but precisely the mythologized appeal to the image of the Prince of Denmark, which emphasizes not so much specific “Shakespearean” meanings and overtones, but rather various “mythological” traditions of perception of Hamlet.
The first poem “Hamlet” reveals the meaning of the image of Yuri Zhivago: Hamlet goes onto the stage of life to do the will of the Lord, his “stubborn plan.” The poem closely intertwines Shakespearean symbolism, the symbolism of theater-life and fate-role, as well as gospel symbolism. The main conflict “lack of will/activity” is rethought in its own way by Pasternak in contrast to Zhivago and Strelnikov. Pasternak also adds a Christian one to these literary associations, forcing the lyrical hero of the poem to quote the Gospel prayer for the cup.
The lyrical hero of B. Pasternak’s poem of the same name is brought closer to the hero of Shakespeare’s tragedy by the same desire to make his life choice “in a mortal battle with a whole world of troubles.” He, like Hamlet, feels the break in the “connecting thread” of times and his responsibility for its connection. The choice of path was made in favor of Christian ethics: I am going towards suffering and death, but in no case - lies, untruth, lawlessness and unbelief.
Yuri Zhivago identifies himself with Hamlet. Behind the image of the actor-poet is the author of the novel himself. Pasternak points out the close connection between the images of Christ and Hamlet. The awakening of spirituality in Hamlet is associated primarily with Christian motives. Yuri Zhivago's poem "Hamlet" correlates with the situation of Hamlet pronouncing the monologue "To be or not to be." The poem correlates with the situation of Zhivago himself, described in the novel, as well as with a certain historical context and the situation of the author of the novel, who belonged to those poets who chose the path of suffering and self-sacrifice. Their life drama, the fate of Yuri Zhivago, the tragedy of Hamlet represent a series of repetitions of the Passion of the Lord.
The idea of the poet’s sacrifice lies at the heart of the novel; it defines Zhivago’s poetry and at the same time forms the basis of Pasternak’s own worldview, convinced that voluntary suffering and self-sacrifice are the goal of human earthly existence. Like Christ, Hamlet fulfills the will of his father. Both sacrifice their lives for others. The hero of the poem must be ready to sacrifice himself so that others continue to live, drawing strength from his poetry and feat, so that his life continues in them. The motive of self-denial is present in the penultimate stanza of the poem “Wedding”: Life, too, is only a moment, // Only dissolution // Of ourselves in all others // As if as a gift to them. [Pasternak, 2010, p. 306]. Essentially, the same motive sounds in the monologue of young Zhivago about resurrection and immortality as a continuation of life in others.
The image of a candle has a special meaning in Christian symbolism, and the symbolism of the “chalice” already corresponds to the maximum with Gospel symbolism. V. Borisov and E. Pasternak come to the conclusion that the meaning of the symbolic image of a lit candle “is revealed in the Gospel parable about a candle - the light of truth, which must not be hidden, but boldly brought to people.” [Borisov, Pasternak, 1998, p. 205].
The leitmotif of the novel was the poem “Winter Night”. A burning candle, which first appeared in the novel during Larisa’s love affair with Antipov, embodied for Yuri in the image of his beloved woman, becomes in the poem a sign of the invincibility of life. Two images - blizzards and candles - run like a leitmotif through the novel, uniting in the verses “Winter Night”: Chalk, chalk all over the earth, // To all limits. // The candle was burning on the table, // The candle was burning. In the blizzards of History, candle light attracts a wandering soul, allows it to resist loneliness, and unites with Love [Pasternak, 2010, p. 311].
In the poem “Dawn” the religious nature of this motif is clearly visible. The poet speaks of a return to faith as an event that awakened him to a new life and transformed reality. His relationship with the world has become different: I feel for them all, // As if I had been in their shoes... // ... People without names are with me, // Trees, children, homebodies. // I am defeated by them all, // And only that is my victory [Pasternak, 2010, p. 317].
Redemptive suffering is the main theme of Yuri Zhivago’s poetry. It is most clearly reflected in last poem cycle of the Passion, which is built on a verbal play, on the interaction of various texts: authorial, evangelical and liturgical, representing the death and resurrection of the Son of God.
In the novel, the motives of life and death form a force field in which all the characters in the work appear. The image of Yuri Zhivago, who carries a living spiritual principle, correlates with the image of Pavel Strelnikov. The difference between death and resurrection is not metaphysical in nature. The poem “On Passion” describes a ritual symbolizing the burial of Christ. The distance from Death to Resurrection seems endless: There is still darkness all around. // So early in the world, // That the square lay for eternity // From the crossroads to the corner, // And until dawn and warmth // Another millennium. But this infinity will be overcome during the night Easter liturgy: But at midnight creation and flesh will fall silent, // Having heard the spring rumor, // As soon as the weather has just cleared, // Death can be overcome [Pasternak, 2010, p. 300]. The poem “On Strastnaya” translates the thought into a philosophical plan of the struggle between life and death.
The Passion Cycle itself begins with the poem “Miracle”, which is based on the Gospel story about the barren fig tree cursed by Christ - an event that is commemorated on the first day of Holy Week.
In the next poem, “Earth,” the poet’s farewell to his friends is associated with the Gospel Last Supper: For this purpose, in early spring // Friends come together with me, // And our evenings are farewells, // Our feasts are testaments, // So that the secret stream of suffering // Warmed the cold of existence [Pasternak, 2010, p. 300].
This is followed by “Evil Days,” a poem covering the first four days of Holy Week: on the first day Jesus entered Jerusalem, on the fourth he appeared before the high priests. The penultimate two poems are dedicated to Mary Magdalene - according to tradition, she is identified with the sinner who washed Christ’s feet and dried them with her hair.
This poetic book ends with a poem called “The Garden of Gethsemane.” The words of Hamlet’s prayer “If only it is possible, Abba Father, // Carry this cup past,” spoken by Christ in the Garden of Gethsemane, connect the first (“Hamlet”) and the last (“Garden of Gethsemane” - poems. In the “Garden of Gethsemane” the words of Christ are heard , addressed to the Apostle Peter, who defended Jesus with a sword from those who came to seize him and put him to a painful death. He says that “the dispute cannot be resolved with iron,” and therefore Jesus orders Peter: “Put your sword in its place, man” [Pasternak, 2010, p. 300] This is Yuri Zhivago’s assessment of the events taking place.
The poet mourns with Christ on the eve of crucifixion and death. However, the fear of death is overcome by faith in eternal life. The poem was written with the idea that the course of history takes place according to a predetermined plan. In the last stanzas, the poet’s voice merges with the voice of Christ: You see, the course of centuries is like a parable // And it can catch fire as it goes. // In the name of her terrible greatness // I will go to the grave in voluntary torment. // I will go to the grave and on the third day I will rise, // And, as rafts are floated down the river, // To me for judgment, like the barges of a caravan, // Centuries will float out of the darkness [Pasternak, 2010, p. 322].
