home Botany Late lyrics of parsnip. Research work of Esenzholova E.S. "Love lyrics by B. Pasternak". Analysis of Pasternak's poem "Winter Night"

Late lyrics of parsnip. Research work of Esenzholova E.S. "Love lyrics by B. Pasternak". Analysis of Pasternak's poem "Winter Night"

The basic synopsis of Boris Pasternak's lyrics allows you to focus on the main features of the poet's creative manner. Also here is a creative task for students based on B. Pasternak's poem "Nobel Prize". The abstract can be used in literature lessons at 9, 11 or 12 evening school.

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Reference abstract on the topic "Features of the lyrics of Boris Leonidovich Pasternak (1890-1960)", 12th grade of evening school

1. His poetry is musical. However, it strikes not with the external melody (rhythm, refrain, etc.), but with the richness of internal melodies (sound-writing, repetitions, assonance series).

2. The world in his sensations is alive and is perceived as a whole.

The universe is only passion ranks,

accumulated by the human heart.

He entered poetry as a futurist, the Centrifuge group, a friend of V. Mayakovsky, but he is called a romantic. Experienced a strong influence of the symbolists: A. Blok, A. Bely. But he believed that true art should be realistic. The main task of realistic art is the restoration of the unity of the world and man.

3. Emphasizes complexity inner world poet:

Favorite - horror! When a poet loves

The restless god falls in love.

And chaos creeps out into the light again

Like in the fossil age.

4. Pasternak's poetry is philosophical. (Do not forget that he studied at the Faculty of Philosophy).

Pasternak wrote: “My constant concern is directed to the content. My constant concern was that the poem itself should contain something, that it should contain a new thought or a new picture.

The first landmark for the analysis of Pasternak's works is the title. It is almost mandatory and almost always explanatory.

5. Peculiarities of Pasternak's language.

The abundance of historicisms, terms from various fields, however, they coexist with vernacular.

The syntax is unusual (caesuras - an intra-poetry pause that divides a poetic line into 2 half-lines - equal or unequal).

6. Pasternak's later poems are simpler, more understandable.

B.L. Pasternak

I disappeared like an animal in a pen.

Somewhere people, will, light.

And behind me the noise of the chase.

I have no way out.

Dark forest and the shore of the pond,

They ate a fallen log.

The path is cut off from everywhere

Be what will be, it doesn't matter.

What did I do for a dirty trick,

Me, the killer and villain?

I made the whole world cry

Above the beauty of my land.

But even so, almost at the hump,

I believe the time will come

The power of meanness and malice

The spirit of good will prevail.

Exercise:

What do you think, with what fact of Pasternak's life is this poem connected?
Tell about it and comment on the text of the poem.
What name would you give it? (The author calls it the "Nobel Prize")

On the topic: methodological developments, presentations and notes

Open lesson "The lyrics of Boris Pasternak"

A lesson in grade 11 on the topic "B. Pasternak's Lyrics" is held after 1 lesson of studying the life and creative path of the writer. Group work allows you to cover the main theme of the poet's lyrics....

Plan-summary of the lesson on the philosophical lyrics of B. Pasternak "In everything I want to get to the very essence."

Plan-summary of the lesson on philosophical lyrics B. Pasternak "In everything I want to get to the very essence"....

PHILOSOPHICAL CONSIDERATION OF THE WORLD AND HUMAN. Already in the early poetry of Pasternak, the worldview concepts of his future poetic books were outlined: the self-worth of the individual, the immortality of creativity, the connection of man with everything that exists. The unity of the author's self, nature, creativity became the theme of the poem "February. Get ink and cry!..” (1912). Creativity itself is shown as a direct, momentary sensation of the world: poems are composed "the more random, the more certain."

At the heart of the lyrical situation is the motive of the hero's flight from the city to the natural world, familiar from romantic poetry, which is shown in Pasternak's poem as a source of inspiration and vitality. The lyrical hero and nature (shower, thawed patches, rooks, wind) have one life rhythm. The desire to dissolve in it is emphasized by the peculiarities of syntax, the author's self as a subject is absent in the sentences, Pasternak resorts to an impersonal form: “get ink”, “write about February”, “get a cab”.

The theme of a single world, the consonances of all things, is also revealed thanks to the composition of the artistic space, the “meeting” of the top and bottom, the natural and spiritual worlds:

Where, like charred pears,
Thousands of rooks from the trees
Break into puddles and bring down
Dry sadness at the bottom of the eyes.

The contrasts of the downpour and the “dry sadness” of the poet, spring and blackness, and also, on the one hand, grace, the irrepressible temperament of nature and, on the other hand, the material world (a cab hired “for six hryvnias”) do not at all express the theme of disharmony; on the contrary, they represent an image of the multidimensional and harmonious world. The prosaic detail entered organically into the artistic system of the poem. This feature is typical for the post-symbolist period of Russian poetry - for the work of futurists and acmeists.

The unifying theme is blackness, expressed in such images as black spring, ink, blackening thawed patches, rooks, charred pears, the bottom of the eyes. The color scheme is ascetic, but at the same time the world created in the poem is dynamic and sonorous, verbs of movement and sound images are valuable in it (“cry”, “sobbing”, “the wind is pitted with cries”). The literal meanings of words are combined with metaphors, metaphorical comparisons. The expression of the poem, the effect of the excess of being, is given by the grotesque (thousands of rooks will fall from the trees), and synonymous images (“cry”, “sobbing”), and alliteration (for example, on “p” in the first stanza), assonances (for example, to "y" in the last two lines of the third stanza).

In the figurative row of the poem “You are in the wind, trying with a branch...” (1919) included are traditional for the works of Russian literature a branch of lilac, a garden, met in the previous poem, the wind and the rain that renews the earth. These natural images characterize the picture of the world, in which there is both a lyrical hero and a material world:

Drops have the weight of cufflinks,
And the garden blinds like a pool,
Splattered, splashed
A million blue tears.

Metaphors (the garden “blinds”, “muttered”, “stuck through the window”), metonymy (“Splashed, dripped / A million blue tears”), comparisons (“like a stretch”), similes (“Wet sparrow / Lilac branch”), alliterations (in the quoted stanza - on “s”).

In general, the mood of the lyrical hero is transferred to the image of the garden, the garden is a kind of metonymy for the poet’s state, and for this conclusion there is an author’s hint: his garden is “longingly nursed”, he is “thorns from you”. Through the image of the garden, an image of a lyrical hero is created, who survived the drama (“in thorns”), but emotionally transformed, renewed (“came to life this night”). This is how a hidden lyrical plot emerges, perhaps a love one.

Pasternak was true to his idea of the interconnection, mutual permeability of man and the world. His philosophical views on man went back to the teachings of the Italian humanists, to their concept of man as the fifth element of the Universe along with the elements of water, earth, air and fire (“Several Provisions”). For example, in the collection “My sister is life”, the work of Lermontov is represented as a symbol of immortality. The book is dedicated to him. The Demon (“In Memory of the Demon”) is an image of Lermontov’s eternal creative spirit: he is immortal, one with nature, and therefore “swears by the ice of the peaks: / Sleep, my friend, I will return with an avalanche.” The poet emphasized his inner connection with Lermontov with a reminiscence. So, if in Lermontov’s poem “The Demon” there were lines “To this day near the cell I / Seen through the burnt stone”, then in Pasternak’s poem we meet the image of the slab that survived “outside the fence of the Georgian temple”. The demon of sadness and love in the interpretation of the poet is in many ways similar to the Demon of M. Vrubel. In The Second Birth, everyday life itself became a lyrical space, and the concept of the world as a moving whole was expressed in the motive of the penetration of the inner world of a person into the objective world (“The thin-ribbed partition / I will pass through, I will pass like light. / I will pass, as an image enters an image / And how an object cuts an object”), as well as affinity with the Russian language (“But even so, - not like a tramp, / I will enter my native language as a native”).

In the late period of creativity, Pasternak presented the picture of the world in the lyrics of 1956-1959, which he combined into the cycle “When it clears up”. Its themes reflected the issues that he solved throughout life path: poet and time, life and immortality, etc.

Nature is the ideal of harmonious simplicity and perfection. Following the traditions of A.S. Pushkin (“Do I wander along the noisy streets ...”), I.S. Turgenev (“Fathers and Sons”), Pasternak created the image not of nature-workshop, although this would correspond to the ideology of the time, the record pace of socialist construction, the thesis of a man who, as a master, passes through the planet, but nature-temple. In a poem "When it clears up" (1956)“the expanse of the earth” is likened to a temple, and the poet’s life is a liturgy, participation in worship:

As if the interior of the cathedral -
Expanse of land, and through the window
Distant echo of the choir
I hear sometimes given.

Nature, the world, the secret of the universe,
I serve your long
Embraced by the secret trembling,
I'm in tears of happiness.

The world of nature is emotional, spiritual (the sky is “festive”, “the grass is full of celebrations”), multidimensional, full-blooded, which is expressed by comparisons (“ big lake like a dish”, “cluster of clouds” - “mountain glaciers”, “Green leaves shine through, / Like a painting in colored glass”), multicolored (the forest is now burning, then as if covered with soot, blue peeps through the clouds, images of the sun and greenery).

The attitude to life as to the continuity of the “days of the solstice”, to the infinity of the “only days”, the multiplicity of the individual and the unity of the multitude is expressed in the poem "The Only Days" (1959). The philosophy of time boils down to the following: the individual and unique are connected with a series of the same individual and unique, forming an endless chain. Day is an image of eternity and its component: "And a day lasts longer than a century."

The poet writes about the value of every day. A day is the measure of human life. It has its own figurative content. For example, Pasternak lists the images of a winter day: “The roads get wet, it flows from the roofs, / And the sun is basking on an ice floe.”

Ho, in addition to the natural, the day has an emotional content: those who love "are drawn to each other more hastily." The poem reveals the subjective, personal perception of time. It is for lovers that the day lasts longer than a century, it is in their perception that the embrace “does not end” and time has slowed down its run: “And half-asleep hands are too lazy / Tossing and turning on the dial.” The first three lines of the last stanza of the poem are metonymy, they convey the feelings of lovers through the image of time. The lines “and on the trees above / Sweat from the warmth of the starlings” are also metonymic, the motif of the feelings of lovers is also associated with them.

LYRICAL HERO, PEOPLE, COUNTRY. In the book "On Early Trains" the poet expressed his perception of the homeland. His Russia is not just a Soviet state. In an effort to comprehend the “unique features” of Russia, he peers into the life of the people and feels for them the same feeling of kinship as for nature:

Overcoming admiration,
I watched, idolizing
There were women, Slobozhans,
Students, locksmith.
(“On early trains...”, 1941)

The picture of a single world, in addition to the poet, objects and other material entities, nature, creativity, also included the people. Pasternak created an image of Russia, a chosen one with a special fate, similar to Blok's:

And Russian fate is boundless,
What can dream in a dream
And forever stays the same
With unprecedented novelty.
(“Invisibility”, 1944).

