Artistic features of Pasternak's poetry. Lyrics of Pasternak: main themes and features What features of artistic skill are characteristic of parsnip
Anna Akhmatova and Boris Pasternak are prominent representatives of the St. Petersburg and Moscow schools in Russian poetry. She has the severity and harmony of the classical form, he has an external heap of images in an attempt "within the limits of the poem to recreate the all-encompassing atmosphere of being":
As if out of your mind
Like children of disobedience,
Licking, day
Jokingly, we drained.
<...>
And the day rose, splashed,
In a garbage hot hole
In the circles of garbage stairs,
Bruised by wood.
This is an early Pasternak (1919). After 1940, his style would change decisively in the direction of simplicity and formally become close to Akhmatova's poetry: the same outward simplicity and "transparency" combined with semantic depth. The technique of verse in the late Pasternak takes on such a quality that it is no longer perceived as a technique:
It's snowing, it's snowing
As if not flakes are falling,
And in the patched coat
The sky descends to the ground.
Like a weirdo
Sneak around playing hide and seek
The sky is coming down from the attic.
<...>
("It's snowing", 1956).
But for all the difference between the “early” (before 1940) and “late” (after 1940) Pasternak, the commonality, the integrity of his poetic world is undeniable. The very titles of the collections "Over the Barriers" (1916) and "My Sister Life" are indicative, because they characterize Pasternak's poetic manner. What are the features of the worldview and poetic style of Boris Pasternak? Here is an excerpt from his 1918 poem:
I understood the purpose of life and what
That goal is like a goal, and this goal is
Admit that I'm unbearable
To put up with the fact that there is April,
<...>
What is the church language in Berkovets,
That the bell ringer was taken to the weighers,
What from a drop, from a tear
And whiskey hurts from fasting.
Through this almost tongue-tied muttering of the early Pasternak (only the line “That goal, like a goal, and this goal ...” is worth it!) Still, his main thought and feeling break through - the poet’s amazement before the world (“I can’t bear / Put up with that that is April...”). Berkovets - an old Russian measure of weight, equal to ten pounds; the low sound of the bell is “palpable by weight”. Admiration for the miracle of life is what Pasternak brought to poetry.
“Kinship with everything that exists”, the desire to stop, delay, capture in the word every moment of the passing of life - this is the main feeling that owns the lyrical hero of Pasternak.
My sister is life and today in flood
I was hurt by the spring rain about everyone,
But people in key chains are highly squeamish
And they sting politely, like snakes in oats.
Seniors have their own reasons for this.
Undoubtedly, undoubtedly, your reason is ridiculous,
That in a thunderstorm purple eyes and lawns
And it smells of raw mignonette horizon.
("My sister is life...")
In these verses, everything is nearby and everything is confused: in the reflections of lightning of a raging thunderstorm, eyes and lawns are of the same lilac color; and the horizon is not distant, not dark, and not even ominous (as one might have supposed), but damp and smells of mignonette, a weed that has a particularly tart smell after rain. Reason, lawns, mignonette, horizon - these words are "full of ozone." Maybe that's why Pasternak's contemporary O.E. Mandelstam said about his poetry: "To read Pasternak's poems is to clear your throat, strengthen your breath, renew your lungs: such poems should be curative of tuberculosis."
The title of the collection “My Sister is Life” is the best epigraph to the entire work of the poet. In this appeal, there is at the same time tenderness, reverence, and insolence (“The Poetry of Eternal Masculinity,” said M.I. Tsvetaeva about Pasternak), and in general - extreme intimacy. Pasternak “on you” with the world: “It seemed that we were the alpha and omega with life on the same cut. She lived like an alter ego and I called her sister."
So, a distinctive feature of Pasternak's poetic style is the strength and intensity of the contact of the lyrical hero with the world. There is - and rightly - an opinion about the complexity, the difficulty of perceiving early Pasternak's poems. Firstly, in the poet's dictionary there are a lot of incomprehensible words from the most diverse layers of vocabulary: farmsteads, brizhy and tansy, centifolia, landing stage, hryvnia ...; secondly, perception is hindered by inconsistent, difficult syntax (how to find the end of a sentence, subject and predicate?) and, finally, thick metaphor, associative series of images. Such complexity in itself is neither an advantage nor a disadvantage. This is the originality of style, artistic manner. Style is not just a set of artistic techniques, it is something objective - an expression, an imprint of the artist's personality.
In a wonderful review of the book “My Sister is Life,” Marina Tsvetaeva formulates the main reason for Pasternak’s misunderstanding in this way: she is “in us ... Between us and the thing is our (or rather, someone else’s) idea of it, our habit covering the thing ... all the common places of literature and experience. Between us and the thing is our blindness, our vicious eye. Between Pasternak and the subject - nothing ... "
Drops have the weight of cufflinks,
And the garden blinds like a pool,
Splattered, splashed
A million blue tears.
(“You are in the wind, trying with a branch ...”)
Pasternak leads the lyrical narrative "over the barriers" of the usual (habitual, stereotyped) perception of life. In his poetic universe - "people and things are on an equal footing." The boundaries are erased: high - low, poetic - prosaic, general - private. There is nothing petty, insignificant, everything is woven into a “through fabric of existence”. Things move from their “places of habitation” (those where we are used to seeing them) and come into a stormy, sometimes chaotic movement, designed to capture reality in its natural disorder. Hence the impressionism of Pasternak's poetic writing:
There is no time for inspiration. swamps,
Whether the earth or the sea, or a puddle, -
Here a dream appeared to me, and scores
I'll get it right with him right now.
These are lines about Peter I, who planned the new northern capital. But any lyrics are first of all about themselves: "... I'll settle accounts ... now and then." The same thought is in another poem: "And the more random, the more sure / The verses are composed sobbing."
"My variety", kefir, menado.
To burst into tears, me
It doesn't take much -
Pretty flies in the window.
("How lulling life is! ..")
Speech "excitedly" and "sobbing", overflowing with words heaping and climbing on top of each other; the ability to think and speak not in separate lines, but in whole stanzas, periods, turns are characteristic features of Pasternak's style.
Tearing bushes on itself like a snare,
Margaret's clenched lips are lilac,
Hotter than eyeball margaritin protein
The nightingale fought, clicked, reigned and shone.