The last poem picks up the theme of the first and takes it into the cosmic plane. Both poems are variations of the same theme - self-sacrifice as the fulfillment of divine cosmic will. If we talk about changes in the worldview of Zhivago himself, about his spiritual evolution, then “The Garden of Gethsemane,” like the rest of the poems, are united by the image of Christ and form the so-called “gospel cycle” (“The Christmas Star,” “Miracle,” “Bad Days” , “Magdalene (I)” and “Magdalene (II)”) are evidence of the hero’s awareness of his earthly destiny, his highest sacrificial mission.
In the novel, the candle is a symbol of creativity and life. While Yuri and Tonya were driving through Moscow, along Kamergersky, he noticed a black, melted hole in the window, a candle fire was shining through it, as if the flame was spying on those traveling and waiting for someone. “The candle was burning on the table...” [Pasternak, 2010, p. 52]. The candle burns as if from the inside - not from a force filled from the outside, but from itself, its essence; and her life is combustion.
In the poem "Fairy Tale"Several sequentially revealing content-symbolic “layers” are revealed. V. Baevsky noted that the plot underlying the poem (ballad) “is fully based on three defining motifs: the serpent (dragon) gains power over the woman; the warrior defeats the serpent (dragon); a warrior frees a woman." [Baevsky, 1997]. This is an individual author’s transformation of the plot, which is based on the above-mentioned archetypal motif of snake fighting, correlated with individual episodes and plot lines of the novel and being in relation to them, as it were, a second – symbolic – plan that allows us to reveal their true meaning.
Thus, poetry and prose in the novel Doctor Zhivago form a living, indecomposable dialectical unity. The cycle “Poems of Yuri Zhivago” is a lyrical summary of the story of the Son of Man, giving in a refined form the outline of the hero’s life in direct analogy with the story of Jesus Christ. There are two motives here, penetrating each other: the motive of the divine happiness of existence and the motive of martyrdom for this happiness.
The book of poems opens with the theme of suffering and the awareness of its inevitability, and ends with the theme of its voluntary acceptance and atoning sacrifice. The central image of the entire novel is the image of a burning candle from “Winter Night”, the candle with which Yuri Zhivago began as a poet. Poems are a poetic summary of all the main ideas and motives of the novel.
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Likhachev D.S. Reflections on the novel by B.L. Pasternak "Doctor Zhivago" // New world. – 1988. - No. 1. –S. 5 – 10.
Ozerov L.A. About Boris Pasternak. – M., 1990. – 368 p.
Orlitsky Yu.B. Dynamics of verse and prose in Russian literature. – M., 2008. –
846 pp.
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Popoff A. About “Tolstoy’s arshin” in Pasternak’s novel “Doctor Zhivago” // Questions of literature. – 2001. – 03.01. – pp. 319-229.
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Ptitsyn I.A. Christian symbolism in the novel “Doctor Zhivago” by B.L. Pasternak: Abstract. dis. ...cand. philologist, science. – Cherepovets: ChTU, 2000. – 18 p.
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pp. 32 – 37.
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Khalizev V.E. Theory of literature / V.E. Khalizev. – M., 1999. – 214 p.
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15. What mood is imbued with the image of the July season in the poem by B.L. Pasternak? ("JULY")
In this poem, B. Pasternak depicts the features of the July season. The lyrical hero of the poem compares the summer month with a ghost, a brownie, and then with a “summer vacationer,” endowing it with human properties. The presence of this guest in the hero’s house does not bother him, but, on the contrary, evokes tenderness and lifts his spirits. The image of July is imbued with a mysterious, but at the same time cheerful and playful spirit. Thus, July in this poem is a long-awaited, desired month, causing great happiness in the hero.
16. Which Russian poets does Pasternak continue the tradition of, depicting natural phenomena as humanized? Justify your answer by indicating the authors and titles of the poems.
By depicting natural phenomena as humanized, Pasternak continues the tradition of M.Yu. Lermontov and F.I. Tyutcheva.
In the poem “Clouds,” Lermontov, comparing himself with clouds, humanizes them: he calls them “eternally free,” “eternal wanderers,” who rush across the sky. Like Pasternak, Lermontov has a motif of freedom: the July weather freely invades the house of the lyrical hero, “interferes with everything,” and the clouds float wherever they want, unfettered by anything.
In the poem “You, my wave of the sea...” Tyutchev’s sea, which is “resting or playing,” full of “wonderful life” and laughter, brings happiness to the lyrical hero. Likewise, in Pasternak, the arrival of July brings joy and serene happiness into the life of the lyrical hero.
Poems are different. Others you will read and forget. And there are those that you are drawn to return to and read again and again, to memorize. It seems to me that such works include the poems of Boris Pasternak. They make you think about life, about relationships between people, about your own understanding and perception of the world. A philosophical approach is characteristic of the entire work of this Russian poet of the Silver Age. Critics rightly call him a poet-thinker. main topic Pasternak’s philosophical poetry is “living life” that unites people and their environment:
It seemed like alpha and omega -
Life and I are cut the same;
AND all year round, in the snow, without snow,
And I called her sister.
(“All moods and voices...”)
Speaking about nature in his poems, the poet is not content with simply describing it, but portrays it as a living person. He meets sunrises, walks along alleys and forest paths, and the trees surrounding him and the rain live in his soul. The poet’s state merges with nature, as, for example, in the poems “Winter night" or "July Thunderstorm"
The philosophical orientation of Pasternak's lyrical works is determined by his constant mental efforts, which are aimed at finding the foundations and goals:
I want to reach everything
To the very essence.
At work, looking for a way,
In heartbreak.
To the essence of the past days,
Until their reason,
To the foundations, to the roots,
To the core.
Wish "get to the bottom of things" characteristic of many of the poet’s works written in different years. Therefore, he wants to show the reader not only the external, but also to penetrate into the very essence of some ordinary things and phenomena. For example: “My friend, you ask, who orders that the holy fool’s speech be burned? In the nature of linden trees, in the nature of slabs, in the nature of summer it was to burn.”, is Pasternak’s recognizable thought. The main thing is “it was not the summer that was hot,” but precisely “in the nature of summer...”, that is, the essence of summer time. Sometimes a poet constructs a poem in such a way that not only the visual perception of an object is revealed, but also its concept, idea, such as poetry "The Definition of the Soul", "The Definition of Poetry".
The late period of Boris Pasternak's work is characterized by a philosophical understanding of the fate and relationship of man and history. He strives to convey the understanding that a person with high moral ideals, may be invisible in the general mass, but is capable of accomplishing a feat, affirming the power of life, the triumph of being:
Your trek will change the terrain.
Under the cast iron of your horseshoes,
Blurring the wordlessness
Waves of tongues will pour forth.