He considers the Patriotic War as a conflict between "murderers" and "Russian boundless fate." The theme of sacrifice and the immortality of the soul is one of the main ones in the cycle “Poems about War” included in the book. In the poem “Courage” (1941), nameless heroes who were not counted among the living carried their feat “to the abode of thunderers and eagles”; in the poem “The Winner” (1944), the “immortal lot” fell to the whole of Leningrad.

The theme of man and country acquired a special meaning in the creative life of the poet in the winter of 1945/46, when he began writing the novel Doctor Zhivago. The protagonist of the novel, Dr. Yuri Zhivago, seeks to maintain inner freedom in the conditions of class confrontation. Zhivago dies in the terrible year of dispossession for people's Russia - 1929. The lives of his loved ones are tragic, their fate is emigration, Stalin's camps.

Lyrics from the novel Doctor Zhivago. Pasternak wrote that in Zhivago he sought to capture himself, and Blok, and Yesenin, and Mayakovsky. The theme of the creative person became one of the central ones in Zhivago's twenty-five poems, which made up the final chapter of the novel. One of them - "Hamlet" (1946). The poem resolves the lofty theme of duty and self-denial, raises the question: is it possible or not for a person of cruel necessity to be independent from participation in the life of mankind that is destructive for him? In the lyrical hero, three destinies are united - Zhivago, Hamlet, Christ.

The poet imagines himself in the role of Hamlet (“The rumble subsided. I went out onto the stage”). The fate of Hamlet is correlated with the fate of Christ. Hamlet, like Christ, does not have the right to choose, his fate is made against his will, he knows that he is fulfilling the “stubborn plan” of the Lord. In Hamlet's prayer (“If possible, Abba Father, / Carry this cup past”), the gospel motif sounds. In chapter 14 of the Gospel of Mark we read: “Abba, Father! Everything is possible for You; take this cup away from me.” In chapter 26 of the Gospel of Matthew: “My Father! If possible, let this cup pass from Me.” In chapter 22 of the Gospel of Luke: “Father! Oh, that You would deign to take this cup away from Me!” Pasternak brings his text as close as possible to the text of the Gospel. With these words, Christ turned to God the Father in the Garden of Gethsemane, knowing that he would face a painful death. Hamlet, like Christ, has a presentiment that he cannot escape trials. As Christ added to his request: “However, not My will, but Yours be done,” so Pasternak’s Hamlet, who is also a lyrical hero, realizes his fate dependent on a higher will.

The drama of personality, its complex relationship with the era is expressed in the motif of hypocrisy. Modernity is a “distant echo” of the New Testament time, “another drama”. About himself and the present, Pasternak writes: “I am alone, everything is drowning in hypocrisy.”

The theme of "Hamlet" corresponds to the theme of the poem "The Garden of Gethsemane", which concludes the novel. The Way of the Cross is inevitable as a guarantee of immortality, and Christ, having accepted the cup of trials and survived the torments of death, says: “To me for judgment, like barges of a caravan, / Centuries will sail from darkness.”

The theme of “Hamlet” is also developed in the poem "Dawn" (1947). The lyrical hero takes on the burden of other people's worries: "I feel for them for all, / As if I had been in their shoes." The merging of the destinies of the lyrical hero and the people is a testament from above: "I read your testament all night." It's obvious that we are talking about Christ's love for people. The motive of immersion in everyday life also has evangelical roots. In Doctor Zhivago, the idea was expressed that the spirit of the Gospel in the time of the apostles consisted in presenting truths through everyday life, which was expressed in parables. Accordingly, Pasternak believed that everyday life itself, worldly fuss, daily human worries are symbolic, higher truths are hidden in them. In “Dawn”, the soul of the lyrical hero responds to the little things of life: “Everywhere they get up, lights, comfort, / Drink tea, rush to the trams ...”

After the war and devastation, life-“fainting”, the poet, inspired by the “covenant”, is again in love with life, he seems to be reborn:

And I'm running up the stairs
It's like I'm going out for the first time
To these streets in the snow
And dead pavements.

There are also literary allusions in the poem. Pasternak called him a "bad Blok." Thus, in the words “you”, “your testament” - the image of Blok. In the “Second Baptism” by A. Blok there are lines similar to those quoted above: “And in new world, entering, I know / That there are people and there are deeds. The second baptism is the introduction to the life of the people. In Pasternak's poem, the theme of the renewal of the poet's life is also connected with the theme of the people: "I want to see people, in the crowd, / In their inner revival." This is how Blok's "trilogy of incarnation" sounded in his poetry, and the "Second Baptism" is a kind of "testament".

The theme of earthly and heavenly ways, the correlation of human life with the mountain world is revealed in the poem "August" (1953). In it, the imagery is a synthesis of everyday life, everyday life (“a pillow slightly moistened”, curtains, a sofa, “the edge of the wall behind a bookshelf”, cock voices), sensual states (“spread wingspan”, a woman, creativity) and the gospel story (Transfiguration Christ, the light of Mount Tabor, who revealed to the apostles the divine essence of Christ, “transformed azure”, “gold of the second Savior”).

The sun - both a concrete landscape image and a symbol of life - contrasts with the dream motif. Just as in the dream of the lyrical hero M. Lermontov the premonitions of his death (“Dream”) were expressed, so the lyrical hero of “August” sees a dream about his own burial. Pasternak draws a situation in which both everyday details and mystical imagery are combined: “In the forest, as a state land surveyor / There was death in the middle of the churchyard, / Looking into my dead face.” But the dream passes, the images of the sun and the Transfiguration (and the burial is carried out on the Transfiguration of the Lord) mark the return of the hero to life. The very life of the lyrical hero is depicted by images of a woman who challenges the “abyss of humiliation”, the ginger-red forest, acquaintances (they go to the funeral of the poet). All these are the values of his life, opposite to the era of “timelessness” in which the poet lives.

The theme of the eternity of creativity is also developed in the poem. The poet's voice, called visionary, is untouched by decay. The concept of creativity is close to the concept of miracle-working. Continuing the Pushkin, Lermontov theme of the power of the poetic word, Pasternak writes about its colossal possibilities: "And the image of the world, manifested in the word."

Faith in overcoming anxiety, snowstorms outside world expressed in the love lyrics of the novel. In a poem "Winter Night" (1946) two worlds are opposed - boundless (universal snow haze) and local (home, meeting place of him and her). The symbols of what is happening in these worlds are the images of a blizzard and a candle. The home world for the lyrical hero, as well as for Doctor Zhivago, is a valuable space in itself, it is in it that he learns carnal and spiritual joy. The everyday image “and two shoes fell / Co with a knock on the floor” complements the non-everyday, emotional plan of the poem, which, in turn, transforms into a supersensible, unearthly one: “And the heat of temptation / Raised, like an angel, two wings / Crosswise”. The flesh, as Pasternak believed, is not sinful. In his autobiographical prose "Professor" (1930), he wrote about the purity and holiness of exposure and proximity, about their protection from depravity. In "Winter Night" the flesh seems to receive a blessing from above. That is why the image of a candle appears in the poem. This image, which, as a rule, expresses the idea of holiness, purity, peace of mind, is accompanied by a prosaic detail that speaks of nudity, intimacy: “And wax with tears from the night lamp / Dripping on the dress ...”

ABOUT POETIC CREATIVITY. The theme of creative intuition, the possibilities of language, the essence of poetry, its eternity was considered above in poems "February. Get ink and cry!..”, “August”.

In a number of lyrical works, Pasternak expressed his understanding of the poet's destiny. Yes, in a poem “Being famous is ugly...” (1956) true poetry was opposed to vanity literary life. For a poet, as Pasternak believed, it is contraindicated to be famous, to start archives, success and hype are ruinous for his talent, “to be a parable on everyone’s lips” is a shame and imposture. He formulates the maxim: "The goal of creativity is self-giving." In "Hamlet" the lyrical hero tried to predict what would happen in his lifetime, in the poem "Being famous is ugly ..." he tries to live in such a way as to "hear the call of the future." The poet should preserve his individuality, which is equivalent to life:

And owe not a single slice
Do not retreat from the face,
Ho be alive, alive and only.
Alive and only until the end.

In a poem “In everything I want to reach ...” (1956) the lyrical hero is a maximalist, he speaks of his passion for knowing the essence of phenomena, comprehending the fullness of life (“To live, think, feel, love, / Make discoveries”). Among the concepts and phenomena listed by Pasternak, there are no speculative, rational ones. His lyrical hero perceives the world simply and naturally, as L. Tolstoy's favorite characters do. The truth of life is, as Pasternak believes, the material for creativity. The nature of creativity is adequate to the surrounding world:

In verses I would bring the breath of roses,
mint breath,
Meadows, sedge, haymaking,
Thunderstorms.

The last line of the quoted stanza refers us to Pushkin's poem "Echo", which says that the poet is the echo of the world, poetry reflects both high and low: both "the roar of thunder" and "the cries of rural shepherds."

If V. Mayakovsky, who attached utilitarian, social significance to poetry, compared creativity with a Mauser, a formidable weapon, likened rhyme to a barrel of dynamite, then Pasternak associates poetry with a garden (“I would break poetry like a garden”).

Due to the numerous enumerations of heterogeneous concepts, a psychological subtext is created: we have before us the ecstasy of creativity, conveyed in the metonymic image of “stretched string / Tight bow”. This is facilitated by both lexical and syntactic repetitions.

The understanding of man as the fifth element of the Universe and creativity as his spiritual work is correlated by Pasternak with the theme of time and eternity. Constant movement, striving for other limits are the essence of creative life what Pasternak wrote in a poem "Night" (1956). The artist, artistic nature is compared with a pilot in the night sky: he, like the lyrical hero of many of Pasternak's works, belongs to earthly space, specific time - and eternity; it hovers over the planet, over night bars, barracks, railway stations, in other words, over what is measured by time, has its own temporal characteristics, and “goes into the clouds”. The pilot is an image that reveals the theme of the unity of earth and sky. Unlike the Romantic poets, Pasternak does not oppose one another, his poetic consciousness is aimed at the synthesis of worlds. Therefore, there is a common method in Pasternak's poetry of likening “high” to “low”, spiritual material: the pilot disappeared into the fog, “becoming a cross on the fabric / And a mark on the linen”, and the motive of the turns is given a parallel image of the Milky Way:

And a terrible, terrible roll
To some other
To unknown universes
Rotated Milky Way.