("Margarita")
This is not a description of nightingale singing. This is his recording - a recording of the emotional impact of the nightingale's singing. The entire last line “the nightingale beat, clicked, reigned and shone” is a verbal drawing of a four-knuckled nightingale roulade. The nightingale comes around with the words snares - purple - squirrels, and squirrels - beat and shone. Sound associativity is superimposed on semantic and figurative associativity. Pasternak himself said this about it: "Poetry looks for the melody of nature among the noise of the dictionary."
The late Pasternak will convey the same nightingale singing in one verb:
And in the conflagration of the sunset
In the distant blackening of the branches,
Like a booming alarm bell,
The nightingale raged.
The verb raged captures a huge sound space. The music of the coming spring is conveyed by a single line: “April speaks with a drop ...”
This feature of Pasternak's poems allowed researchers to talk about the sound color (color - the ratio of colors in tone and intensity in the pictorial canvas) of his poetry. “The world filled with a new ringing / In the space of a new reflected stanzas,” Akhmatova said about her fellow writer with her usual accuracy of definitions.
Often the image of Pasternak is not a static image, but a moving one, shown in development. “The poet seeks to express his thought, his impression, describing the subject from all sides at once. As if in a hurry to fix, to cover in a quick outline the flow of phenomena ... skips the insignificant, interrupting, breaking logical relationships, and cares primarily about conveying the atmosphere, mood or state in their authenticity ... ”writes the researcher of B. Pasternak’s work N. Bannikov.
Let's try to read from this point of view the poem "Girl" from "My Sister - Life":
From the garden, from the swing, from the floundering bay
A branch runs into the dressing table!
Huge, close, with a drop of emerald
Straight at the tip of the brush.
The garden is strewn, gone behind her mess
Behind the turmoil beating in the face.
Native, huge, with a garden, and character -
Sister! The second dressing table!
But this branch is brought in a glass
And they put a dressing table to the frame.
Prison human slumber?
The spatial position of the lyrical hero is inside the house, in the room where the garden outside the window is reflected in the mirror of the dressing table. Suddenly, unexpectedly (“from the bay-floundering”), a single branch, “ran into the dressing table” (a gust of wind?), Obscured the whole garden:
Huge, with a garden, but in character -
Sister! The second dressing table!
Attention is stopped by the last line. Sister to whom? garden? But the definition of "the second dressing table", in which one branch is equated to a whole garden (the garden is the "first dressing table") refers to the name of the collection - "My sister is life." The “huge, close, dear, huge” branch-girl in this poem is a way of life.
In the third stanza, the room is no longer a reflection of the branch, but itself - it is “brought in a glass and placed against the frame of the dressing table”. Now, as if not a lyrical hero, but a branch, unexpectedly found itself in the “prison of the room”, looks in surprise at what appeared to her eyes:
Who is this, - guesses, - my eyes are rumbling
Prison human slumber?
The word pier glass, phonetically repeated in sequence in a glass - to the frame of the pier glass - rumours with prison slumber - a sound portrait of a branch reflected in the mirror of the pier glass. The image is "molded" with the help of sound. In general, the poem gives the reader the feeling of a bright spring morning with the sun beating in the eyes and the hot rustle of leaves outside the window (despite the absence of “direct” details indicating “sunshine” and “morning”).
About this style of artistic writing, when it is important to convey not only what he saw, but also the impression from him, Pasternak himself wrote: "Art is a record of the displacement of reality produced by feelings."
Pasternak builds his images according to the associative principle.
And gardens, and ponds, and fences,
And seething with white screams
The universe is just passions discharges,
accumulated by the human heart.
Gardens - ponds - fences. - the universe - passions form a chain of associations, of which only the first three links are usually comparable in our minds; the universe added to them - passions violate the automatism of the perception of the text, make the reader's thought work. The rapprochement of the distant makes the image unusual, prompts us, following the poet, to discover new connections in the world. Here are Pasternak's Lilies of the Valley, which you come across in the cool shade of a birch forest on a hot May afternoon:
But you've already been warned
Someone is watching you from below:
Raw ravine with dry rain
Dewy lilies of the valley humiliated.
Rustle, inaudibly, like brocade,
Cling laika his cobs,
All the dusk of the grove together
Takes them apart for gloves.
Let's sort out the adjectives: "Damp ravine with dry rain / Dewy lilies of the valley humiliated." Compared to real rain, the rain of lilies of the valley, although not yet dry from dew, is, of course, dry. The definitions seem to negate each other: damp - dry - dewy. But through this negation unity is affirmed, an image is born. The visual image is enriched with sound (“rustling, inaudibly, like brocade” - sh-s-pch: the noise of young spring foliage) and tactile (“they cling to its ears with a husky”): the delicate, glossy leaves of young lilies of the valley resemble the touch of the skin of gloves on hands. As hands are hidden in gloves, so with the onset of darkness, wide palms-leaves of lilies of the valley are closed (“the whole dusk of the grove is together / they are disassembled into gloves). This poem is an example of how distant rows of images shift, illuminating each other, entering into new, unusual combinations.
I don't know if it's solved
The mystery of the afterlife,
But life is like silence
Autumn - detailed.
("Let's drop the words...")
Autumnal transparency and silence are special: you can see and hear far away - “to all corners of the world” (in the word crystal, F.I. Tyutchev conveyed such a state of nature: “The whole day stands as if crystal ...”). Comparison of life and silence in Pasternak follows an unexpected associative feature - details. In our life, not only the main thing is significant, sometimes the little things are more important - the poet knew this well, whose patron is the "almighty god of details." Pasternak has a special, greedy, frantic taste for detail. Their finest, most accurate reproduction is his specialty. (“Art is the audacity of the eye, attraction, strength and capture.”) Pasternak is an artist for whom “nothing is small,” for only in details, particulars, the panorama of life comes to life.
Akhmatova, according to the memoirs of her contemporaries, was very indignant at Pasternak's line: "I entered with a chair." Of course, for her poetic system, where everything is strict and classical, like the flying lines of St. Petersburg buildings, such a line is impossible. But not for Pasternak, a Muscovite by birth and attitude. In his world, to say this is natural:
Oh sissy, in the name of the former
And this time yours
Outfit chirps like a snowdrop
April: Hello!
It's a sin to think - you're not from the vestals:
Came in with a chair
How I got my life off the shelf
And the dust blew.
("Out of superstition").