Dear city roofs,
Each hut has a porch,
Every poplar is at the doorstep
They will know you by sight.
("Artist")
Pasternak raises in his work the main philosophical problem - existence. In a sense, she doesn't exist for him. There is simply life - that's all. No questions asked: “There is no need to interpret why the foliage is so ceremoniously sprinkled with madder and lemon.” The affirmation of the existing world is the main content of all Pasternak's poetry. She is a reflection of surprise and admiration for the triumph of life.
It cannot be otherwise. Life is a miracle given from above, capable of healing any pain: “There is no such melancholy in the world that snow cannot cure.”
Pasternak survived difficult times: world wars, revolutions, Stalinist repressions, post-war devastation. His whole life can be described in words from his poems: “And these days the air smells of death: to open a window is to open the veins.”
Reading Pasternak's poems is not easy. And not because the poetics are complex. Rather, it is difficult to read works filled with depth and dynamism of thought. When he said that philosophy is the foliage of poetry and reading the works of the master, you are convinced that he was right. Excellent feature philosophical lyrics Pasternak is that you need to read and think about each line. And yet, the philosophical works of Boris Pasternak are full of life-affirming force and optimism. Yes, there is a lot of drama and misfortune in the world, but through tragedy and sorrow a person moves towards a new understanding of life. Love rules the World. People need to understand and accept this.
WORKBOOK
For
PREPARATION FOR THE USE IN LITERATURE
(training tasks 10-14, part 1)
Boris Pasternak
teacher of Russian language and literature
2019
The workbook is addressed to high school teachers and students in grades 10-11. The development was based on lyrical works from the codifier, intended for detailed study.
The notebook is intended for preparation for the Unified State Exam (USE) in literature. It presents 12 options for thematic assignments with a short answer on the works of B. Pasternak for practicing each element of the Unified State Examination in literature content. The tasks in this block require good knowledge of the theory of literature, especially the theory of versification, and the development of the skill of analyzing a lyrical work. Tasks 10-14 of the Unified State Exam in literature are focused on identifying the ability to perceive, analyze and interpret a literary work as an artistic whole, and on the ability to identify artistic means of expression. The presented workbook can be used both in the classroom and at home.
The CMM structure includes 17 tasks that differ in form and level of complexity.
Part 1 suggests completing tasks that include questions
to the analysis of literary works. The ability of graduates to determine the main elements of the content and artistic structure of the studied works (themes and issues, heroes and events, artistic techniques, various types of tropes, etc.) is tested, as well as to consider specific literary works in connection with the course material.
Part 1 includes two sets of tasks. The first set of tasks relates to a fragment of an epic, or lyre-epic, or dramatic work: 7 tasks with a short answer (1-7), requiring the writing of a word, or a phrase, or a sequence of numbers, and 2 tasks with a detailed answer in the amount of 5-10 sentences: 8, 9.
The second set of tasks relates to a lyrical work: 5 tasks with a short answer (10-14) and 2 tasks with a detailed answer in the amount of 5-10 sentences: 15, 16.
The most important knowledge and skills that students must master can be recognized as:
.knowledge of texts of program works of fiction;
.knowledge of the main stages of the creative biography of writers and poets;
.the ability to identify the theme, idea and main problem of a work of art;
.knowledge and understanding of theoretical and literary concepts and terms: types of fiction (epic, lyric, drama), their main genres (novel, story, short story, poem, etc.), literary trends and trends (romanticism, classicism, symbolism and etc.), poetic meters (iamb, trochee, dactyl, etc.), etc.;
The main stages of a creative biography
Boris Pasternak was born in Moscow, in the family of artist Leonid Pasternak and pianist Rosalia Kaufman. The future writer grew up in a creative environment: Leo Tolstoy, Vasily Polenov, Isaac Levitan, Sergei Rachmaninov, Alexander Scriabin visited the Pasternaks. Under the influence of Scriabin, the future writer became interested in music - he studied at the conservatory courses and even wrote two sonatas for piano.
Studying at the gymnasium was easy; Pasternak graduated with a gold medal. But with future profession I couldn’t decide for a long time: first I entered the legal department of the Faculty of History and Philology of Moscow University, then transferred to the philosophical department. In 1912, he studied summer courses in Marburg, Germany, with the philosopher, Professor Hermann Cohen, but soon left with his family for Venice. After the Italian holidays, Pasternak settled in Moscow, graduated from the university, but did not take his diploma: the document remained in the archives on Vorobyovy Gory.
At this time, Pasternak tried to write poetry. He was attracted to various literary associations. The poet participated in meetings of the Moscow Symbolist publishing house "Musaget", and was a member of the futurist literary group "Centrifuge". In 1913, Pasternak published his first poem in the collection of a group of poets “Lyrics”, and at the end of the same year he published his own book of poems “Twin in the Clouds”. Three years later, Pasternak’s second collection, “Over the Barriers,” was published.
In the early 20s, Boris Pasternak met Mayakovsky at the literary association “LEF” and maintained an epistolary friendship with Marina Tsvetaeva and other artists in exile.
In 1922, Pasternak married artist Evgenia Lurie, and a year later their son Evgeniy was born. To support his family, Pasternak took up translations. He translated many works by Paul Verlaine, John Keats, Rainer Maria Rilke and other European poets. Pasternak knew how to accurately convey the message and preserve the rhythm and volume of the original work.
He also created his own works: the collection “Themes and Variations” was published, the cycle “High Disease” and the novel in verse “Spektorsky” appeared. At the end of the 1920s, Pasternak completed his “Safety Certificate” - autobiographical notes about his youth and first love, travels around Europe and meetings with famous contemporaries. Relations with Evgenia Lurie did not work out: she wanted to pay more attention to her creativity. Later, their son Evgeniy wrote: “Heightened impressionability was equally characteristic of both of them, and this made it difficult to calmly endure the inevitable hardships of family life.” The marriage broke up.
In 1931, Pasternak visited Georgia, met local poets, and Georgian poetry was added to the translations. Impressed by the trip, he wrote a series of his own poems, “Waves.”
Soon Pasternak married a second time - to Zinaida Neuhaus. At this time, there was a period of official recognition of the poet: a collection of his poems was republished several times, Pasternak participated in the work of the Writers' Union, and in 1934 he gave a speech at its first congress. At the same time, Nikolai Bukharin proposed calling Pasternak the best poet Soviet Union
In 1935, Boris Pasternak, together with Ilya Ehrenburg and Isaac Babel, represented the Writers' Union at the International Congress of Writers in Defense of Culture. In the same year, the poet stood up for Akhmatova’s arrested husband and son and wrote a letter to Stalin. After their release, he sent the head of state a book of translations “Georgian Lyrics”. But by the end of the 30s, the attitude of his colleagues towards Pasternak worsened: he wrote about nature and feelings, and they expected from him civil lyrics glorifying the Soviet system.