The last two stanzas of the poem are an appeal to the creative nature, in it the call “do not sleep” sounds five times; the spiritual efforts of the creator unite time as something meaningful by man, concrete, in which earthly existence is manifested and to which the artist himself belongs, and eternity, to which, again, he belongs: “You are a hostage to eternity / Captured by time.”

Pasternak's lyrics yearn for the epic. She longs for the ordinary, for prosaism. Pasternak seems to be looking for opportunities in the lyrics to open up to time.

It is like a fire, like a rebellion against established genres and distinctions. And so Pasternak is the son of his time, the time of three revolutions, when everything collapsed and everything came into motion. “I became a particle of my time and the state, and its interests became mine,” the poet writes. As if from the back door they come to poetry and remain to live there forever, all “in one gulp”, “excitedly”, “sobbing”,

"to smithereens" and "on the spot". The images in the lyrics are born out of nowhere, from simple consonances, from accidents:

Irpen is a memory of people and summer,

About will, about escape from bondage,

About needles for heat, about gray left

And the change of calm, buckets and darkness ...

The poet gives full freedom, which is possible only in a kind of poetic delirium. However, this nonsense belongs to a genius. It is as if someone is playing before our eyes with sparkling, perhaps precious, pebbles in a game whose rules are not clear to us, but the process fascinates and hypnotizes us.

He does not know the scales on the sirens,

And can you believe in fishy

Tail

Anyone who at least once with their red-hot cups

Did you drink the reflection of stars that beat like ice?

Rock and storm and - hidden from everyone

Immodest - the strangest, the quietest,

Playing since the era of Psammetichus

The corners of the cheekbones of the desert children's laughter ...

The ellipsis that ends this passage from “Theme and Variations” creates a kind of rarefied space in which our relieved and enthusiastic sigh hangs. Pasternak's poems are woven from nothing, like penny thread lace, like seven-note music. The poet is absolutely free in working with the matter of the word.

His passion is life. But the word is the instrument through which the poet influences it. Pasternak's poetry can be called expressive, metaphorical, incomprehensible.

You can come up with a dozen more definitions. There will be nothing behind them anyway. The poet slips away like an eel from the hands, he is always beyond his definitions. His talent is elusive and indefinable.

Such is the wisdom of poetry, and such is its naivety: “What, dear, do we have a Millennium in the yard?” Who is asking this? Where is this person from? Why is he here?

His nightingale speech moves and grinds the world. The distance begins to speak, the bushes - to ask, melancholy - to wander. He creates masterpieces, they remain in the memory, penetrate the genes, become part of life.

It happened to me with the poem "August". You can call it love at first sight - miraculously, immediately after the first reading, it entered my consciousness to stay there forever. I did not argue with anyone which Pasternak's poem is the best. For me it is definitely:

They walked in a crowd, apart and in pairs,

Suddenly someone remembered that today

sixth of august old

Transfiguration.

Ordinarily light without flame

It descends on this day from sycamore,

And autumn, clear as a sign,

It draws the eyes to itself.

And you went through the petty, beggarly,

Naked, quivering alder

In the ginger-red cemetery forest,

Burning like a printed gingerbread ...

Pasternak is complex and simple, elitist and accessible, these are the signs of true literature. Often the poet sees the surrounding reality as a text, a book that needs to be read. He is seized with delight before the world and its manifestations - wherever they are: in art, in reality, in nature, in grass, in a branch ... He represents God himself as an omnipotent director:

So played over the young earth

A gifted one director,

What hovered like a spirit over the water

And a broken rib.

And, squeezing into the world of disks

Randomly placed luminaries,

For the artist's trembling hand

He led the fatal to the debut.

Pasternak admitted that he spent his whole life in the struggle for the "unheard of simplicity" of the language, for its originality and originality. Tradition was for him a generative force. Ordinary he raised to the realm of poetry and settled there forever.

The alien gave rise to its own in him. Pasternak responded to the poetry of Shakespeare, Fet, Blok, Tsvetaeva. His lyrics are full of hidden quotations, intonational signs of his contemporaries and predecessors.

But this is just one more advantage of his Muse.

Pasternak's lyrics are the most important and essential part of his vast literary heritage. In his high-profile age, he revived the brightness of the figurative language in poetry, created a new figurative structure of the poem. The image in his lyrics became more essential, more important than the content. Here is what he himself wrote about this: “In art, a person falls silent and speaks an image.

And it turns out that only the image keeps up with the successes of nature.

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Artistic originality lyrics by Boris Pasternak

Boris Leonidovich Pasternak (January 29 / February 10, 1890, Moscow - May 30, 1960, Peredelkino near Moscow) began literary activity in the circles that formed around the publishing house of the Symbolists "Musaget", his first poetic book "Twin in the Clouds" in 1914 was published by the literary group "Lyric", whose members were criticized by critics for imitating the Symbolists. Later, in the autobiographical prose "Professional Letter" (1930), B. Pasternak called "Lyric" an epigone circle. On poetics early poetry B. Pasternak was influenced by I. Annensky, who was close to the Symbolists. From I. Annensky, he took the features of style (including free, psychologized syntax), thanks to which the effect of immediacy, simultaneous expression of different moods of the lyrical hero was achieved. In the literary environment, the poems of the collection "Twin in the Clouds" were perceived both as containing a certain touch of symbolism, and as opposed to the poetry of symbolism. V. Bryusov in his review “The Year of Russian Poetry” noted that futurism was expressed in the poetry of B. Pasternak, but not as a theoretical norm, but as a manifestation of the poet’s mindset.

After the split in Lyrica in 1914, B. Pasternak joined its left wing and, together with S. Bobrov and N. Aseev, created a new literary group, futuristic in its aesthetic orientation, the Centrifuga group, whose publishing house in 1917 released in the light of his second book of poetry "Over the Barriers". The work of B. Pasternak of this period developed in line with Russian futurism, but the position of the members of the "Centrifuge", including B. Pasternak, was distinguished by relative independence and independence from poetic norms. The critical part of the first almanac "Centrifugi" "Rukonog" (1914) was directed against the "First Journal of Russian Futurists" (1914). Thus, B. Pasternak's article "Wasserman's Reaction" contained attacks against the poetry of the ego-futurist and later Imagist V. Shershenevich. Questioning the futuristic nature of his work, B. Pasternak attributed the poetry of V. Khlebnikov and, with some reservations, V. Mayakovsky, to true futurism. For the third, conceived in 1917, but never published, the almanac "Centrifuges" was intended for B. Pasternak's article "Vladimir Mayakovsky. "Simple as a moo." Petrograd, 1916" Expressing his support for the poetry of V. Mayakovsky, B. Pasternak pointed to two requirements for a real poet, which V. Mayakovsky answered, and which B. Pasternak would present to himself throughout his entire work: clarity of creative conscience and the poet's responsibility to eternity.

In the early lyrics of B. Pasternak, the themes of his future poetry books were indicated: the self-worth of the individual, the immortality of creativity, the aspiration of the lyrical hero to the worlds, his coexistence with gardens, storms, nightingales, drops, the Urals - with everything that is in the world:

“With me, with my candle on a par / Blooming worlds hang”; "Get a span. For six hryvnias, / Through the blessing, through the click of the wheels / Be transported to where the downpour is / More noisy than ink and tears. In the poems of the collection "Over the Barriers" B. Pasternak was looking for his own form of self-expression, calling them etudes, exercises. The feeling of the world in its integrity, in the interpenetration of phenomena, entities, personalities determined the metonymic nature of his poetry. So, "Petersburg" is an extended metonymy, in which the properties of adjacent phenomena are transferred, in this case the city and Peter.

Subsequently, in a letter from B. Pasternak to M. Tsvetaeva in 1926, an opinion was expressed about the impermissible handling of the word in the verses of the collection “Above the Barriers”, about the excessive mixing of styles and the movement of stresses. In early poetry, B. Pasternak paid tribute to the literary school, but already in his 1918 article “Several Provisions”, the idea was voiced of the need for the poet to be independent; he compared symbolism, acmeism and futurism with holey balloons.

In the summer of 1917, B. Pasternak wrote poems that formed the basis of his book "My sister is life." Later, in the Letter of Safeguarding, the poet noted that he wrote the book with a sense of liberation from group literary predilections. The poems of the summer of 1917 were created under the impression of the February events, perceived by the Russian intelligentsia in many respects metaphysically, as a transformation of the world, as a spiritual rebirth. There is no book by B. Pasternak political view on what was happening in Russia. For him, February is the erasing of the barrier between human conventions and nature, a feeling of eternity that has descended to earth. The poet himself pointed to the apolitical character of the book. The poems were dedicated to a woman, to whom the “element of objectivity” carried the poet with “unhealthy, sleepless, mind-blowing love,” as he wrote to M. Tsvetaeva (5, 176).

The book expressed the author's concept of the immortality of life. Professionally engaged in philosophy in the 1910s at Moscow and Marburg universities, B. Pasternak was faithful to the Russian theological, philosophical and literary tradition. Revolutionary nihilism did not touch his worldview. He believed in the eternal life of the soul, first of all - the soul of a creative person. In 1912, he wrote from Marburg to his father, the artist L. O. Pasternak, that he saw in him an eternal, irreconcilable, creative spirit and "something young." In 1913, at a meeting of a circle for the study of symbolism, he made a report "Symbolism and immortality", in which he identified the concepts of "immortality" and "poet". In the winter of 1916–1917 B. Pasternak conceived a book of theoretical works on the nature of art; in 1919 it was called "humanistic studies about man, art, psychology, etc." - "Quinta essentia"; it included the article “Several Provisions”, in which the poet reminded that the Italian humanists added a fifth to the four natural elements of water, earth, air and fire - man, that is, man was declared the fifth element of the universe. This concept of man as an element of the eternal universe became fundamental for the work of B. Pasternak. He turned to Pushkin, Lermontov, Tolstoy, Proust, and in their work, their lives, he sought confirmation of the idea of the immortality of the soul and the inner freedom of the individual. Both in his younger years and in the last decade of his life, creating in an atheistic state, he focused on questions of eternity in the context of Christianity. So, he believed that Leo Tolstoy stepped forward in the history of Christianity, bringing with his work "a new kind of spiritualization in the perception of the world and life", and it was Tolstoy's "spiritualization" that the poet recognized as the basis of his own existence, his manner of "living and seeing".

In the book "My Sister - Life", the work of M. Lermontov is presented as the meaning of immortality. The book is dedicated to him. All his life B. Pasternak hoped to reveal the secret of Lermontov's essence; he himself believed that he succeeded in doing this in the novel Doctor Zhivago. The Demon (“In Memory of the Demon”) is the image of the immortal creative spirit of Lermontov: it is eternal, and therefore “I swore by the ice of the peaks: “Sleep, girlfriend, I will return with an avalanche.”