Literary critic Lev Ozerov explains the associative imagery of the poet in this way: “Pasternak himself is involved and carries the reader along with him into the labyrinths of images and thoughts, expressing the complexity of the human psyche, its diversity, to a certain extent its indivisibility, lack of contour. There are no partitions between objects and phenomena of the external and internal worlds ... "The thought of L. Ozerov is continued by A.D. Sinyavsky:" Pasternak is inclined to explain himself on the highest topics bluntly, at home, in the tone of familiar everyday conversation. His originality lies in the fact that he poetizes the world with the help of prosaisms*. This is how the late Pasternak saw spring:
It's her, it's her
This is her magic and wonder.
This is her quilted jacket behind the willow,
Shoulders, scarf, camp and back.
This is Snegurka at the edge of the cliff.
It's about her from the ravine from the bottom
Pours incessantly delirium hurried
A half-mad talker.
("Spring again")
Sorcery and wonder echo with the quilted jacket behind the willow - this is the whole of Pasternak. So, once again briefly summarize the main features of the poetic style of Boris Pasternak:
- an emotional, ecstatic approach to life and to the world: poetry is "communion of delight with everyday life", hence the impressionism of style;
- lyrical "pressure": the rapid and stormy movement of the verse, capturing in its stream everything that comes in its way;
- condensed metaphor, associative series of images;
- displacement of the usual meanings of objects and concepts (expressionism of style).
The talent of Boris Pasternak organically combined, synthesized in himself the gifts that the poet received from his parents: his father, an artist, “the genius of the moment,” as his contemporaries called him, and his mother, a virtuoso pianist. Painting and music merged in the poetic word. Pasternak spoke about this innermost unity in the poem “Winter is Coming”:
October silver walnut,
Frost luster pewter.
Chekhov's autumn twilight,
Tchaikovsky and Levitan.
In one stanza - and the Russian "quiet" autumn with its aching sadness, and the evening dawn of Russian classical culture.
Thematically, in Pasternak's lyrics one can single out poems about nature, about creativity and about love, although, of course, any classification of poetry is conditional. “All his life, nature was his only full-fledged Muse, his secret interlocutor, his bride and Beloved, his Wife and Widow - she was to him the same as Russia was to Blok. He remained faithful to her to the end, and she royally rewarded him. "Nature" in the quoted words of Akhmatova about Pasternak is a synonym for the same "my sister - life." Man and the universe in Pasternak are given in one dimension and scale; both man and nature are equally animated and inspired. In this regard, his poetry is a harmonious development of the dramatic and tense Tyutchev line in Russian literature.
Spring, I'm from the street where the poplar is surprised
Where the distance is afraid, where the house is afraid to fall,
Where the air is blue, like a bundle with linen
Discharged from hospital...
This peculiarity of Pasternak was well explained by M.I. We did not expect rain from the page, we were waiting for poems about rain. [Before Pasternak] no matter how amazingly they wrote nature, but everything about it, no one of it: the very thing: point-blank... He allows himself to be pierced by a leaf, a ray, that it is no longer he, but: a leaf, a ray. Of course, from the reader such a manner of writing requires the work of the mind and heart, the work of the soul. Pasternak is all about the reader's creativity.
Poetry! Greek sponge in suction cups
Be you, and between the sticky greens
I would put you on a wet board
Green garden bench.
Grow yourself lush bellies and figs,
Take in the clouds and ravines,
And at night, poetry, I'll squeeze you out
To the health of greedy paper.
(“What kidneys, what sticky swollen cinders ...”)
Poetry is a part of life itself, nature, whose life-giving moisture feeds the poet's soul - "a Greek sponge in suckers." The motive of the unity of life and creativity is one of the leading ones in Pasternak's lyrics. In his mature poems, admiration for the beauty of the "general molding of the world" is combined with an awareness of the artist's responsibility to life and time. It is creativity (including the creativity of one's own life, as the novel Doctor Zhivago is about) that justifies the existence of man on this earth:
Why is the distance crying in the fog
And humus smells bitter?
That's what my vocation is for,
So that distances do not get bored,
To beyond the city limits
The earth does not grieve alone.
For this early spring
Friends come with me
And our evenings are goodbyes
Our feasts are testaments,
So that the secret stream of suffering
Warmed the cold of being.
The artist is the empowered eternity, the herald of the highest principles, and his activity is an unceasing, tirelessly accomplished feat:
Don't sleep, don't sleep, artist
Don't give in to sleep.
You are the hostage of eternity
Time is a prisoner.
Creativity for Pasternak is a way to go beyond the limits of earthly existence; escaping from the shackles of space and time, to approach the highest, divine beginning in oneself.
Art is interpreted in Pasternak's poetry as a feat, love is also a feat: "To be a woman is a great step, to drive one crazy is heroism." Admiration for a woman for the lyrical hero Pasternak is akin to admiration for life:
Pity rules the world
inspired by love
the universe is unprecedented
And life is new.
In a woman's palm
The girl in the handful
Births and agony
Beginnings and paths.
("Open air").
The leading motive of Pasternak's love lyrics is gratitude and admiration, even in the situation of a "break" and farewell of lovers. Boris Pasternak saw the meaning of art in "expressing the greatness of life and the immeasurable value of human existence."
Oh if only I could
Although in part
I would write eight lines
About the properties of passion.
<...>
I would break poetry like a garden,
With all the trembling of the veins,
Limes would bloom in them in a row,
Goose in the back of the head ...
What are the features of the poetry of B. L. Pasternak? D.S. Likhachev wrote: “The words of Pasternak are well known: “It is ugly to be famous.” This meant that poetry, the work of the poet were separated from the poet-man. Known and "famous" should be only poetry. In the same way, the manuscripts of the verses are separated from the verses themselves. You don't have to worry about manuscripts, keep them. Pasternak exists in poetry, and only in poetry: in verse poetry or in prose poetry. Pasternak's poetry is ... the world that again and again brings him back to the real reality, in a new way understood and increased for him in its meaning. The poem "In everything I want to reach ...", in my opinion, expresses the creative and life credo of Pasternak.
In everything I want to reach
To the very essence.
At work, in search of a way,
In heartbreak.
The hero wants to get "to the essence of the past days", to their cause, so that all the time he "grasps the thread" of events and destinies. He wants to "live, think, feel, love, / Make discoveries", understanding their causes and consequences. Then, perhaps, he would have been able to deduce a certain pattern of what is happening.