With the beginning of the war, the Writers' Union and their families were evacuated to Chistopol near Kazan. Zinaida Neuhaus evacuated Pasternak's manuscripts and letters. In 1943, Boris Pasternak and his colleagues visited the units Soviet army, which liberated Oryol. Impressed by the trip, he wrote the poems “Persecution”, “Death of a Sapper”, “Scouts”, the essays “A Trip to the Army” and “The Liberated City”.
In 1946, Pasternak began writing the novel Doctor Zhivago. The main prototype of the main character was his new love - Olga Ivinskaya.
Pasternak wrote the novel in parts, and he read each part at friends’ meetings and talked about plans and ideas. Olga Ivinskaya, who was then working in one of the departments of the Novy Mir magazine, handed over the manuscripts to the typist Marina Baranovich, and she printed several copies. Pasternak immediately distributed them to everyone he knew, and Ivinskoy said: “Don’t be sorry, let’s read it widely, no matter who asks, it’s very important to me what they say.”
After the release of the first chapters, Olga Ivinskaya was arrested, tortured, and demanded to tell what the novel would be about, whether it would become oppositional. She was convicted and sent to camps, where she stayed for 4 years.
In 1955, Pasternak finished the novel. However, Soviet editors were in no hurry to publish it. A major Italian publisher, Giangiacomo Feltrinelli, learned about the novel and offered to publish the work. Pasternak agreed and handed over a copy of the novel.
Olga Ivinskaya asked Feltrinelli to publish the novel after Litizdat published it. But the Soviet publishing house refused the novel, and Doctor Zhivago was published in Italy.
Pasternak's work, despite persecution within the country, was highly valued abroad. In 1958, Pasternak was nominated for the Nobel Prize by the laureate in literature, the French writer Albert Camus. On October 23, 1958, the Swedish Committee awarded Pasternak the title of Nobel laureate and a prize with the wording “for outstanding services in modern lyric poetry and in the field of great Russian prose.”
In the same year, Doctor Zhivago was illegally republished in the Netherlands in Russian. A significant part of this circulation was distributed in 1959 at the World Festival of Youth and Students in Vienna.
Although Pasternak was first nominated for the Nobel Prize back in 1946, the Soviet Union still believed that he was given the award precisely because of his “anti-Soviet” novel. The Presidium of the CPSU Central Committee adopted a resolution “On the slanderous novel of B. Pasternak,” and a feuilleton appeared in the Pravda newspaper in which Doctor Zhivago was called a “literary weed.”
Recognize that awarding the Nobel Prize to Pasternak’s novel, which slanderously portrays the October Socialist Revolution, the Soviet people who carried out this revolution, and the construction of socialism in the USSR, is a hostile act towards our country and a weapon of international reaction aimed at inciting the Cold War.
Resolution of the Presidium of the CPSU Central Committee “On the slanderous novel by B. Pasternak”, October 23, 1958. Pasternak was expelled from the Writers' Union. Meetings were held across the country in factories and collective farms, universities and cultural institutions. Participants spoke out against the “traitor” writer and his work. The novel was condemned even by those who had not read it.
I disappeared like an animal in a pen.
Somewhere there are people, will, light,
And behind me there is the sound of a chase,
I have no way out.<...>
Constant attacks and accusations from former colleagues, appearances in the press and pressure on Ivinskaya brought their results. Pasternak telegraphed to the Nobel Committee: “Due to the importance that the award awarded to me has received in the society to which I belong, I must refuse it; do not take my voluntary refusal as an insult.”
But this still did not change the attitude towards Pasternak. Moscow writers advocated for the writer to be expelled from the country. Only young poets Andrei Voznesensky, Evgeny Yevtushenko and Bella Akhmadulina did not join. Addressing the Writers' Union, Boris Pasternak said: “I don't expect justice from you. You can shoot me, deport me, do whatever you want. I forgive you in advance. But take your time. This will not add to your happiness or fame. And remember, in a few years you will still have to rehabilitate me. This is not the first time in your practice.”
Pasternak was saved from deportation by a telephone call to Khrushchev from Indian Prime Minister Jawaharlal Nehru and a “letter of repentance” prepared by the special services, which the poet was forced to sign. It was published in the Pravda newspaper in November 1958. It contained these lines:“I never had any intention of harming my state and my people. The editors of Novy Mir warned me that the novel could be understood by readers as a work directed against the October Revolution and the foundations of the Soviet system. I didn’t realize that, which I regret now.”
After 2 years, the poet passed away.
In 1987, Boris Pasternak was rehabilitated and was posthumously returned to the USSR Writers' Union. A year later, the New World magazine published the novel Doctor Zhivago, and the Swedish Academy invalidated the forced refusal of the award, and in 1989, at an official ceremony, the Nobel diploma and Boris Pasternak’s medal were handed over to his eldest son Evgeniy.
Poems by B.L. Pasternak by codifier:
"February. Get some ink and cry!..”, “Definition of poetry”, “I want to achieve everything...”, “Hamlet”, “Winter Night” (“It’s chalk, it’s chalk all over the earth...”), “There will be no one in the house... ”, “It’s snowing”, “About these poems”, “Loving others is a heavy cross...”, “Pines”, “Rime”, “July”.
Thematic test No. 1
Definition of poetry
This is a cool whistle,
This is the clicking of crushed ice floes,
This is the leaf-chilling night,
This is a duel between two nightingales.
This is a sweet rotten pea,
These are the tears of the universe in the shoulder blades,
This is from consoles and flutes - Figaro
Falls like hail onto the garden bed.
Everything that is so important to find at night
On deep bathed bottoms,
And bring the star to the cage
On trembling wet palms.
It’s stuffier than boards in the water.
The firmament was filled with alder.
It suits these stars to laugh,
But the universe is a deaf place.
(1917)
Answer: ___________________________________________ _________
Name the modernist movement to which B. Pasternak belonged?
What type of trope, based on the resemblance of inanimate objects to living beings, is used in the line “It suits the stars to laugh”?
Answer:___________________________________________________
Name the means of expressive correlation of various phenomena used by the poet in the phrases “buried by alder” and “overthrown by hail.”
Answer:___________________________________________________
In what size is B.L.’s poem written? Pasternak "Definition of Poetry"?
Answer:___________________________________________________
Answer:___________________________________________________
What stylistic device does Pasternak use to enhance the expressiveness of the image in the words “Figaro // Falls like hail onto the garden bed”?
Answer:___________________________________________________
What is the name of a stylistic device that enhances the sound expressiveness of a verse? …SkyO St.O d sA VA LilsI'm about lhO Yu..."
Answer:___________________________________________________
9.From the list below, select three titles artistic means and techniques used by the poet in the poem (indicate their numbers).
1.hyperbole
2.oxymoron
3.epithet
4.irony
5. anaphora
Determine the type of rhyme in the poem.