In the lyrics of B. Pasternak in the summer of 1917 there was no feeling of trouble, it sounded faith in the infinity and absoluteness of being:

In the scarf, shielding with a palm,

Through the window I shout to the kids:

What, dear, we have

Millennium in the yard?

Who paved the path to the door,

To a hole filled with grits,

While I smoked with Byron

While I was drinking with Edgar Poe?

The eternity of being manifested itself in the hustle and bustle of everyday life. Eternal nature itself grew into everyday life - this is how the image of a mirror appeared in B. Pasternak’s poems, in which the garden “slows down”, the image of drops that have the “weight of cufflinks”, crows in lace curtains, etc. Nature, objects, the person himself are one :

The boat is pounding in a sleepy chest,

Willows hung, kissed on the collarbone,

In the elbows, in the oarlocks - oh wait,

It can happen to anyone!

In this conception of being there was no category of static; pledge of immortality - in dynamics; life in Pasternak's lyrics was manifested in movement: “The run of those groves of willows”, about the rain - “Swamp, flow as an epigraph / To love like you”; "My sister is my life - and today in the flood / I was hurt by the spring rain about everyone."

Following Vl. Solovyov, who expressed philosophical definitions in a poetic form (“In an earthly dream, we are shadows, shadows ... / Life is a play of shadows, / A number of distant reflections / Eternally bright days”, etc.), B. Pasternak introduced the genre of philosophical definitions into poetry. In the book “My sister is life”, he included the poems “Definition of poetry”, “Definition of the soul”, “Definition of creativity”. Nature poetic creativity seemed to him a direct expression of all that exists in its unity and infinity:

This is a cool pouring whistle,

This is the clicking of crushed ice floes,

This is the night chilling the leaf

This is a duel between two nightingales.

The phenomenon of poetic creativity lies, as B. Pasternak believed, in the fact that the image can visually connect the worlds: “And bring the star to the cage / On trembling wet palms ...”

In the article of 1922 "Yesterday, today and tomorrow of Russian poetry" V. Bryusov outlined character traits the lyrics of B. Pasternak during the period of the book “My sister is life”, pointing to the thematic omnivorousness, in which the topic of the day, and history, and science, and life are located, as it were, on the same plane, on an equal footing; and expressed in a figurative form of philosophical reasoning; and bold syntactic constructions, original word subordination. V. Bryusov also noted the influence of revolutionary modernity on B. Pasternak's poetry.

Revolutionary modernity, however, had an ambiguous effect on the moods of B. Pasternak. Early years October revolution with a "propaganda-poster" bias alien to the poet, they put him "out of the currents - apart." The post-October time seemed to him dead, its leaders - artificial, nature uncreated creatures. In 1918, he wrote the poem "Russian Revolution", in which modernity was associated with a characteristic imagery: rebellion, "blazing fireboxes", "fumes in the boiler room", "human blood, brains and drunken naval vomit."

In dead time, B. Pasternak turned to the theme of the living soul. In 1918, he wrote a psychological story about the growing up of the soul of a child from the pre-revolutionary intelligentsia, Childhood Luvers.

The soul of Zhenya Luvers is as mobile, sensitive, reflective as nature itself and the whole world, in which the street “has gone mad”, the day was either “full blown”, “breaking for dinner”, then poking “snout into glass, like a heifer in a steam stall ", the logs fell on the turf, and it was a sign - "evening was born", the blue of the sky "chirped piercingly", and the earth shone "fatly, like melted". This unified world corresponded to the childish syncretic consciousness of the heroine, her undivided perception of man, everyday life and space. For example, the soldiers in her sensation "were tough, groggy and sweaty, like a red spasm of a tap when a water pipe breaks", but the boots of the same soldiers "were crushed by a purple thundercloud." She absorbed everyday and universal impressions in a single stream. Therefore, accidents in her life turned into regularities: a fellow traveler in a compartment, a Belgian - a guest of her father, a criminal who was being taken to Perm, born Aksinya, decimal fractions become components of her life; therefore she experiences a keen sense of resemblance to her mother; therefore the death of Tsvetkov, indifferent to her, is a tragedy for her; therefore, when reading "Tales", a strange game took possession of her face, subconsciously she reincarnated into fairytale heroes; because she sincerely cares what the Chinese are doing in Asia in such a dark night. We have already observed such a vision of space, trifles, events, people in the lyrical hero of the book “My Sister is Life”.

In the early 1920s, B. Pasternak gained popularity. In 1923, he published his fourth book of poetry, Themes and Variations, which included poems from 1916–1922. In a letter to S. Bobrov, the poet pointed out that the book reflected his desire for clarity. However, the poetics of a number of poems in "Themes and Variations" represented some figurative layering; the meaning of the stanzas was hidden behind their syntactic brevity or complexity, phonetically weighted by the line: “Without pincers, the approach of the van / Pulls crutches out of niches / Only with the rumble of completed runs, / Raising dust from the distance”; “The automatic block / The torment began further, / Where, in anticipation of the drains / the East shamanized mechanically”; “A separate life from the body, and longer / Leads, like an innocent penguin to the chest, / The patient’s wingless jacket is a flannel: / Either a drop of warmth to her, then move the lamp.” This corresponded to the aesthetic requirements of the LEF formed at the end of 1922, to which B. Pasternak joined.

The avant-garde poetics of B. Pasternak's poems caused critical controversy. In the article of 1924 "Pushkin's leftism in rhymes", V. Bryusov pointed out the new rhyme of the futurists, opposed to the classical, Pushkin's rhyme, with the obligatory similarity of pre-shock sounds, with a mismatch or optional coincidence of behind-shock sounds, etc., citing B. Pasternak's rhymes: orange - dirty, feed - feed, near you - pour, kerosene - gray - blue. I. Ehrenburg in his book "Portraits of Modern Poets" (1923) wrote about the illumination of the general chaos of B. Pasternak's poetics by the unity and clarity of voice. In the article by S. Klychkov "Bald Mountain" published in Krasnaya Nov (1923. No. 5) with an editorial note "printed in discussion order", B. Pasternak was criticized for the deliberate incomprehensibility of his poetry, for replacing expressiveness with purposeful complexity. K. Mochulsky in the article "On the dynamics of verse", pointing to the destruction of poetic norms - symbols, old names, habitual connections - in the poet's poems, drew attention to a number of their features, including the fact that each sound is an element of rhythm.

Krasnaya Novi (1926. No. 8) published an article by the theoretician of the Pereval group A. Lezhnev, Boris Pasternak, in which the author proposed his own version of the poetics of Pasternak's verse. Arguing about the principle of linking associations in the poetry of B. Pasternak, A. Lezhnev noted: among the classics, a poem revealed one idea, with Pasternak it consists of a series of sensations interconnected by some one association. The next poetic principle of B. Pasternak, which A. Lezhnev pointed out, is linearity: the emotional tone, having no ups and downs, is equally intense. Further: the poet deliberately makes a semantic gap in the chain of associations, omits any associative link. A. Lezhnev came to the conclusion about the "psychophysiologism" of Pasternak's poetry, which can also be seen in Luvers' Childhood. The works of B. Pasternak are created, the critic argued, from a thin psychological weave, but not feelings and emotions, but sensations (from rooms, things, light, streets, etc.), which are on the verge between purely physiological sensations and complex mental movements .

An opposite view on the phenomenon of Pasternak's poetics was expressed by G. Adamovich in his book "Loneliness and Freedom", published in New York in 1995: the poet's poems at the time of their appearance were not associated with either emotions or feelings; the words themselves gave rise to emotions, and not vice versa. In addition, the critic saw in B. Pasternak's poems a pre-Pushkin, Derzhavin tragedy.

It is characteristic that B. Pasternak himself pointed out the dithyrambic nature of his early poetry and his desire to make the verse understandable and full of authorial meanings - such as that of E. Boratynsky.

A protest grew in the poet not only against the aesthetic principles of the DEF with the priority of the revolution of form, but also LEF's interpretation of the poet's mission in the revolutionary era as a life-builder, a transformer, which made the poet's personality dependent on the political situation. In the poem "High Illness" (1923, 1928), B. Pasternak called creativity a guest of all worlds ("Visit in all worlds / High illness"), that is, free in time and space, and himself - a witness, not a life-builder. The theme "poet and power", "lyrical hero and Lenin" was considered as a relationship between a contemplator and a doer. V. Mayakovsky, subordinating creativity to the epoch, turned his position into a “propaganda popular print”, a poster (“I printed and wrote posters / About the joy of my sunset”).

B. Pasternak did not accept the principles of revolutionary necessity and classism that dominated at that time in the public consciousness. As he wrote in The High Illness, "Even more ambiguous than a song / A stupid word is an enemy"; the same attitude is expressed in the poem and to the division of the people into "the class of octopuses and the working class." Revolutionary necessity became a tragedy for a person, on this subject B. Pasternak wrote the story "Airways" (1924). A former naval officer, and now a member of the presidium of the provincial executive committee, Polivanov simultaneously learns about the existence of his son and about the revolutionary sentence passed on him, the execution of which he is unable to prevent. The plot with an unexpected recognition, the secret of blood ties and their rupture, the fatal predestination of a person’s fate, an insurmountable conflict, deceit, a mysterious disappearance, the death of a hero, a situation in which a person himself does not know what he is doing, corresponded to the philosophical and dramatic canon of ancient tragedy. The role of fate in B. Pasternak’s story is expressed in the image of air routes, the invariably night sky of the Third International: it silently frowned, rammed by a road roller, led somewhere like a rail track, and along these paths “the straightforward thoughts of Liebknecht, Lenin and a few minds departed their flight." The heroes of "Airways" are deprived of freedom of choice and self-expression.

In the second half of the 1920s, B. Pasternak created works about the revolutionary era, the ideological orientation of which contradicted Airways. These were the poems "The Nine Hundred and Fifth Year" (1925-1926) and "Lieutenant Schmidt" (1926-1927), the poetic novel "Spektorsky" (1925-1931). B. Pasternak, calling "The Nine Hundred and Fifth Year" a "pragmatic chronicle book", claimed that in "Spektorsky" he said more and more essentially about the revolution. After reading "The Nine Hundred and Fifth Year", M. Gorky spoke approvingly of its author as a social poet.