I would break poetry like a garden.
With all the trembling of the veins
Limes would bloom in them in a row,
Guskom, in the back of the head.
In verses I would bring the breath of roses,
mint breath,
Meadows, sedge, haymaking,
Thunderstorms.
He cites the example of Chopin, who managed to put the life of “farms, parks, groves, graves” into his studies.
Pasternak is a poet of associations. Already in the early poems (1910s), the main features inherent in Pasternak's poetic vision of the world appear - a world where everything is so intertwined and interconnected that any object can absorb signs of another, and events and feelings are transmitted using an allegedly random set unexpected associations, permeated with emotional tension, with the help of which they merge:
And the more random, the more true
Poems are folded up.
Pasternak's discovery is that he captures a world in which the beauty of God's plan is embodied, a world that is given to him "in eternal envy", a world that needs to be embraced and incarnated in some way.
The image of the surrounding world and the way it is conveyed are most fully embodied on the pages of the third book of poems "My Sister - Life", dedicated to the summer of 1917, between the two revolutions. This book is a kind of lyrical diary, where behind the poems on the themes of love, nature and creativity, there are almost no specific signs of historical time.
But the poet himself claimed that in this book "he expressed everything that can be known about the most unprecedented and elusive revolution." According to the poet, the revolution should not have been described by a historical chronicle in poetic form - it should have been conveyed in lyrics by reproducing the life of people and nature, covered by events of a universal scale.
According to Pasternak, the poet's task is to capture a moment that is comparable to eternity, into which eternity is projected. The poet must depict the inexhaustibility of the moment:
No one will be in the house
Except twilight.
One winter day in a through opening
Undrawn curtains.
Only white wet clods
A quick glimpse of moss,
Only rooftops, snow, and apart from
Roofs and snow, no one.
The central place in Pasternak's lyrics belongs to the theme of nature. The content of these poems is much wider than ordinary landscape sketches. Talking about springs and winters, about rains and dawns, Pasternak tells about the nature of life itself, professes faith in the moral foundations of life. The landscape in the work of Pasternak is not just depicted, but lives and acts. All the fullness of life in the diversity of its manifestations fits into a piece of nature, which seems to be able to feel, think and suffer.
Poem "Feb. Take out the ink and cry!” refers to the early lyrics of Pasternak. Written in 1912, it was published in the collection "Lyric" in 1914, and later opened the collection "Over the Barriers", which included poems from different years. Imbued with a sad mood of farewell to winter, the poem strikes with the accuracy of landscape sketches. A lyrical hero, a poet, wants to write about February, when thawed patches turn black and the first puddles appear. He wants to rush off on a cab for six hryvnias there, "... where the downpour is even noisier than ink and tears." Thousands of rooks, similar to charred pears, "will break into puddles and bring dry sadness to the bottom of the eyes." The picture of the awakening nature creates a special mood for the poet: "Write sobbing about February." Pasternak's early poems are characterized by an amazing selection of vocabulary, associative series of images.
Metaphorical saturation is also one of the distinguishing features of Pasternak's artistic system. This is the “thundering slush”, “the click of the wheels”, “the wind is pitted with cries”. The abundance of fresh, new comparisons, metaphors, epithets attracts attention, makes the poet's language special and unique, but at the same time difficult to perceive.
The poems "Pines" and "Hoarfrost" were included in the collection "Alterations-no". They were written in 1941 while living in the country, in the village of Peredelkino near Moscow. The beauty of the nature of the surrounding world evokes a sense of reverence and admiration in the poet:
And now, immortal for a time, We are numbered among the pines And freed from pain and epidemics and death. ("Pines")
In the poem "Hoarfrost" the same theme of boundless gratitude to the natural world sounds, giving a person the opportunity to see the world in all its diversity. The days of late autumn, marked by the first frosts and the first snow, are especially dear to the poet:
And to the white dead kingdom, Throwing trembling mentally, I quietly whisper: "Thank you, You give more than they ask."
The lyrical hero of Pasternak is a passionate nature. He never ceases to wonder and rejoice in the world, because it is precisely in simplicity that his beauty lies, you just need to understand this and be able to find it in everything. Pasternak sees both the spontaneity of the world, and the complexity in the interweaving of human destinies, and at the same time simplicity, because people cannot live without each other. The theme of love sounds in many of Pasternak's poems. Having experienced this great and all-consuming feeling more than once, Pasternak wrote a lot about love.
The poem "To love others is a heavy cross ..." was written in 1931 and was included in the cycle of poems "The Second Birth". It was dedicated to his wife, Zinaida Nikolaevna Neugauz, a famous pianist. Imbued with great love, tenderness and admiration, it involuntarily brings to mind the best lines of love poems by Pushkin, Lermontov, Tyutchev. The image of the beloved is beautiful and unique:
Loving others is a heavy cross, And you are beautiful without convolutions, And the secret of your charms Is equivalent to the unraveling of life.
In the same collection there was a poem "No one will be in the house ...". The date of writing is the same - it is 1931. The theme of waiting for a loved one, who should suddenly appear at dusk, is revealed against the backdrop of a fading winter day. The lyrical hero is in harmony with nature. The signs of winter are reminiscent of the stroke of the brush of an impressionist artist: "... white wet clods // A quick glimpse of the flywheel", "Winter day in a through opening // Undrawn curtains". The soul of the poet lives in anticipation of the meeting:
You will appear at the door In something white without frills, In something really from those materials From which cereals are sewn.
The theme of Russia has always worried Pasternak. The fate of the writer was inseparable from the fate of the motherland. For him there was no question: to stay after the revolution in Russia or to emigrate to the West. Europe meant material well-being and peace, and Soviet Russia opened horizons that were unclear, unprecedented in world history. And Pasternak made his choice - he remained at home. In the second half of the 1930s, when several waves of the most severe repressions swept through the USSR, Pasternak realized that "unity with time turned into resistance to it." But even in the most difficult moments of trials, Pasternak retained his love for the fatherland. This can be seen in the example of a short poem "On Early Trains", written in 1941 and included in the cycle of poems "Peredelkino". This is a short rhyming story. His hero is an intellectual, exhausted by the most difficult questions of being. “In the hot stuffiness of the carriage” of the electric train near Moscow, he discovers the truth about the beautiful and invincible people.