Answer: ____________________________________________________
Thematic test No. 2
Hamlet
The hum died down. I went on stage.
Leaning against the door frame,
I catch in a distant echo,
What will happen in my lifetime.
The darkness of the night is pointed at me
A thousand binoculars on the axis.
If possible, Abba Father,
Carry this cup past.
I love your stubborn plan
And I agree to play this role.
But now there is another drama,
And this time fire me.
And the end of the road is inevitable.
I am alone, everything is drowning in pharisaism.
1946
Poem "Hamlet" by B.L. Pasternak “attributed” the hero of his famous novel. Indicate the title of this work.
Answer: ____________________________________________________
What term is used to describe one of the tropes, a figurative expression that exaggerates some action or phenomenon (“The darkness of the night is pointed at me // A thousand binoculars on the axis”)?
Answer: ____________________________________________________
Philosophical poem by B.L. Pasternak ends with a line that is an aphoristic folk saying. What is this saying called?
Answer: ____________________________________________________
What is the name of a stylistic device based on the use of the samevowel soundsand giving the verse a special sound expressiveness (“I catch in a distant echo, // What will happen in my lifetime.”)?
In what size is B.L.’s poem written? Pasternak's "Hamlet" (give the answer in the nominative case without indicating the number of feet)?
Answer: ___________________________________________________
To characterize his contemporary society, the lyrical hero uses a generalized image (“pharisaism”), which includes many associative features (hypocrisy, blindness, madness, lawlessness). What term is used to designate such an image?
Answer: ________________________________________
7. From the list below, select three names of artistic means and techniques used by the poet in the penultimate stanza of this poem.
1) epithet
2) hyperbole
3) phraseology
4) sound recording
5) allegory
8.What is the name in literary criticism for a means of allegorical expressiveness, formed on the principle of similarity and which allowed the author to create a hidden comparison “life - theater” in the poem “Hamlet”?
Answer:__________________________________________________
Copy from the third stanza of the poem by B.L. Pasternak's "Hamlet" is a figurative definition that expresses the subjective attitude of the lyrical hero to the higher powers that control his fate.
Answer:__________________________________________________
What is the name of the selected B.L. Pasternak stylistic device based on the repetition of homogeneousconsonantssounds:
“But the schedule of actions has been thought out,
And the end of the road is inevitable..."?
Answer:__________________________________________________
Analysis of the poem by B. Pasternak
"Hamlet"
The poem "Hamlet" was written in 1946. It is part of the last, seventeenth part of the novel “Doctor Zhivago” - “Poems of Yuri Zhivago”. "Hamlet" is a multi-dimensional poem. It is about Shakespeare's hero, the Prince of Denmark, who rose to fight all the world's evil and died in this hopeless fight; about a brilliant actor playing the role of Hamlet in the theater (stage), who deeply comprehended this role; about Jesus Christ, who came to earth to go through the path of suffering and with his suffering to atone for all the sins of humanity; about the hero of the novel by Yuri Zhivago; finally, about the author of the novel, Boris Pasternak.
Hamlet had a direct connection to the theater and even acted as the director of "The Murder of Gonzago", presented by a troupe of traveling actors. So being on stage is natural for him:
The hum died down. I went on stage.
In a literal, direct sense, these are the words of the actor who took the stage. Metaphorically, these words can very naturally be attributed to Hamlet, who said that life is a theater and the people in it are actors. In the second stanza, the image of the hero becomes even more complex, as Pasternak introduces an association with the gospel story of the prayer for the cup:
If possible, Abba Father,
Carry this cup past.
These verses closely convey the prayer of Christ in the Garden of Gethsemane: “Abba Father! All things are possible for You; carry this cup past me” (Abba Father - an appeal to God the Father). Thus, the hero of the poem is associated with Jesus Christ.
I love Your stubborn plan
And I agree to play this role.
But now there is another drama,
And this time fire me.
This stanza conveys the hesitations of both Christ, conveyed in the Gospel, and Hamlet, and the throwing of Yuri Zhivago, and Pasternak himself. In the next, final stanza, Pasternak’s hero accepts all the trials of fate, whatever they may be:
But the order of actions has been thought out,
And the end of the road is inevitable.
I am alone, everything is drowning in pharisaism.
Living life is not a field to cross.
The Pharisees rejected the teachings of Christ; their hypocrisy and hypocrisy were denounced many times in the speeches of Christ conveyed in the Gospel. Pharisee - deceitful, hypocritical - was the court of King Claudius in Elsinore. Pasternak repeatedly denounced the hypocrisy and hypocrisy of his time, including in Doctor Zhivago. In the last line, Gospel images, a high biblical style are combined with a folk proverb containing a simple but very deep thought. This ending gives naturalness and authenticity to the entire poem.
Thematic test No. 3
July
A ghost is wandering around the house.
Steps overhead all day.
Shadows flicker in the attic.
A brownie is wandering around the house.
Hanging out inappropriately everywhere,
Gets in the way of everything,
In a robe he creeps towards the bed,
He tears the tablecloth off the table.
Don’t wipe your feet at the threshold,
Runs in a whirlwind draft
And with a curtain, like with a dancer,
Soars to the ceiling.
Who is this spoiled ignorant
And this ghost and double?
Yes, this is our visiting tenant,
Our summer summer vacationer.
For all his short rest
We rent out the whole house to him.
July with thunderstorm, July air
He rented rooms from us.
July, dragging around in clothes
Dandelion fluff, burdock,
July, coming home through the windows,
All loudly speaking out loud.
Steppe unkempt disheveled man,
Smelling of linden and grass,
Tops and the smell of dill,
The July air is meadow.
(1956)
Answer: ______________________________________
What is the consonance of the ends of poetic lines called (ghost - shadows; head - brownie, etc.)?
Answer: ______________________________________
From the list below, select three names of artistic means and techniques used by the poet in the penultimate stanza of this poem.
1) anaphora
2) hyperbole
3) neologism
4) sound recording
5) vernacular
Answer: ______________________________________
What artistic device, associated with the transfer of the properties of living beings to inanimate objects, is the main one when describing July in the first three stanzas of the poem?
Answer: ______________________________________
What stylistic figure associated with the violation of the usual word order is used in the lines: “Shadows flicker in the attic. // There’s a brownie wandering around the house”?
Answer: ______________________________________
8. Indicate what method of enhancing the intonation expressiveness of the text, based on the repetition of identical, homogeneous vowels, is used by the author of the work: « B xAlAthose crAgoing to the crOVAtee, FailureAet skArub withOstOlA».
Answer: ______________________________________
Thematic test No. 4
PINES
In the grass, among the wild balsams,
Daisies and forest baths,
We lie with our arms thrown back
And raised my head to the sky.
Grass on a pine clearing
Impenetrable and dense.
We'll look at each other again
We change poses and places.