The epic poem “The Nine Hundred and Fifth Year” was written as a chronicle of the first Russian revolution: “the beating of the crowd”, the “Potemkin” uprising, the funeral of Bauman, Presnya. In the poem, the time of the revolution is presented as the era of the masses. The fathers lived at the time of the romantic service of heroes, "dynamites", personalities, people of the people. In 1905, this time is perceived as an irrevocable past (“Just like a story / From the age of the Stuarts / More distant than Pushkin, / And it is seen / As if in a dream”), the time of the heroic masses comes to the fore. Determining the right and the wrong, B. Pasternak laid the blame for the bloodshed on the authorities: the workers were “filled with a thirst for revenge” by the introduction of troops into the city, “beating”, poverty; the reason for the uprising on the "Potemkin" - "the meat was stale"; black hundred provoke students. However, in "Lieutenant Schmidt" a hero already appears who, by the will of fate and thanks to his own conscious decision, becomes the chosen one of the revolution ("And the joy of sacrificing oneself, / And - a blind whim of chance"). Schmidt is presented by the author with a choice: he realizes himself on the verge of two epochs, he seems to betray his environment (“Friends from school from other people’s sides, / Friends of those years. / Cursed and met in stakes, / Threatening with a noose”) and “gets up from with the whole motherland, "he chooses Golgotha ("To punish and repent with one, / To end with Golgotha with the other"). In "Spektorsky" B. Pasternak wrote about his personal choice - the image of the writer Spektorsky is largely autobiographical. The fates of Sergei Spektorsky and Maria are given in the context of the post-October revolutionary era, when “the unit is defeated by the class”, when hunger and agendas enter everyday life, when “no one spared you”, when “socialized furniture” was dismantled by commissariats, “household items” - by workers, "and valuables and provisions - to the treasury." Under the mute sky of the revolution "And the people were as hard as rocks, / And the faces were as dead as a cliché." The hero, an "honest dupe", participates in the distribution of socialized utensils. The justification of the era was motivated in the poem by the revolutionary choice of the “patriot” and “daughter of the Narodnaya Volya” Maria (“She pulled the revolver jokingly / And everything was expressed in this gesture”); in the revolution, she took place as a person (“because you have to be something?”).

However, in the same years, B. Pasternak came to the conclusion that the greatness of the revolution turned into its own opposite - insignificance. Revolution, as he wrote to R.M. Rilke April 12, 1926, broke the flow of time; he still feels the post-revolutionary time as immobility, and defines his own creative state as dead, assuring that no one in the USSR can write as genuinely and truthfully as M. Tsvetaeva wrote in exile. In 1927 the poet left. from the LEF. On this occasion, he wrote: “I never had anything in common with Lef ... For a long time I assumed correlation with Lef for the sake of Mayakovsky, who, of course, is the biggest of us ... made fruitless attempts to finally leave the team, which he himself - then he numbered me in his ranks only conditionally, and developed his mosquito ideology without asking me.

From 1929 to 1931, the Zvezda and Krasnaya Nov magazines published the poet's autobiographical prose "Security Letter", and in it he expressed his understanding of the psychology and philosophy of creativity: it is born from the substitution of true reality for the author's perception of it, the poet's personality expresses itself in the image, he “throws” the weather on the heroes, and “our passion” on the weather. The truth of art is not the truth of truth; the truth of art contains the ability for eternal development, the image embraces reality in time, in development, imagination and fiction are necessary for its birth. Thus, the poet aesthetically justified his right to freedom of creative self-expression, while the life of V. Mayakovsky seemed to him a pose, behind which there were anxiety and "drops of cold sweat."

At the end of the 1920s, there was a clear reorientation in the style of B. Pasternak towards clarity. In 1930-1931 B. Pasternak again turned to lyrics; the following year, his poetic book The Second Birth was published, in which philosophical and aesthetic priorities were given to simplicity: “It is impossible not to fall into the end, like heresy, / In unheard-of simplicity.”

Simplicity as a principle of perception of the world was associated in the imagination of B. Pasternak with the theme of kinship "with everything that exists." So, in the "Guide" inanimate objects were declared a stimulus for inspiration, they are from wildlife and testified to its "moving whole"; the poet recalled how in Venice he went to the piazza on dates "with a piece of built-up space." In The Second Birth, everyday life itself became a lyrical space that contained the hero’s moods: the “enormity of the apartment” inspires sadness, the “sleepless smell of matiol” becomes heavy, the downpour is filled with “calf’s” delights and tenderness. The concept of the world as a moving whole was expressed in the motif of the penetration of the inner world of a person into the objective world (“The thin-ribbed partition / I will pass through, I will pass like light, / I will pass as an image enters an image / And as an object cuts an object”), as well as affinity and with non-objective world ("But even so, - not like a tramp. / As a native I will enter my native language").

The poems of "Second Birth" are not just autobiographical ("Everything will be here: experienced / And what I still live, / My aspirations and foundations, / And seen in reality"), they are intimate: B. Pasternak's lyrics are dedicated to two women - the artist E.V. Lurie and Z.N. Neuhaus: the marriage with the first collapsed, with the second a new life began. In love, the lyrical hero is looking for simplicity and naturalness of relationships. In the clarity and lightness of the beloved is the clue to being (“And the charms of your secret / The clue of life is tantamount”).

The comprehension of lightness, the grace of being is accompanied by the theme of accepting “worlds of discord”, which has already been voiced in the poetry of A. Blok and in the poetry of S. Yesenin. The lyrical hero of B. Pasternak accepts everything, welcomes everything: “and the fatal blue of the sky”, and “the whole essence” of his beloved, and “fluffy batting of poplars”, and “last year's despondency”.

In the 1930s B. Pasternak was a poet recognized by the authorities. At the First Congress of Writers, N. Bukharin called him one of the most remarkable masters of verse of that time. But in the second half of the 1930s, realizing the ambiguity of his position, the unnatural alliance between the authorities and the free artist, he retired from the forefront of official literary life. In 1936–1944, he wrote the poems that made up the poetic book On the Early Trains (1945). In them, the poet, having retired to Peredelkino's "bear's corner", declared his life concept, in which inner peace, contemplation, regularity of being, consistency of poetic creativity with the creativity of nature, quiet gratitude for the bestowed fate became priorities; as he wrote in the poem "Hoarfrost":

And the white dead kingdom

Throwing butter into a shiver,

I whisper softly: "Thank you,

You give more than they ask."

In the book B. Pasternak expressed his feeling of the motherland. In this image there is no popular print, no smack of party spirit and revolutionary spirit. His Russia is not soviet state. In his perception of the homeland, intimacy, intellectuality and philosophy were combined. So, in the poem "On Early Trains" a sensual note sounded:

Through the twists and turns of the past

And the years of wars and poverty

I silently recognized Russia

Unique features.

Overcoming admiration,

I watched, idolizing

There were women, Slobozhans,

Students, locksmith.

The essence of Russia is revealed through talents. She is a "magic book", in her - "the autumn twilight of Chekhov, Tchaikovsky and Levitan" ("Winter is coming"). Motherland expresses itself in nature, it is “like the voice of the forest”, “like a call in the forest”, it smells like a “birch bud” (“Revived Fresco”). During the war, she is also the intercessor of the Slavic world, she is assigned the mission of a liberator and comforter ("Spring"). B. Pasternak created the image of Russia - the chosen one, she has a special "Russian destiny":

And Russian fate is boundless,

What can dream in a dream

And forever stays the same

With unprecedented novelty.

("Invisibility")

During the Great Patriotic War, Russia is going through severe trials and conquering evil. Military plots were interpreted by the poet, in fact, in a Christian way. The war is a conflict between "murderers" and "Russian boundless fate." The invaders are guilty before the poet's homeland of the New Testament sin, they repeated the crime of Herod in Bethlehem: "The fear of the awakened children / Forever will not be forgiven", "The torment of the little cripples / They will not be able to forget" ("A Terrible Tale"); “And we always remembered / The girl picked up in the field, / Who was amused by the rascals” (“Persecution”). In the verses about the war, the theme of the coming punishment for violence against children sounds: the enemy will “pay”, “it will be credited” to him, he “will not be forgiven”, “offenders must pay us”.

Enemy aviation - "night evil spirits" ("Zastava"). The souls of those who sacrificed their lives in the battle with the "evil spirits", with the enemy, gain immortality. The theme of sacrifice and the immortality of the soul is one of the main ones in the cycle “Poems about War”. In the poem "Courage" nameless heroes who were not counted among the living carried away their feat "to the abode of thunderers and eagles"; in the poem "The Winner" the "immortal lot" fell to the whole of Leningrad. The sapper, a hero with "the innate fortitude of a peasant", died, but managed to complete a combat mission - he prepared a hole in the barriers, through which "the battle gushed"; comrades put him in the grave - and time did not stop, the artillery spoke "in two thousand of their larynxes": "The wheels moved in the clock. / The levers and pulleys woke up”; such sappers “did not save their souls” and gained immortality: “To live and burn for everyone in the custom, / But then you will only immortalize life, / When you draw a path to light and greatness / With your sacrifice you draw a path” (“Death of a sapper”).

The military feat in the military lyrics of B. Pasternak was interpreted as an asceticism, which the soldiers performed with prayer in their hearts. “In a frenzy as if in prayer” the avengers rushed “for the murderers” (“Pursuit”), Desperate scouts were protected from bullets and captivity by the prayers of their loved ones (“Scouts”). In the poem “Revived Fresco”, the whole earth was perceived as a prayer service: “The earth hummed like a prayer service / For the repulsion of a howling bomb, / Smoke and rubble from a censer / Throwing it out of the battlefield”; paintings of the war were associated with the plot of the monastery fresco, enemy tanks - with a snake, the hero himself - with St. George the Victorious: "And suddenly he remembered his childhood, childhood, / And the monastery garden, and sinners." It is characteristic that in the drafts the poem was preserved under the name "Resurrection".

In poems about the war B. Pasternak expressed the Christian understanding of the meaning of man in history. In the Gospel, he was attracted by the idea that there are no peoples in the kingdom of God, it is inhabited by individuals. These thoughts will take on a special meaning in the poet's creative life in the winter of 1945-1946, when he starts writing the novel Doctor Zhivago. B. Pasternak, who perceived post-revolutionary reality as a dead period, felt a military living life, in which both the immortal beginning and the commonality of personalities were manifested.

The novel Doctor Zhivago was completed in 1955. It was not published in the USSR, although the author made an attempt to publish it in Novy Mir. In September 1956, the magazine refused to publish the novel, explaining its decision by the fact that, in the opinion of the editorial board, the role of the October Revolution and the intelligentsia sympathizing with it was distorted in the work. In 1957 Doctor Zhivago was published by the Milanese publishing house Feltrinelli. In 1958, Pasternak was awarded the Nobel Prize.