Through the vicissitudes of the past And the years of wars and poverty, I silently recognized Russia Unique features. Overcoming adoration, I watched, worshiping. There were women, Slobozhans, students, locksmiths.
So the poet discovered "Russia's unique features." And he saw what only “prophetic eyes” can see through. People's faces seem to be illuminated by the reflection of future battles, cleared of everyday husks. The turn of the forties separates two periods of Pasternak's creative path. The late Pasternak is characterized by classical simplicity and clarity. His poems are spiritualized by the presence of the “huge image of Russia” that opened up to the poet.
Throughout his career, Pasternak was worried about the position of the poet. In the cycle of poems "Theme with Variations" (1918), he is looking for in the artist, in creativity, a source of strength capable of withstanding the elements of destruction raging in the modern world. Trying to come to an understanding of the essence of the world, life, the laws of its movement, development, the poet asserted the creative nature of art:
Poetry, don't give up breadth, Preserve living precision: the precision of secrets. Don't worry about the dots in the dotted line And don't count the grains in a measure of bread.
In the poem "Being famous is ugly ...", written in 1956, Pasternak defines his creative credo:
The goal of creativity is self-giving, Not hype, not success. It's shameful, meaning nothing, To be a parable on everyone's lips.
The will to overcome one's limits was combined with constant concern for the preservation of one's own style, with the desire "not to retreat from the face." The first line of the poem sets the tone for the entire poem:
Being famous is not nice. It's not what lifts you up. No need to start an archive, Shake over manuscripts.
The true greatness of the poet is not in gaining glory for himself, but in "attracting the love of space to himself, / Hearing the call of the future."
The poem “In everything I want to get to the very essence ...” became a kind of poetic manifesto. It was written in 1955 and was included in the collection of poems “When it clears up” (1956-1959). The poem is imbued with a sense of belonging to everything living on earth, the desire to comprehend the complexity of life phenomena "to the foundations, to the roots, to the core." Approaching Pushkin's philosophical understanding of life: "I want to live in order to think and suffer," Pasternak writes:
All the time grasping the thread of Fates, events, Live, think, feel, love, Make discoveries.
Pasternak again puts an equal sign between poetry and the miracle of miracles - nature. In his poems, "the breath of roses, the breath of mint, meadows, sedges, hayfields, thunderstorms come to life." And the guiding star on this path to the future, to the ideal, is immortal music for him, born of everyday life for eternity:
So once upon a time Chopin put the living miracle of farmsteads, parks, groves, graves into his sketches.
“The lyrics of the late Pasternak open before us the position of the poet - in relation to the world and time - in a slightly different perspective compared to his work of previous years. The idea of moral service here prevails over everything else... The meaning of life, the purpose of man, the essence of the world - these are the questions that worried Pasternak for many years, especially at the end of his life, when he, one might say, completely devotes his lyrics to the search for foundations, unraveling the ultimate goals and root causes ”(A. Sinyavsky).
An important place in Pasternak's lyrics is occupied by poems included in the novel Doctor Zhivago (1956). They were written by the main character of this work - Yuri Zhivago. These are poems that were found in his papers after the death of the hero, they represent Yuri Zhivago's testimony about his time and about himself. In the novel, the poems are separated into a separate part. Before us is not just a small collection of poems, but a whole book that has its own, strictly thought-out composition. It opens with a poem about Hamlet, who in world culture has become an image symbolizing reflections on the nature of his own era. The lyrical hero of this poem, carrying the thoughts and ideas of his generation, entering the stage of life, understands that he will have to “drink his cup” of deprivation, grief, suffering, and prays to God: “Abba Father, take this cup past” . But he knows that it is possible to come to immortality only after you have passed all the trials sent to you by fate. The lyrical hero realizes that he, like every person, must go through his life path, no matter how difficult it may be: material from the site
But the schedule of actions is thought out, And the end of the path is inevitable, I am alone, everything is in the tone of hypocrisy. To live life is not a field to cross.In the novel, there are indications of the circumstances of the emergence of the idea of certain poems. One of Dr. Zhivago's most famous poems is "Winter Night". The image of the candle that appears on the pages of the novel becomes symbolic. On the eve of Christmas, Yura and Tonya drove along Kamergersky. “Suddenly, he drew attention to a black melted well in the ice growth of one of the windows. The fire of a candle shone through this hole, penetrating the street almost with a conscious look ... ”At this time, verses were formed in the mind of Yuri Zhivago:“ The candle was burning on the table. The candle was burning ... ”as the beginning of something vague, unformed, in the hope that the continuation will come by itself. So the image of a candle becomes a symbol of Yuri Zhivago's poetic gift and his love for Lara, which he carried in his soul throughout his life:
It's snowy, it's snowy all over the earth In all limits. The candle was burning on the table, the candle was burning.
In the cycle of verses by Doctor Zhivago there are several poems dedicated to Orthodox holidays. One of them is called "Christmas Star". Talking about the birth of Christ, the poet describes the Star of Bethlehem, which lit up over the cradle of the baby:
She burned like a haystack aside From heaven and God, Like a reflection of arson, Like a farm on fire and a fire in the threshing floor.
We see a beautiful baby, "shining, in a manger of oak, like a ray of moon in the hollow of a hollow," his mother, the Virgin Mary, who admired the Christmas star.
This poetic book ends with a poem called "The Garden of Gethsemane." It contains the words of Christ addressed to the apostle Peter, who defended Jesus with the sword from those who came to seize him and put him to a painful death. He says that "a dispute cannot be settled with iron", and therefore orders Peter: "Put your sword in its place, man." And in this poem there is a motive of voluntary self-sacrifice in the name of atonement for human suffering and the motive of the future Resurrection:
I will descend into the grave and on the third day I will rise, And, as rafts are rafted down the river, To me for judgment, like caravan barges, Centuries will sail from the darkness.
Thus, the book of poems opens with the theme of forthcoming suffering and the awareness of their inevitability (“Hamlet”) and ends with the theme of their voluntary acceptance and redemptive sacrifice.
“The legacy of Boris Leonidovich Pasternak is rightfully included in the treasury of Russian and world culture of our century. It won the love and recognition of the most demanding and strict connoisseurs of poetry. Knowledge of this heritage becomes an urgent need, delightful reading and an occasion for reflection on the fundamental issues of human existence” (A. Ozerov).