And so, immortal for a while,
We are numbered among the pine trees
And from diseases, epidemics
And death is freed.
With deliberate monotony,
Like an ointment, thick blue
Lies bunnies on the ground
And gets our sleeves dirty.
We share the rest of the red forest,
Under the creeping goosebumps
Pine sleeping pills mixture
Lemon with incense breathing.
And so frantic on blue
Running fire trunks,
And we won’t take our hands off for so long
From under broken heads,
And so much breadth in the gaze,
And everyone is so submissive from the outside,
That somewhere behind the trunks there is a sea
I see it all the time.
There are waves above these branches
And, falling off the boulder,
Shrimp rain down
From the troubled bottom.
And in the evenings behind a tug
Dawn stretches across traffic jams
And leaks fish oil
And the hazy haze of amber.
It gets dark, and gradually
The moon buries all traces
Under the white magic of foam
And the black magic of water.
And the waves are getting louder and higher,
And the audience is on the float
Crowds around a post with a poster,
Indistinguishable from a distance.
(1941)
What type of lyricism can this poem be classified as?
Answer: _______________________________________
The poem clearly identifies two structural parts: in reality - pine trees, in the imagination - the sea. What is the name of the relationship and relative position of the parts of a work, its images?
Answer: _______________________________________
“Hail of shrimp”, “white magic of foam”, etc. What means of artistic expression, based on the figurative meaning of words, was used by the poet when creating images?
Answer: _______________________________________
What type of sound writing, based on the repetition of consonant sounds, is used in the following lines: “There are waves above these branches // And, falling from the boulder...”?
Answer: _______________________________________
5. From the list below, select three names of artistic means and techniques used by the poet in the ninth stanza of this poem.
1) anaphora
2) irony
3) inversion
4) epithet
5) hyperbole
Answer: _______________________________________
6.Name a figurative and expressive means based on the comparison of objects and phenomena: “Like ointment, thick blue // Lays like bunnies on the ground...”
Answer: _______________________________________
7. What is the broken repetition of the words called: “We are lying with our arms thrown back”?
8. Determine the size of the poem.
Answer: _________________________________
9. What is the name for the similar sound of the ends of poetic lines?
Answer: _________________________________
10.Name the term that denotes a stylistic device,
consisting in the same beginning of lines( AND from diseases, epidemics,AND deaths released).
Answer: _________________________________
Thematic test No. 5
Loving others is a heavy cross,
And you are beautiful without gyrations,
And your beauty is a secret
It is tantamount to the solution to life.
In spring the rustling of dreams is heard
And the rustle of news and truths.
You come from a family of such fundamentals.
Your meaning, like air, is selfless.
It's easy to wake up and see clearly,
Shake out the verbal trash from the heart
And live without getting clogged in the future,
All this is not a big trick.
(1931)
What type of lyricism can this poem be classified as?
Answer: _______________________________________
What type of literature does this work belong to?
Answer: _______________________________________
What is the consonance of the ends of poetic lines called (dreams - foundations; truths - selfless, etc.)?
Answer: _______________________________________
4.What type of sound writing does Pasternak use in his poems: “VeWith whiningWith lyw enw nutWith new/Iw barelyWith t newWith tey and andWith ting"?
Answer: _______________________________________
5. From the list below, select three names of artistic means and techniques used by the poet in the second stanza of the poem.
1) inversion
2) metaphor
3) anaphora
4) comparison
5) grotesque
Answer: _______________________________________
6.Indicate the term used for definitions that help the poet
give a figurative artistic description of an object or phenomenon (“verbal” rubbish, “ heavy" cross).
Answer: _______________________________________
7.What term denotes a sharp contrast of images, objects or phenomena in a work of art?
Loving others is a heavy cross,
And you are beautiful without gyrations,
Answer: _______________________________________
8. What is the name in literary criticism for a combination of lines held together by a common rhyme and intonation?
9. “Your meaning, like air, is selfless” What is the name of the expression or word in which one phenomenon or concept is explained by comparing it with another?
Answer: ______________________________________________________
10.Indicate the size in which B.L.’s poem is written. Pasternak “Loving others is a heavy cross...” (without indicating the number of feet).
Answer: _______________________________________
Thematic test No. 6
February. Get some ink and cry
Write about February sobbingly,
While the rumbling slush
In the spring it burns black.
Get the fly. For six hryvnia,
Through Blagovest, through the click of wheels,
Move to where it's raining
More noisy ink and tears.
Where, like charred pears,
From the trees of a thousand rooks
They will fall into puddles and collapse
Dry sadness to the bottom of the eyes.
Underneath the thawed patches turn black,
And the wind is torn with screams,
And the more randomly, the more surely
Poems are composed to the point of sobs.
1912
1.What type of lyricism does this poem belong to?
2. What is the name of the stylistic device used by B.L. Pasternak to enhance the sound expressiveness of the verse, for example, in the phrase (“To whetherto to oles")?
Answer: ___________________________________________
3.“Through Blagovest,through click of wheels." Provide the name of the syntactic device used in this line.
Answer: ___________________________________________
4.What is the term used in literary criticism to describe the artistic technique of exaggeration used by B.L. Pasternak in this poem
“Thousands of rooks will fall from the trees...”?
Answer: ___________________________________________
5.What means of artistic representation allows the author to liken natural phenomena to humans: Where, like charred pears, there are thousands of rooks from the trees
They'll fall apart..."
Answer: ___________________________________________
6. Indicate a means of artistic expression based on the transfer of the properties of one object or phenomenon to another: “While the rumbling slush
It burns black in the spring.”
Answer: ___________________________________________
7. From the list below, select three names of artistic means and techniques used by the poet in the poem (indicate their numbers).
1. inversion
2. comparison
3. parcellation
4. opposition
5.oxymoron
Answer: ___________________________________________8. To enhance the expressiveness of speech, the author uses a violation of the direct word order for the Russian language: “Thousands of rooks will fall from the trees into puddles.” What is this stylistic device called?
9.Indicate the name of the poetic meter in which B.L.’s poem was written. Pasternak “February. Get some ink and cry..."
Answer: ___________________________________________
10. Determine the type of rhyme in the poem.
Answer: ____________________________________________________
Thematic test No. 7
About these poems
There's a crowd on the sidewalks
With glass and sun in half,
In winter I will open the ceiling
Recites the attic
With bow to frames and winter,
Leapfrog will sneak to the cornices
Oddities, disasters and notices.
It won't take a month for a snowstorm to take revenge,
The ends and beginnings will be swept away.
Suddenly I remember: there is the sun;
I will see: the light has not been the same for a long time.
Christmas will look like a little jackdaw,
And a wild day
Will reveal a lot of things
Which I don’t even know, dear one.
In a muffler, shielding myself with my palm,
I’ll shout to the kids through the window:
What, dear ones, we have
Millennium in the yard?