Pasternak wrote a novel about life as a work to overcome death. Yuri Zhivago's uncle, Nikolai Nikolaevich Vedenyapin, a priest who was stripped at his own request, argued that life is a work to unravel death, that only after Christ did life begin in love for one's neighbor, with sacrifice, with a sense of freedom, eternal, that "a person dies in the midst of work dedicated to overcoming death. Immortality, according to Vedenyapin, is another name for life, and you just need to "remain faithful to immortality, you must be faithful to Christ." B. Pasternak believed that the personality of the Christian time always lives in other people. He believed in the immortality of creativity and in the immortality of the soul. According to F. Stepun, in the messianic utopia of Bolshevism, B. Pasternak “heard the voice of death and saw the mute face of a man grieving for the desecration of the most precious thing that the Creator awarded man - the desecration of his godlikeness, in which the mystery of personality is rooted.” The novel dealt with the theme of life and death, the living and the dead. In the system of images, heroes with significant names- Zhivago and Strelnikov.

Zhivago and people close to him lived in love, sacrificing themselves and with the feeling inner freedom even in Soviet Russia into which they could not fit. They lived life as a test. The hero believed that everyone is born Faust in order to experience everything.

The image of Zhivago personified the Christian idea of the intrinsic value of the human personality, its priority in relation to communities and peoples. His fate confirmed the conclusion of Nikolai Nikolaevich that circles and associations are contraindicated for talented people: “Any herd is an approximation to untalentedness, it doesn’t matter whether it is loyalty to Solovyov, or Kant, or Marx.” The novel really reflects the Christian idea, according to which there are no peoples in the kingdom of God, but there are individuals. He wrote about this to his cousin, the famous philologist - the classic O.M. Friedenberg 13 October 1946

The concept of the inherent value of personal life influenced the nature of Zhivago's worldview, similar to the feelings of the lyrical hero of Pasternak's poetry. His fate is realized in everyday life - pre-revolutionary, military, post-war. The hero appreciates life in its vain, everyday, every second, concrete manifestations. He focuses on Pushkin’s attitude to life, on his “My ideal now is the mistress, / My desires are peace, / Giving a cabbage soup, but a big one itself”: household items, nouns, things - and essences took possession of Pushkin’s lines; objects "lined up in a rhyming column along the edges of the poem"; Pushkin's tetrameter was presented to the hero as a "measuring unit of Russian life." Gogol, Tolstoy, Dostoevsky "searched for meaning, summed up the results"; Pushkin and Chekhov simply lived in “current particulars”, but their life turned out to be not “private”, but “common cause”. Zhivago reflected on the urgency, the significance of everything, including the unthinkable in the bustle: things barely noticed during the day, as well as thoughts not brought to clarity or words left without attention, at night, taking on flesh and blood, “become the themes of dreams, as if in retribution for the daily neglect of them.

Zhivago's antipode, obsessed with the Strelnikov revolution, thinks in general, grand and abstract categories. Abstract and his idea of good. His entry into the revolution happened naturally, as a logical step, as a real manifestation of his maximalism. Aspiring as a child to the "highest and brightest", he imagined life as a arena in which "people competed in achieving perfection." His thinking was utopian, he simplified the world order. Feeling that life is not always the path to perfection, he decided to "become someday a judge between life and the dark principles that distort it, come to its defense and avenge it." The nature of a revolutionary, according to Pasternak, is in maximalism and bitterness. Strelnikov decides on a superhuman mission. The revolution for him is a terrible judgment on earth.

The revolutionary reality in Pasternak's interpretation is the revolutionary insanity of an era in which no one has a clear conscience, which is inhabited by secret criminals, untalented Bolsheviks with their idea of turning all real human life into a transitional period. Zhivago came to disappointment in the revolution, he realized that in 1917 there was not the revolution of 1905, which was worshiped by the youth in love with Blok, that the revolution of 1917 was a bloody, soldier's revolution that grew out of the war, directed by the Bolsheviks. This is a revolution of deaf and dumb people by nature. The episode in the compartment is symbolic: Zhivago's fellow traveler is a deaf-mute, for whom revolutionary upheavals in Russia are normal phenomena.

Understanding life as a military campaign, Strelnikov, eventually rejected by the revolution itself, is forced to repent of his bloody sins. He is tormented by sad memories, conscience, dissatisfaction with himself. Both Zhivago and Strelnikov are victims of the revolution. Zhivago returns to Moscow in the spring of 1922 "run wild". The motive of savagery is also expressed in the image of the post-war country. Peasant Russia went wild: half of the villages passed by Zhivago were empty, the fields were abandoned and not harvested. "Empty, dilapidated" hero finds Moscow. He dies in the year 1929, tragic for the country, which marked the dispossession of kulaks. The fate of Zhivago's beloved woman Larisa is sad: she was probably arrested, and she died or disappeared in one of the "innumerable general or women's concentration camps in the north." In the epilogue of the novel, the theme of the tragedy of post-revolutionary Russia is expressed in the dialogue between Gordon and Dudorov. The heroes talk about camp life, about collectivization - "a false and failed measure", about its consequences - "the cruelty of Yezhovism, the promulgation of a constitution not designed for application, the introduction of elections not based on an elective beginning." The unbearability of reality is also expressed in the perception Patriotic War, despite its bloody price, as "goods", "winds of deliverance."

The novel begins with an episode of the funeral of Yuri Zhivago's mother, the story of the hero's life ends with a description of his funeral. Between these episodes - the path of knowledge.

Music

The house rose like a tower.

On a narrow coal staircase

Two strong men carried the piano,

Like a bell to a belfry.

They dragged up the piano

Over the expanse of the city sea,

As with the commandments of the tablet

On the stone plateau.

And here is an instrument in the living room,

And the city is in whistle, noise, din,

Like under water at the bottom of legends,

Left under my feet.

Sixth floor tenant

I looked at the ground from the balcony,

As if holding it in your hands

And ruling it legally.

Back inside he played

Not someone else's play

But my own thought, chorale,

The buzz of mass, the rustle of the forest.

Roll of improvisations carried

Boulevard in the rain, the sound of wheels,

The life of the streets, the fate of singles.

So at night, by candlelight, instead

Former naivete simple,

Chopin wrote down his dream

On a black music stand.

Or ahead of the world

For four generations

On the roofs of city apartments

Thunderstorm thundered the flight of the Valkyries.

Or a conservatory hall

With hellish roar and shaking

Tchaikovsky shocked me to tears

The fate of Paolo and Franchenka.

Features of the late lyrics of Boris Pasternak

In many studies related in one way or another to the work of Pasternak, I met the judgment that the "early" work of the poet is complex, the "later" is simpler; "early" Pasternak was looking for himself, "late" - found; in early work there is a lot of incomprehensible, deliberately complicated, later it is full of "unheard of simplicity."

creative way writers, poets, artists takes place in several stages. And this is not always the way from simple to complex, from superficial

to deep or vice versa.

“Late” Pasternak (“On early trains” - “When it clears up”) is Pasternak, who has found new means of creating expression. If in the early work imagery was largely created through the use of individual linguistic means, then in the later period the poet uses general language units to a greater extent.

The stanza of verses is very diverse: a stanza can include from four (which is most typical up to ten verses. The peculiarity of the stanzas lies not only in the number, but also in combinations of long and short verses. United by a common thought, the stanza is not necessarily complete and sometimes has syntactic and semantic duration in the next. For example, I noticed this in the poems "Waltz with Devilry", "Spring Again", "Christmas Star". The size of the stanzas and their combinations are different here: in "Waltz with Devilry" -6-8-6- 7-10 verses. The most interesting thing is that it is extremely difficult to trace the connection between the size of the stanzas and the theme of the poem. It is also difficult to derive any regularity in correlating the size of the stanza with the syntactic structure of the sentences that fill it. For example, the second part of the poem "Waltz with Devilry" is an octave consisting of two sentences, each of which is "located" on four verses:

Magnificence beyond strength

Carcasses, and sickles, and whitewash,

Blue, crimson and gold

Lions and dancers, lionesses and frenchmen.

The flow of blouses, the singing of doors,

The roar of the little ones, the laughter of mothers,

Dates, books, games, nougat,

Needles, rugs, jumps, runs.

This passage provides an example of one of the peculiarities of late Pasternak's syntax: the use of a long chain of one-part sentences. Here the author uses an interesting stylistic device: the combination of polyunion and non-union in one stanza. The whole stanza imitates the rhythm of a waltz (the musical time signature is “three quarters”), and if in the first half of the stanza (due to polyunion) the tempo is calm, then in the second – unionless – half of the stanza, “waltz” accelerates, reaching a maximum in the last two verses. In the third stanza:

In this sinister sweet taiga

People and things are on an equal footing.

This boron is a delicious candied fruit

They tear like hot cakes for caps.

Stuffy from delicacies. tree in sweat

Glue and varnish drinks darkness, -

The first and fourth sentences are two-part, the second is indefinitely personal, the third is impersonal.

The syntax of the late Pasternak is characterized by the construction of enumeration of homogeneous members of the sentence. The latter have an outward resemblance to the mentioned names. For example:

Here he is with extreme secrecy

Gone for the streets bend,

Uplifting stone cubes

Blocks lying on top of each other

Posters, niches, roofs, pipes,

Hotels, theaters, clubs,

Boulevards, squares, clumps of lindens,

Yards, gates, rooms,

Entrances, stairs, apartments,

Where all the passions are playing

For the sake of changing the world.

("Drive").

In my opinion, this example of sustained non-conjunction is similar to the method of enumeration used by the poet to create expression. Externally, a multifunctional technique internally obeys one pattern: the combination of things of a different order in one row.

Roll of improvisations carried

Night, flames, thunder of fire barrels,

Boulevard under the downpour clatter of wheels,

The life of the streets, the fate of singles.

(" Music").

Various concepts combined in one row create a multifaceted picture of reality, activate different types of perception.

A similar effect of increasing expression, semantic diversity is observed not only when using (stringing) heterogeneous concepts in one row, but also when anaphora appears, which is one of the leading stylistic figures of Pasternak's late lyrics. For example:

All thoughts of ages, all dreams, all worlds,

The whole future of galleries and museums,

All the pranks of the fairies, all the affairs of sorcerers,

All the Christmas trees in the world, all the dreams of the kids.

("Christmas Star").

In the poetry of the "late" Pasternak, there is also the use of isolations, introductory and inserted constructions, so characteristic of early lyrics:

When your feet, Jesus,

Get on your knees

I can learn to hug

Cross square bar

And, losing my senses, I'm torn to the body,

I'm preparing you for burial.

("Magdalene I").

The syntactic construction can be complicated by a detailed comparison or metaphor:

The sun goes down and a drunkard

From a distance, with a view to transparent

Stretches through the window

To bread and a glass of cognac.

(" Winter holidays").

This is a typical stanza for Pasternak. Metaphor is unevenly distributed in it. In the first sentence- The sun is setting - the designation of reality, in the second - a detailed metaphor. The result of this organization of the trail is a cumbersome syntactic construction. The first sentence is the designation of the object of metaphorization; it sets the theme of the metaphor.