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- analysis of parsnip's verse after a thunderstorm
Long-familiar objects and phenomena appear before us from an unexpected angle. The poetic world is so bright and peculiar that one cannot remain indifferent to it. Pasternak's poetry is a reflection of the personality of the poet who grew up in the family of a famous artist. From his first steps in poetry, Boris Pasternak discovered a special style, a special system of artistic means and techniques. The most ordinary picture is sometimes drawn from a completely unexpected visual angle.
The first publications of his poems date back to 1913. The following year, the poet's first collection, Twin in the Clouds, is published. But Pasternak was critical of his early work and subsequently thoroughly revised a number of poems. In them, he often misses the insignificant, interrupts, breaks logical connections, leaving the reader to guess about them. Sometimes he does not even name the subject of his narration, giving it many definitions, he uses the predicate without the subject. So, for example, he built the poem “In Memory of the Demon”.
It must be said that Pasternak, on the whole, is characterized by an attitude towards poetry as hard work that requires complete dedication:
Don't sleep, don't sleep, work
Don't stop working.
Do not sleep, fight drowsiness
Like a pilot, like a star.
Don't sleep, don't sleep, artist
Don't give in to sleep.
You are a hostage of time
Captured by eternity.
Already in the first years of his work, Pasternak manifests those special aspects of talent that are fully revealed in the poeticization of the prose of life, philosophical reflections on the meaning of love and creativity:
February. Get ink and cry!
Write about February sobbing,
While the rumbling slush
In the spring it burns black.
Boris Pasternak introduced rare words and expressions into his poems. The less often the word was used, the better it was for the poet. In order to understand the essence of the images created by him, you need to understand well the meaning of such words. And Pasternak treated their choice with great attention. He wanted to avoid clichés, he was repelled by “worn out” poetic expressions. Therefore, in his poems we can meet obsolete words, rare geographical names, specific names of philosophers, poets, scientists, literary characters.
The originality of Pasternak's poetic style lies in its unusual syntax. The poet breaks the usual norms. It seems to be ordinary words, but their placement in the stanza is unusual, and therefore the poem requires us to carefully read:
In the garden, where not a single foot
I didn’t step, only fortune tellers and blizzards
A foot has stepped, in a demoniac district,
Where and how the dead, the snows sleep...
But what expressiveness this syntax lends to a poetic text! The poem is about a traveler who got lost in the village, about a snowstorm that aggravates the hopelessness of the path. The state of mind of the traveler is conveyed by ordinary words, but the very feeling of anxiety, confusion sounds in that unusual rhythm of the poem, which gives it a peculiar syntax.
Pasternak's associations are also original. They are unusual, but it is precisely because of this that they are really fresh. They help the described image to unfold exactly as he sees it. In the poem "Old Park" it is said that "the croaking flocks of the nine scatter from the trees." And then we find these lines:
Brutal pain grow stronger contractions,
The wind is getting stronger, furious,
And the nine rooks are flying,
Black nines of clubs.
The imagery of this poem is deeper than it might seem at first glance. The poet uses a three-term comparison here: rooks - nines of clubs - airplanes. The fact is that the poem was written in 1941, when German planes flew in nines, and their formation reminded the poet of the nines of clubs and rooks. The originality of Pasternak's lyrics consists in complex associative rows. Here, for example, with what precise and at the same time complex, extraordinary strokes the feeling of warm air in a coniferous forest is conveyed:
Beams flowed. Beetles flowed with a tide,
The glass of dragonflies scurried across their cheeks.
The forest was full of painstaking flickering,
Like a watchmaker's tongs.
Pasternak's poetry is the poetry of roads and unfolding open spaces. This is how Pasternak defines poetry in My Sister Life.
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.
It's a sweet rotten pea.
These are the tears of the universe in the shoulder blades,
This is from consoles and flutes -
Figaro Falls like hail into the garden.
All. that the nights are so important to find
On deep bathed bottoms,
And bring the star to the garden
On trembling wet palms...
"Defining Poetry"
In Pasternak's poems you always feel not feigned, but deeply natural, even spontaneous lyrical pressure, impetuosity, dynamism. They have the ability to sink into the soul, get stuck in the corners of memory. Pasternak's landscape exists on an equal footing with man. The phenomena of nature are like living beings for him: rain tramples on the threshold, a thunderstorm, threatening, breaks through the gates. Sometimes the poet's rain itself writes poetry:
The sprouts of the shower are dirty in clusters
And long, long, until dawn
They sprinkle their acrostic from the roofs.
Rhyming bubbles.
Primordial purity appears before us in the poems of Pasternak and the Urals (“On the steamboat”, “Urals for the first time”), and the North, and the poet’s native places near Moscow with their lilies of the valley and pines, violent thunderstorms and swifts. Subsequently, in such books as "On the Early Trains", "When it's clear", strings of landscapes will invade the poet's poems, expressing his admiration for the natural world.
Throughout his life (especially in his mature and late years), Boris Pasternak was extremely strict with himself, exacting and sometimes unreasonably harsh in auto characteristics. This can be understood. The poet has always worked, thought, created. When we now read and re-read his poems and poems written before 1940, we find in them a lot of fresh, bright, beautiful things.
Pasternak's early poems retain distinct traces of symbolism: an abundance of nebulae, detachment from time, a general tone reminiscent of the early Blok, then Sologub, then Bely:
The day does not rise in the efforts of the luminaries,
Do not take off the baptismal covers of the earth.
But, like the earth, the experienced is exhausted,
But, like snow, I fell to the dust of days.
These lines are the original version of the poem "Winter Night", radically altered in 1928:
Do not correct the day with the mouths of the light,
Do not raise the shadows of baptismal bedspreads.
It's winter on earth, and the smoke of the lights is powerless
Straighten the houses that have fallen flat.
Everything is different here. True, the poet is still busy here with “extraneous witticism,” but the step has been taken, and this is an important step.
Over time, Pasternak's poetry becomes more transparent, clearer. The new style is felt in such major works of his as “The Nine Hundred and Fifth Year”, “Lieutenant Schmidt”, “Spektorsky”. Achieving simplicity and naturalness of the verse, he creates things rare in strength. with the artist, evolution was a natural path that sought to reach the very essence of everything.
In everything I want to reach
To the very essence.