Who blazed the path to the door,
To the hole covered with cereals,
While I was smoking with Byron,
While I was drinking with Edgar Poe?
While I enter Daryal as a friend,
Like hell, the workshop and the arsenal,
I am life, like Lermontov's trembling,
Like dipping my lips in vermouth.
(1917)
What type of lyricism does this poem belong to?
Indicate the term denoting unity of beginning, repetition of a word or group of words at the beginning of several poetic lines:
Bye I smoked with Byron
Bye I drank with Edgar Allan Poe?
Answer: ___________________________________________________
Name a technique of artistic depiction that consists of transferring human properties onto inanimate objects, natural phenomena (“the attic recites”).
Answer: ____________________________________________________
What is the name of the violation of the usual word order, which the author resorts to for a specific semantic purpose (“leapfrog will sneak to the eaves,” “who blazed the path to the door,” etc.)?
Answer: ____________________________________________________
Determine the meter in which B.L.’s poem is written. Pasternak “About these poems” (without indicating the number of feet).
Answer: ____________________________________________________
Name a figurative and expressive means based on the comparison of objects and phenomena: “Christmas will look like a jackdaw”
Answer:________________________________________
7. What phonetic device does Pasternak use to enhance the expressiveness of the image in the words “ByTo and inD AR yal,To ATo To etc. uh-huh, inhoand …", "Iand life like Lermontov's drawand b"?
Answer: ___________________________________________________
8. What is the name of the artistic definition “ walking around" (day), used by the poet?
Answer: ___________________________________________________
What is the name of the conventional hero, whose feelings and experiences are conveyed in the poem?
Answer: ___________________________________________________
From the list below, select three names of artistic means and techniques used by the poet in the last four lines of this poem. Write down the numbers under which they are indicated.
1) irony
2) comparison
3) litotes
4) sound recording
5) inversion
Answer: ______________________________________________________
Thematic test No. 8
"Winter night"
Chalk, chalk all over the earth
To all limits.
The candle was burning on the table,
The candle was burning.
Like a swarm of midges in summer
Flies into the flames
Flakes flew from the yard
To the window frame.
A snowstorm sculpted on the glass
Circles and arrows.
The candle was burning on the table,
the candle burned out.
To the illuminated ceiling
The shadows were falling
Crossing of arms, crossing of legs,
Crossing fates.
And two shoes fell with a thud to the floor,
And wax with the tears of a night light
It was dripping on my dress.
And everything was lost in the snowy darkness,
Gray and white.
The candle was burning on the table,
The candle was burning.
There was a blow on the candle from the corner,
And the heat of temptation
Raised two wings like an angel
Crosswise.
It's light all month in February
Every now and then
The candle was burning on the table,
The candle was burning.
1946
What type of literature does this work belong to?
Answer: ___________________________________________________
2. The lyrical hero of the poem reflects on the “eternal” questions of existence. What thematic type of lyricism does this work belong to?
Answer: ___________________________________________________
3.What is the name of the figurative evaluative definition (“grey and white haze”, “illuminated ceiling”)?
Answer: ___________________________________________________
What is the name of the stylistic figure used by Pasternak in the first seven lines of the poem and based on the repetition of their initial words?
Answer: ___________________________________________________
Among stanzas 4-7, indicate the number of the stanza (ordinal number in the nominative case) in which the poet uses anaphora.
Answer: ___________________________________________________
From the list below, select three names of artistic means and techniques used by the poet in the stanzas below of this poem.
1) comparison
2) hyperbole
3) inversion
4) irony
5) personification
Like a swarm of midges in summer
Flies into the flames
Flakes flew from the yard
To the window frame.
A snowstorm sculpted on the glass
Circles and arrows.
The candle was burning on the table,
The candle was burning.
Answer: ___________________________________________________
What is the name of the artistic technique based on the juxtaposition of various phenomena, which formed the basis for the composition of B. L. Pasternak’s poem “Winter Night”?
Chalk, chalk all over the earth
To all limits
The candle was burning on the table,
The candle was burning.
Answer: ___________________________________________________
What are the names of the lines, the motive “The candle was burning on the table, / The candle was burning,” repeatedly repeated in B. L. Pasternak’s poem “Winter Night”?
Answer: ___________________________________________________
Indicate the meter in which B. Pasternak’s poem “Winter Night” is written (without indicating the number of feet).
Answer: ___________________________________________________
What type of sound writing does Pasternak use in the following lines: “Loand there were shadowsWITH cresch holding hands,sk resch feet,WITH fortuneWith cresch enya"?
Answer: ___________________________________________________
Thematic test No. 9
"It's not nice to be famous"
It's not nice to be famous This is not what lifts you up. No need to create an archive, Shake over manuscripts. The goal of creativity is dedication, Not hype, not success. Shameful, meaningless Be the talk of everyone. But we must live without imposture, Live like this so that in the end Attract the love of space to you, Hear the call of the future. And you have to leave spaces In fate, and not among papers, Places and chapters of a whole life Marking in the margins. And plunge into the unknown And hide your steps in it, How the area hides in the fog, When you can't see a thing in it. Others on the trail They will follow your path by an inch, But defeat comes from victory You don't have to differentiate yourself. And should not a single slice Don't give up on your face But to be alive, alive and only, Alive and only until the end. 1956
1. “Being famous is ugly,” “The purpose of creativity is dedication.” What are such laconic sayings called, containing philosophical or worldly wisdom, an instructive conclusion? Answer: ______________________________________________________ 2. Indicate the term that denotes a trope based on the transfer of the properties of some objects and phenomena to others (“love of space”, “call of the future”). Answer: ______________________________________________________ 3. Name the stylistic figure associated with the repetition of a word at the beginning of poetic lines: And plunge into the unknown And hide your steps in it... Answer: ______________________________________________________ 4. What is the name of the technique used by the poet in the fifth stanza of the poem (“And hide your steps in it / As the terrain hides in the fog...”)? Answer: ___________________________________________________ 5. What is the name of a stylistic device that enhances the sound expressiveness of a verse and is associated with the use of identical consonant sounds (“They will pass your path by an inch”)? 6.What is the name of the stable expression used by the author: “to be a byword on everyone’s lips”? 7. Determine the size of the poem. Answer: ____________________________________________________ 8. Determine the type of rhyme. Answer: ___________________________________________________ 9. What lexical device did you use? But bealive, alivebut only, Aliveand only until the end. Answer: ______________________________________________________ 10. What is the name of the technique of opposition (“dedication, not hype, not success”, “in fate, not among papers”)? Answer: ____________________________________________________ |
Thematic test No. 10
I want to get to the bottom of everything...
I want to reach everything
To the very essence.
At work, looking for a way,
In heartbreak.
To the essence of the past days,
Until their reason,
To the foundations, to the roots,
To the core.