But neither the stanza nor the syntax are self-possessing in Pasternak, which is confirmed by the absence of patterns in the construction of stanzas and sentences.

The central theme that has passed through all the work of B. Pasternak is the real world of objects, phenomena, feelings, the surrounding reality. The poet was not an outside observer of this world. He thought of the world and himself as a whole. The author's "I" is the most active part of this indissoluble whole. Therefore, in Pasternak's work, inner experiences are often given through the external picture of the world, the landscape-objective world - through subjective perception. This is an interdependent type of expression of the author's "I". Hence the personification so characteristic of Pasternak's work, penetrating most metaphors and comparisons.

The "early" Pasternak was reproached for the complexity of metaphor and syntax; in later works, complexity is primarily semantic.

Pasternak's poetry has not become simpler, but has become more filigree. In such verses, when attention is not hampered by multi-stage paths, it is important not to miss the metaphors that are “hidden” behind outwardly familiar language.

In the lyrics of the late period, phraseological phrases, colloquial everyday vocabulary and colloquial syntax are often found. This is especially characteristic of the On the Early Trains cycle, from which, according to the researchers, the “new”, “simple” Pasternak began.

In the early period of creativity, the use of colloquial vocabulary in a poetic context against the general background of interstyle and book vocabulary enhanced expressiveness, unexpectedness of perception; in the later cycles, the use of colloquial vocabulary is thematically conditioned, most often to recreate the realities of the situation or the speech characteristics of the hero.

Phraseological turns used by Pasternak in late lyrics can be divided into two groups: changed and unchanged. Both groups include phraseological units of different stylistic layers.

Changed phraseological units according to Shansky

Phraseologisms with updated semantics and unchanged lexical and grammatical composition	She suspects a secret, That winter is full of miracles in a sieve at the dacha of the extreme ...
Phraseologisms with preserved main features of semantics and structure and updated lexical and grammatical side	Separation will eat them both, Anguish will swallow the bones. In it and this year to live would be a full bowl.
Phraseologisms given as a free combination of words	You reach out to him from the ground, As in the days when you haven't been summed up yet on it.
Individual art. Turnovers created according to the model of existing Phraseologisms.	And the fire of the sunset did not cool down, As the evening of death hastily nailed him to the wall of the Manege.
The fusion of two phraseological units	Somehow, in the twilight of Tiflis, I raised my foot in the winter ...
Connection in one context of semantically close phraseological units	Suddenly, the enthusiasm and noise of the game, The clatter of the round dance, falling into tartarara, sank into the water ...

Pasternak individualizes phraseological units as much as possible, which is expressed in a significant change in their lexical-grammatical and syntactic construction in accordance with certain artistic tasks.

"When it clears up" - a book of poems as a whole

The book of poems “When it clears up” (1956-1959) completes the work of B.L. Pasternak. The more important and interesting is its linguistic comprehension in terms of the work of the poet, his predecessors and contemporaries.

In connection with the problem posed, I will be interested in two factors: the compositional order and thematic unity of the book, as well as the unity of the poetic world, its artistic system.

In November 1957, B. Pasternak determined the order of the poems and entered the epigraph. This is direct evidence that the poet considered the book as an independent organism. The poet himself pointed out the organizing role of three verses: this is the initial credo poem “In everything I want to reach ...”; then, the culminating “When it clears up ...”, by the name of which the whole book is named, reflecting the turning point in the life of both the poet and the country, and in which the attitude of the late Pasternak is openly expressed; the final one is “The Only Days”, in which the theme of time dominates, one of Pasternak’s main ones. In the first poem, all the themes of the book are pulled into one nerve knot, it is connected figuratively, lexically with each of the poems of the book.

The sequence of all other poems is also significant. In the complex multi-level composition of the book, a symmetrical division into such associations of poems is obvious, in each of which some part of the dual unity "creativity - time" is actualized. In the center - 6 poems united by the theme "creativity": "Grass and stones", "Night", "Wind", "Road", "In the hospital", "Music". These 6 poems are framed by landscape cycles: non-winter and winter. They, in turn, are surrounded by verses where the future is brought to the fore in the theme of time, and the last 9, the theme of which was formulated by the poet himself: “I think, despite the familiarity of everything that continues to stand before our eyes and that we continue to hear and to read, there is nothing of this anymore, it has already passed and has taken place, a huge period, costing unheard-of forces, has ended and passed. An immeasurably large, so far empty and unoccupied space for the new and the unexperienced has been vacated…”

Each of these cycles has an internal structure, internal dynamics of themes, images. And all this complex structure obviously reflects a certain real sequence of biographical events.

Two principles seem to us to be the main ones, organizing the poetic world of Pasternak, the figurative and linguistic system of the book. Both of them are indirectly formulated by the poet. The first principle is the bifurcation of the phenomenon, image, word; the second principle is the connection, the rapprochement of different, distant, dissimilar.

A phenomenon, an event, a thing, an object split into two. They can have contrasting, sometimes mutually exclusive properties. Time moves non-stop Maybe the year follows the year as it snows, or like the words in a poem.), and even a moment can stretch to eternity ( And the day lasts longer than a century). Space, like time, is boundless and infinite ( So they look into eternity from the inside In the twinkling crowns of insomnia Saints, hermits, kings ...), but it is also enclosed in certain boundaries, frames, has a form.

The image is bifurcated either visually or verbally: the same thing is called twice, as if splitting up, and to achieve this effect, the tropes can be duplicated, or expressive-stylistically.

A word or phrase splits into two, used in two or more meanings at the same time.

The word form is bifurcated, which can have two grammatical meanings at the same time.

The second principle is manifested in "rapprochement":

Divorced in the ordinary consciousness of the phenomena of reality (which underlies the construction of paths)

Diluted in everyday consciousness of linguistic phenomena (prose and poetic speech; various stylistic layers)

Diluted in the ordinary consciousness of poetic phenomena.

I. Man and the world in Pasternak's paths are brought together not only traditionally, but also in a special way: personified phenomena, like people, wear clothes, experience the same physical or psychological state as a person; moreover, this may be a state that the phenomenon itself usually causes in a person. Phenomena come into human relations not only among themselves, but also with a person, sometimes starting a direct dialogue with him, evaluating a person, and this can be a mutual assessment, and a person feels the state of nature from the inside. The incorporeal materializes, takes shape or becomes unsteady, viscous. Poems also materialize, acquiring the status of a natural phenomenon or structure. Rapprochement is especially acute if it is based on a feature that is not inherent in the object, but at first attributed to it and then only serving as the basis for comparison.

II. The convergence of prose and poetry in Pasternak is mutual: “His poetry is directed towards prose, like prose towards poetry” (Likhachev)

The ultimate tension of feeling in prose comes from lyrics, the reliability of details, the simplicity of syntactic constructions - from narrative prose.

Rapprochement with prose is manifested, in particular, in the fact that colloquial vocabulary, vernacular, obsolete or regional words freely enter into lyrical verse. All these reduced layers do not contrast with bookish, poetic or highly expressive vocabulary, but "are placed in one common layer of lyrical utterance", with a clear predominance of "not high" vocabulary.

Behind simplicity and "understandability" are hidden the most skillful linguistic "mistakes", as if not noticed by the poet. However, the fact that they are literally permeated with poetry indicates that for Pasternak they were a conscious device. These are “mistakes” associated primarily with a violation of the usual compatibility.

Violation of semantic compatibility is most constant in cases of replacement of a dependent word with a phraseologically related meaning of another word, and the substitute word is freely chosen from words both of the same semantic series with the replaced one, and from other series. There is also such a construction of a homogeneous series, when, with a word with a phraseologically related meaning, one dependent word meets the norm, the other violates it.

Syntactic mismatch is most commonly associated with the omission of a dependent noun or the placement of a dependent noun with a word that usually has no such control.

III. The convergence of traditional and non-traditional poetic phenomena can be seen in the examples of poetic images and ways of connecting words in a line of poetry. Pasternak also continued the tradition of constructing a poetic line on the basis of an ordinary or association words. However, the asemantic connection also becomes active, which can be considered as a figurative one: each of the words of the line, not connected by a seme with others, “works” for the image.

Thus, the unity of the book grows out of its compositional integrity, out of the unity of the considered principles. It is also based on the unity of visual techniques proper. In literary criticism, the relationship of Pasternak's poetics with the plastic arts was noted: sculpture, architecture, painting. Pasternak's creative workshop is a dyer, the laws of perspective are reflected in the movement, the point of movement is precisely indicated, the direction of which is usually oblique, at an angle. A visual detail is drawn: a separate clumsy maple branch bows, one acorn dangles on a branch, one bird chirps at a branch, yarn rings creep and curl. Fixing the fact, the details are significant. The visual picture also includes theatrical associations: scenery, costumes, poses.

In contrast to the way the world is presented, the lyrical hero is not visually represented, his presence is conveyed through an assessment of events, situations, landscape, expressed by the prevailing vocabulary of high intensity, particles, unions, introductory constructions with modal-evaluative meanings, syntactic elements indicating causal event connections. "The kingdom of metonymy, waking up for independent existence" called the poetry of Pasternak Yakobson. And we find the essential explanation of the metonymic structure of the image of the lyrical hero in Pasternak himself: Never, never, even in moments of the most bestowing, forgetful happiness, did the highest and most exciting leave them: the enjoyment of the general molding of the world, their sense of responsibility for the whole picture, the feeling of belonging to the beauty of the whole spectacle, to the whole universe. ("Doctor Zhivago").

Brief biographical note.

February 10, 1890 - birth in the family of the artist L. O. Pasternak. Mother - pianist R.I. Kaufman. In childhood - music lessons, acquaintance with the composer Scriabin.

1909 - admission to the Faculty of History and Philosophy of Moscow University.

1908-1909 - takes part in the poetic group of the poet and artist Yu. P. Anisimov. During these years, serious communication with circles that were grouped around the Musaget publishing house.

1912 spring - a trip for one semester to Germany, to the University of Marburg to study philosophy with Professor Hermann Cohen.

1913 - graduated from Moscow University.

1913 - in the almanac of the Lyric group, Pasternak's poems were first published.

1914 - the first collection "Twin in the Clouds", with a preface by Aseev.

Pre-revolutionary - Participates in the futuristic group "Centrifuge".

1917 - The second collection "Over the Barriers" was published.

1922 - a collection is published that brought glory to Pasternak - "My sister is life."

20s - friendship with Mayakovsky, Aseev, partly due to this relationship with the literary association "LEF".

1916-1922 - Collection of Themes and Variations.

1925-26 - the poem "The Nine Hundred and Fifth Year".