At work, in search of a way,
In heartbreak.
To the essence of past days.
Until their reason
Down to the roots, down to the roots
To the core.
The artist believed that the image should not move away the depicted, but, on the contrary, bring it closer, not take it away, but make it focus on it:
In the ice the river and the frozen willow,
And across, on bare ice,
Like a mirror on a mirror,
A black sky has been set.
The spiritual objectivity of the “prose of a close grain” (“Anna Akhmatova”), introduced into the poetic fabric, the desire in his art to “be alive” (“Being famous is ugly ...”), historical truth, supported by dynamic pictures of nature - all this testifies about Pasternak's desire to move away from schools marked by "unnecessary mannerisms."
Being famous is not nice.
It's not what lifts you up.
No need to archive
Shake over manuscripts.
And owe not a single slice
Don't back away from your face
But to be alive, alive and only,
Alive and only until the end.
The world of B. Pasternak's poetry has been expanding all the time, and it is difficult to imagine the measure and form of further expansion if the poet had lived for another few years and continued the best that was laid down in his last book, “When it clears up”.
Nature, the world, the secret of the universe,
I serve your long.
Embraced by the innermost trembling
I'm in tears of happiness.
However, the subjunctive “if” is inappropriate and unproductive. Before us is a completed destiny. Throughout his life, the poet went through several creative cycles, made several turns up the spiral of understanding society, nature, and the spiritual world of the individual. The recognition of B. Pasternak's great talent was the award of the Nobel Prize to him in 1958.
The legacy of Boris Pasternak is rightfully included in the treasury of Russian and world culture of the 20th century. It won the love and recognition of the most demanding and strict connoisseurs of poetry. Knowledge of this heritage becomes an urgent need, delightful reading and an occasion for reflection on the fundamental issues of human existence.
The poetic world of Boris Pasternak appears before us in all its richness - the richness of sounds and associations that reveal to us long-familiar objects and phenomena from a new, sometimes unexpected side. Pasternak's poetry is a reflection of the personality of the poet, who grew up in the family of a famous artist and talented pianist. Boris Pasternak's love for music is known - he was even predicted a composer's future, but poetry became the meaning of his life.
The first publications of his poems date back to 1913. The following year, the first collection of the poet "Twin in the Clouds" is published. Pasternak was a member of the small group of poets "Centrifuge", close to Futurism, but which fell under the influence of the Symbolists. He was critical of his early work and subsequently thoroughly revised a number of poems.
Don't sleep, don't sleep, work
Don't stop working
Do not sleep, fight drowsiness
Like a pilot, like a star.
Don't sleep, don't sleep, artist
Don't give in to sleep.
You are a hostage of time
Captured by eternity.
Already in the first years of Pasternak’s creative work, those features of his talent were manifested that were fully revealed later: the poeticization of the “prose of life”, outwardly dim facts, philosophical reflections on the meaning of love and creativity, life and death:
Write about February sobbing,
While the rumbling slush
In the spring it burns black.
Boris Pasternak introduced rare words and expressions into his poems - the less the word was in book circulation, the better it was for the poet. Therefore, it is not surprising that the early poems of Pasternak, after the first reading, may remain incomprehensible. In order to understand the essence of the images created by the poet, you need to know the exact meaning of the words written by him. And Pasternak treated their choice with great attention. He wanted to avoid clichés, he was repelled by “worn out” poetic expressions. Therefore, in his poems we can often find obsolete words, rare geographical names, specific names of philosophers, poets, scientists, literary characters.
The originality of Pasternak's poetic style also lies in its unusual syntax. The poet breaks the usual norms. It seems to be ordinary words, but their placement in the stanza is unusual, and therefore the poem requires us to carefully read:
In the garden, where not a single foot
Where and how the dead sleep the snow
("Blizzard")
But what expressiveness this syntax lends to a poetic text! In the poem “Snowstorm” we are talking about a traveler who got lost in the settlement, about a snowstorm that aggravates the hopelessness of his path. The state of mind of the traveler is conveyed by ordinary words, but the very feeling of anxiety, confusion sounds in that unusual rhythm of the poem, which gives it a peculiar syntax.
Pasternak's associations are also original. They are unusual, but it is precisely because of this that they are really fresh. They help the image described by the poet to reveal exactly the way he sees it. In the poem "Old Park" it is said that "punishing flocks of nine fly away from the trees." And then we find these lines:
The wind is getting stronger, furious,
And the nine rooks are flying,
Black nines of clubs.
The imagery of this poem is deeper than it might seem at first glance. The poet uses a three-term comparison here: rooks - nines of clubs - airplanes. The fact is that the poem was written in 1941, at a time when the planes not named in it flew in nines, and their formation reminded the poet of the nines of clubs and rooks. In complex associative series - the originality of Pasternak's poetry.
M. Gorky wrote about this to Pasternak: “There is a lot of amazing, but you often find it difficult to understand the connections of your images and your struggle with language, with the word is tiring.” And one more thing: “Sometimes I sadly feel that the chaos of the world overcomes the power of your creativity and is reflected in it precisely as chaos, disharmoniously.” In response, Pasternak wrote: “I have always strived for simplicity and will never stop striving for it.” In the mature lyrics of the poet there is indeed a clarity of expression, combined with the depth of thought:
In everything I want to reach
To the very essence.
At work, in search of a way,
In heartbreak.
To the essence of past days
Until their reason
Down to the roots, down to the roots
To the core.
The evolution that took place with the poet was the natural path of an artist who wants to reach “to the very essence” in everything. Comprehension of the spiritual world of man, the laws of development of society, nature is the main thing in the work of Boris Pasternak. Many of his poems serve as an occasion for reflection on questions of the life order. Here, for example, is an excerpt from the poem "Station":
Station, fireproof box
My partings, meetings and partings,
Proven friend and pointer,
Start - do not calculate the merits.
It used to be that my whole life was in a scarf,
The composition has just been submitted for landing,
And the muzzles of the harpies flare,
Covering our eyes with a pair.
It used to be, just sit next to me -
And a lid. Received and rejected.
Farewell, it's time, my joy!
I'll jump off now, guide.
The pictorial and sound expressiveness of the verse, the individual originality of the figurative system - these are the characteristic features of Pasternak's poetry. This poet is recognizable. He is a talented artist, and an intelligent interlocutor, and a poet-citizen. It is known that his creative path was not easy, he was condemned, herbs (after writing the novel “Doctor Zhivago”). In those days, Pasternak would write:
I disappeared like an animal in a pen.