Always catching the thread
Fates, events,
Live, think, feel, love,
Complete the opening.
Oh if only I could
Although partly
I would write eight lines
About the properties of passion.
About lawlessness, about sins,
Running, chasing,
Accidents in a hurry,
Elbows, palms.
I would deduce her law,
Its beginning
And repeated her names
Initials.
I would plant poems like a garden.
With all the trembling of my veins
The linden trees would bloom in them in a row,
Single file, to the back of the head.
I would bring the breath of roses into poetry,
Breath of mint
Meadows, sedge, hayfields,
Thunderstorms rumble.
So Chopin once invested
Living miracle
Farms, parks, groves, graves
In your sketches.
Achieved triumph
Game and torment -
Bowstring taut
Tight bow.
Indicate the type of literature to which this work belongs.
Answer: ______________________________________________________
What type of lyricism does this poem belong to?
Answer: ______________________________________________________
3.What is the consonance of the ends of poetic lines called (get there - ways )?
Answer: ______________________________________________________
4.Indicate the name of the syntactic device, which consists of repeating the same word at the beginning of the line.
Before the essence of the past days,
Before their reasons
Before foundations, to the roots,
Before cores.
Answer: ______________________________________________________
Name the artistic device used in the lines: “I would break the poems,like a garden . With all the trembling of my veins...”
Answer: ______________________________________________________
What artistic technique, based on the transfer of the properties of one phenomenon to another based on their similarity, is used by the author of the poem: “I would bring the breath of roses, the breath of mint into the poems”?
Answer: ______________________________________________________
In the second stanza, to enhance the expressiveness of speech, the author uses a violation of the direct word order for the Russian language: “But I always feel sorry for the exile...”. What is this stylistic figure called?
Answer: _________________________________________________
8. From the list below, select three names of artistic means and techniques used by the poet in this poem (indicate the numbers in ascending order).
1.contextual antonyms
2.sound recording
3.epithets
4. comparisons
5.oxymoron
Answer: __________________________________________________
9. In this poem, Pasternak resorts to a phonetic system of repetitions, pauses, and various types of intonations that create the melody of sound combinations. Indicate the name of this artistic technique.
Answer: __________________________________________________
10. Determine the type of rhyme.
Answer: ___________________________________________________
Thematic test No. 11
There will be no one in the house...
There will be no one in the house
Except at dusk. One
Winter day through the doorway
Undrawn curtains.
Only white wet lumps
A quick glimpse of moss,
Only roofs, snow, and, except
Roofs and snow, no one.
And again he will draw frost,
And he'll turn on me again
Last year's gloom
And things are different in winter.
And they stab again to this day
Unforgivable guilt
And the window along the cross
Wood hunger will suppress hunger.
But unexpectedly along the curtain
A shiver will run through doubts,
— Measuring the silence with steps.
You, like the future, will enter.
You'll appear out the door
In something white, without quirks,
In some ways, really from those matters,
From which flakes are made.
1. Indicate the type of literature to which this poem belongs.
Answer: ___________________________________________________
What is the name of poetic device, based on the repetition of identical consonant sounds: “Tiw inuw Agami Merya. How will yousch ness, come inw b"?
What artistic technique, based on the transfer of the properties of one phenomenon to another based on their similarity, is used by the author of the poem: “And the window along the crosspiece will crush the hunger for wood”?
Answer: ________________________________________________
Indicate the technique used in the poem: “Nobody will not be in the house...except for Roofs and snow,no one."
Answer: ________________________________________________
What is a means of artistic expression called in literary criticism, which is a figurative definition of the subject:
"Onlywhite wet
lumps
Fast
flashmossy
…»
Answer: ________________________________________________
Indicate the name of the technique consisting of repeating the beginning of a poetic line: “And again will draw frost,And again will wrap me up..."?
Answer: ________________________________________________
7. From the list below, select three names of artistic means and techniques used by the poet in this poem (indicate the numbers in ascending order).
1.neologism
2.hyperbole
3.epithet
4.repeat
5.metaphor
Answer: ___________________________________________________
8.What is the name of the main idea of the work, which is a philosophical and social generalization and represents an attitude towards the subject of the image?
Answer: __________________________________________________
9.What type of lyricism does this poem belong to?
Answer: ______________________________________________________
10. Determine the size of the poem.
Answer: ____________________________________________________
Thematic test No. 12
It is snowing
It's snowing, it's snowing.
To the white stars in a snowstorm
Geranium flowers stretch
Behind the window frame.
It's snowing and everything is in turmoil,
Everything takes flight, -
Black staircase steps,
Crossroads turn.
It's snowing, it's snowing,
It's like it's not flakes that are falling,
And in a patched coat
The firmament descends to the ground.
As if looking like an eccentric,
From the top landing,
Sneaking around, playing hide and seek,
The sky is coming down from the attic.
Because life doesn't wait.
If you don’t look back, it’s Christmas time.
Only a short period,
Look, there's a new year there.
The snow is falling, thick and thick.
In step with him, in those feet,
At the same pace, with that laziness
Or at the same speed
Maybe time is passing?
Maybe year after year
They follow as it snows,
Or like the words in a poem?
It's snowing, it's snowing,
It's snowing and everything is in turmoil:
White pedestrian
Surprised plants
Crossroads turn.
1957
Indicate the type of literature to which B. Pasternak's poem belongs?
Answer: __________________________________________________
What traditionally identified type of lyricism can the poem “It’s Snowing” be classified as?
Answer: __________________________________________________
What is the name of a means of artistic expression based on the transfer of the properties of some objects to others (“to white stars in a snowstorm”)?
Answer: __________________________________________________
What is a means of artistic expression called in literary criticism, which is a figurative definition (“black stairs", "whitened a pedestrian", "surprised plants")?
Answer: __________________________________________________
What is the name of the artistic device that consists of repeating the same words at the beginning of several lines, used by B. Pasternak?
It is snowing , It is snowing,
It is snowing , ….
Answer: __________________________________________________
What is the name of literary device transferring the properties and qualities of a person to inanimate objects and abstract concepts, used by Pasternak in the following lines?
And in a patched coat
The firmament descends to the ground.
Answer: __________________________________________________
What is the name of the means of expression in which a phenomenon or concept is explained by comparing it with another object, phenomenon or concept? “Perhaps the year follows the year, like snow falls, Or like the words in a poem”?
Answer: __________________________________________________
Despite the black and white coloring of the poem, the impression of brilliance is created, and this is facilitated by the sound writing: “s”, “z”, “h”, “zh”. What is the name for the repetition of identical or homogeneous consonants in a poem, giving it special sound expressiveness?
Answer: __________________________________________________
What is the name of a combination of poetic lines held together by a common rhyme and intonation?
Answer: __________________________________________________
What is the name of the type of rhyme used by B. Pasternak in the first stanza?
Answer: __________________________________________________
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