1929-27 - poem "Lieutenant Schmidt".

1925 - the first collection of prose "Childhood Luvers".

1930 - autobiographical prose "Protection".

1932 - A book of poems "The Second Birth" is published

1934 - Pasternak's speech at the first All-Union Congress of Soviet Writers, followed by a long period of publication of Pasternak. The poet is engaged in translations - Shakespeare, Goethe, Schiller, Kleist, Rilke, Verlaine.

1945 - collection "On early trains".

February 1946 - the first mention of the novel.

August 3, 1946 - reading by Pasternak at the dacha in Peredelkino the first chapter of the novel.

1954 - 10 poems from the novel "Doctor Zhivago" were published in the Znamya magazine.

End of 1955 - the last changes were made to the text of the novel "Doctor Zhivago".

1957 - The novel "Doctor Zhivago" was published in Italy.

1957 - creation of autobiographical prose "People and situations".

1956-1959 - the creation of the last collection "When it clears up."

October 23, 1958 - decision of the Nobel Committee to award Pasternak Nobel Prize;

refusal of the writer from the award due to persecution in the country.

1987 - The writer was posthumously reinstated in the Writers' Union of the USSR.

1988 - The novel "Doctor Zhivago" was published in our country for the first time in the journal "New World".

Introduction

The 19th century was looking for order, harmony, and perfection in the world, even in the person of Lermontov, who started a “personal lawsuit” with God, even in the person of Tyutchev, who wore souls day and night in Elysium, looking at the world from the height of God. To comprehend the perfection of the world - what a task! For the 20th century, everything seems to be the other way around… The boundaries have been shifted. Order ... Who invented it? The mind moves out of the usual, run-in rails; I wanted to turn everything upside down. Knowledge gives strength. We are strong. Where are the limits of our powers? Who has the right to name this limit? And how terrible to get into this wave. And how not to get into it if you are born again? And you can re-sculpt your perfection ... How without it? Where without him? The world is beautiful!

Pasternak, by the will of his word, connects the chaotic world of the city, the planet, the universe. The world is chaotic because it develops and collapses at the same time. Pasternak's poetry - connecting fragments. She is a stream of seams that do not allow the ice floes to spread. His poetry does not flow, but flies in jerks, like blood from the arteries, but behind all this one can feel the rhythm of the universe, its pulse. The closer you hear this rhythm, the clearer it is, the drunker you are with the world around you and with yourself. The energy of the world is directed at you, you absorb it and transform it into the energy of the word.

Pasternak is a synthesis of the 19th and 20th centuries. Its forest limits, enchanted thickets, sleeping distances, the twilight of the night are not the monumentality of Mayakovsky and not the wielding of the masses. It's details and details. The fraction of drops, and thin-skinned icicles cannot be compared with a giant column, with the iron of trains. detailed world Pasternak is not the fragility of Fetov’s world, where the smell of roses spreads in the “gentle breath of grass and flowers”, and in the azure night one hears a whisper of the delight of a date. Pushkin's fading gaiety and Lermontov's strangeness to everything are canceled out by Pasternak's stunned birdsong, a raging, stupefied ravine, a splash of a wave, a flapping of a wing, a conversation about everything.

The purpose of my work is to consider the features of Pasternak's late lyrics, to find differences between the periods of the poet's work, and also to describe in detail the stylistic and thematic aspects of his last cycle of poems, "When it clears up."

Brief analysis poems "Music"

Few have read Pasternak's poetry, because he is considered a "difficult" poet. However, I will try to analyze one of the poet's later poems - "Music".

Pasternak's world is originally musical; it is known that his first vocation is music, he wanted to devote his life to it in childhood, and, obviously, if it were not for the categoricalness characteristic of Pasternak in demanding the absolute, some arrogance of Scriabin in relation to the young musician, the fate of the poet could be different. 15 years of life devoted to music, writing, not only objectively suggest the musicality of his future work, but are constantly present in Pasternak's poetry and prose. According to his musical themes in poetry, one can see in a separate line, trace the change in his poetic images and ideas. That is why music is not an independent theme of creativity, it is consonant with love, suffering, it marks the ups of creativity, the state of inspiration, Pasternak's music voices steps in cultural space and time.

"Music" is one of those poems that are fully revealed only to a thoughtful and knowledgeable reader. Of course, just take it and see what the words "choral" mean ( piece of music in the form of religious polyphonic chants), “mass” (a choral work based on the text of a Catholic liturgy), “improvisation” (creating music at the time of performance). But you need to read a lot, to be familiar with serious music, to love it - in a word, to be an educated person in order to understand the last stanzas of the poem. Only if you know that "Ride of the Valkyries" is an episode from the musical drama of Richard Wagner, one of the world's greatest composers, you will understand what it is about: "ahead of the world by four generations." Only if you have heard the music of Wagner, you will find its echo in two lines: “Across the roofs of city apartments, the flight of the Valkyries thundered like a thunderstorm,” where the poet did not accidentally collect so many hard “GKs”, so many rolling “Rs”. If you know that, inspired by reading Dante, Tchaikovsky wrote the symphonic fantasy "Francesca da Rimini" on the theme of an episode from "Hell" - " The Divine Comedy”, you will be able to catch in the word infernal not only the meaning of “very strong”, but also the direct meaning of this adjective: “hellish roar and crackle” is “the roar and crackle of hell”.

This poem is amazingly constructed. At first, there is no music - there is only a piano, an inanimate object (and the fact that it is carried, dragged only confirms its "objectivity, bulkiness"). However, comparisons evoke in us a feeling of some kind of mysterious power contained in it: it is carried “like a bell to a bell tower” (Lermontov is immediately recalled “... like a bell on a veche tower”); they drag him like a “tablet with the commandments”, that is, like a slab of those on which, according to legend, the laws given to people by God were written ... But now the piano is raised up; both the city and its noise remained below (“as under water at the bottom of legends”). The first 3 stanzas are over. The musician appears in the next stanza. And although it is simply and casually named: “a tenant of the sixth floor”, it is under his hands that the piano will sound, come to life, cease to be a dead object. But pay attention to the fact that the pianist does not start playing right away. The game is preceded by a moment of silence, contemplation, a look from a height - on the ground. These reflections on the earth and the power of music should make clear a very unusual combination: “play your own thought” (its unexpectedness is emphasized by the fact that it comes after the quite usual “play a piece”). Thought, music embraces, contains everything - the life of the spirit and the life of nature. Nara becomes the strength and power of sounds. "Ring of improvisations" - again an unusual combination, but evoking another, familiar one - a roll of thunder. Music absorbs everything: sounds, colors, light, darkness, the whole world and every person. See how a new series of homogeneous terms is quite specific words(night, flame) - unexpectedly ends with two nouns of a completely different series, a completely different meaning: "the life of the streets, the fate of singles."

But the person sitting at the piano is not alone. About this is the last three stanzas. They push the boundaries of time and space. Chopin, Wagner, Tchaikovsky - the world of music is huge and immortal.

“Music” is a poem that is a perfect example of the clarity and simplicity that B. Pasternak strove for. Piano sounds - "peal of improvisation."

For Pasternak, the ability to improvise is a necessary sign of a musician, which is probably due to the time when he developed ideas about creativity, then - in music, a little later, in his youth, among the futurists, at meetings of the poetry circle, when Pasternak, sitting at the piano, commenting on the newcomer with musical improvisation.

The idea of the poem "Music" is similar to the one heard in the poem "Improvisation" of 1915 - the world is in sounds, but now it is clear sounds rushing over the city.

In my opinion, the meaning of musical images is not only that the world sounds like music. This is a sign of disharmony or harmony of human life, fate - with the world. For Pasternak, this music is something like an absolute criterion of universal coherence. And the one who feels this music of life as his own or, performing it, improvises, acts as a co-creator.

Music for Pasternak is also the incessant sound of non-stop running time, like the sound of a bell - the longest musical sound, it is not without reason that in the poem the piano is compared with a bell:

Two strong men carried the piano,

Like a bell to a belfry.

The poetic size, with which the poem was written, I defined as a 4-foot iambic with pyrrhic in place of the 2nd and 3rd feet. Moreover, the rhyme is exact, male-female, cross, which is very typical for the "late" Pasternak.

And I would like to end my analysis with the words of Pasternak himself: “We drag everyday life into prose for the sake of poetry. We bring prose into poetry for the sake of Music."

Bibliography

1. Zh. "Russian language at school", M., "Enlightenment", 1990.

2. E. "Who is who", Volume 2, "Enlightenment", 1990.

3. Zh. "Russian language at school", M., "Enlightenment", 1993.

4. E. "One Hundred Great Poets of Russia", M., "Drofa", 2004

5. Pasternak's book of poems "When it clears up", R., 1992.

6. M. Meshcheryakova "Literature in diagrams and tables", M., "Iris", 2004.

Conclusion

"Gift of eternal youth", "individual", "lonely", "ardent", "strange", "spirit of youth", "contemplative", "seeker", "culture", "talent", "in his own way", " subordinated to art”, “torn away from everyday life”, “poetry and speech”, “intuitive understanding of life” are the dominant words that characterize Pasternak’s personality, taken from the many responses about the poet scattered in the press, containing, like a code, his fate.

Any truly talented artist has many reasons to be incomprehensible. In the case of Pasternak, the question of understanding his poems, his prose has some kind of fatal aftertaste. The question of the perception of B.L. Pasternak by the reader of the 20th century, as well as any question about the perception of art by a person, in my opinion, in its “broadest foundations” merges with the question of mentality, freedom, and the horizons of our consciousness. There is no doubt that these elements, which largely determine the perception of art, its direction, change over time, are bizarrely transformed in individual consciousness, interacting with data from nature, from ancestors, the ability to perceive beauty and circumstances, details, signs, the spirit of reality.

I would like to complete my work with the words of Chukovskaya: “I said that poets are very similar to their poems. For example, Boris Leonidovich. When you hear him speak, you understand the perfect naturalness of his poems. They are a natural extension of his thought and speech.”

Municipal educational institution

"Average comprehensive school No. 99"

Abstract on the topic

“The late lyrics of B.L. Pasternak"

Work completed:

Nekrasova Ekaterina,

11th grade student "A".

Checked:

Romanova Elena Nikolaevna,

literature teacher

Kemerovo

1. Introduction…………………………………………………………...3 p.

2. Features of Pasternak's late lyrics…………………….....4-7 pp.

3. “When it clears up” - a cycle of poems as a whole…………..8-11 pp.

4. A brief analysis of the poem "Music"………………………....12-13 pp.

5. Brief biographical summary………………………………….14-16 pp.

6. Conclusion………………………………………………………...17 p.

7. List of literature used……………………………….18 p.

8. Review……………………………………………………………… 19 p.

Review