Somewhere people, will, light,
And after me the noise of the chase,
I have no way out.
What did I do for a dirty trick,
Am I a killer and a villain?
I made the whole world cry
Above the beauty of my land.
The recognition of the great literary talent of Boris Pasternak was the Nobel Prize awarded to the poet in 1958 "For outstanding services in modern lyric poetry and in the traditional field of great Russian prose." Then Pasternak was forced to refuse this award. In 1989, she was returned to the poet posthumously. It can be said with confidence that the literary heritage of Boris Pasternak is of great importance not only in Russian, but also in world culture.
Boris Leonidovich Pasternak is one of the greatest poets who made an indispensable contribution to Russian poetry of the Soviet era and world poetry of the 20th century. His poetry is complex and simple, refined and accessible, emotional and restrained. It strikes with the richness of sounds and associations.
Long-familiar objects and phenomena appear before us from an unexpected angle. The poetic world is so bright and peculiar that one cannot remain indifferent to it. Pasternak's poetry is a reflection of the personality of the poet who grew up in the family of a famous artist. From his first steps in poetry, Boris Pasternak discovered a special style, a special system of artistic means and techniques. The most ordinary picture is sometimes drawn from a completely unexpected visual angle.
The first publications of his poems date back to 1913. The following year, the poet's first collection, Twin in the Clouds, is published. But Pasternak was critical of his early work and subsequently thoroughly revised a number of poems. In them, he often misses the insignificant, interrupts, breaks logical connections, leaving the reader to guess about them. Sometimes he does not even name the subject of his narration, giving it many definitions, he uses the predicate without the subject. So, for example, he built the poem “In Memory of the Demon”.
It must be said that Pasternak, on the whole, is characterized by an attitude towards poetry as hard work that requires complete dedication:
Don't sleep, don't sleep, work
Don't stop working.
Do not sleep, fight drowsiness
Like a pilot, like a star.
Don't sleep, don't sleep, artist
Don't give in to sleep.
You are a hostage of time
Captured by eternity.
Already in the first years of his work, Pasternak manifests those special aspects of talent that are fully revealed in the poeticization of the prose of life, philosophical reflections on the meaning of love and creativity:
February. Get ink and cry!
Write about February sobbing,
While the rumbling slush
In the spring it burns black.
Boris Pasternak introduced rare words and expressions into his poems. The less often the word was used, the better it was for the poet. In order to understand the essence of the images created by him, you need to understand well the meaning of such words. And Pasternak treated their choice with great attention. He wanted to avoid clichés, he was repelled by “worn out” poetic expressions. Therefore, in his poems we can meet obsolete words, rare geographical names, specific names of philosophers, poets, scientists, literary characters.
The originality of Pasternak's poetic style lies in its unusual syntax. The poet breaks the usual norms. It seems to be ordinary words, but their placement in the stanza is unusual, and therefore the poem requires us to carefully read:
In the garden, where not a single foot
I didn’t step, only fortune tellers and blizzards
A foot has stepped, in a demoniac district,
Where and how the dead, the snows sleep...
But what expressiveness this syntax lends to a poetic text! The poem is about a traveler who got lost in the village, about a snowstorm that aggravates the hopelessness of the path. The state of mind of the traveler is conveyed by ordinary words, but the very feeling of anxiety, confusion sounds in that unusual rhythm of the poem, which gives it a peculiar syntax.
Pasternak's associations are also original. They are unusual, but it is precisely because of this that they are really fresh. They help the described image to unfold exactly as he sees it. In the poem "Old Park" it is said that "the croaking flocks of the nine scatter from the trees." And then we find these lines:
Brutal pain grow stronger contractions,
The wind is getting stronger, furious,
And the nine rooks are flying,
Black nines of clubs.
The imagery of this poem is deeper than it might seem at first glance. The poet uses a three-term comparison here: rooks - nines of clubs - airplanes. The fact is that the poem was written in 1941, when German planes flew in nines, and their formation reminded the poet of the nines of clubs and rooks. The originality of Pasternak's lyrics consists in complex associative rows. Here, for example, with what precise and at the same time complex, extraordinary strokes the feeling of warm air in a coniferous forest is conveyed:
Beams flowed. Beetles flowed with a tide,
The glass of dragonflies scurried across their cheeks.
The forest was full of painstaking flickering,
Like a watchmaker's tongs.
Pasternak's poetry is the poetry of roads and unfolding open spaces. This is how Pasternak defines poetry in My Sister Life.
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.
It's a sweet rotten pea.
These are the tears of the universe in the shoulder blades,
This is from consoles and flutes -
Figaro Falls like hail into the garden.
All. that the nights are so important to find
On deep bathed bottoms,
And bring the star to the garden
On trembling wet palms...
"Defining Poetry"
In Pasternak's poems you always feel not feigned, but deeply natural, even spontaneous lyrical pressure, impetuosity, dynamism. They have the ability to sink into the soul, get stuck in the corners of memory. Pasternak's landscape exists on an equal footing with man. The phenomena of nature are like living beings for him: rain tramples on the threshold, a thunderstorm, threatening, breaks through the gates. Sometimes the poet's rain itself writes poetry:
The sprouts of the shower are dirty in clusters
And long, long, until dawn
They sprinkle their acrostic from the roofs.
Rhyming bubbles.
Primordial purity appears before us in the poems of Pasternak and the Urals (“On the steamboat”, “Urals for the first time”), and the North, and the poet’s native places near Moscow with their lilies of the valley and pines, violent thunderstorms and swifts. Subsequently, in such books as "On the Early Trains", "When it's clear", strings of landscapes will invade the poet's poems, expressing his admiration for the natural world.
Throughout his life (especially in his mature and late years), Boris Pasternak was extremely strict with himself, exacting and sometimes unreasonably harsh in auto characteristics. This can be understood. The poet has always worked, thought, created. When we now read and re-read his poems and poems written before 1940, we find in them a lot of fresh, bright, beautiful things.
Pasternak's early poems retain distinct traces of symbolism: an abundance of nebulae, detachment from time, a general tone reminiscent of the early Blok, then Sologub, then Bely:
The day does not rise in the efforts of the luminaries,
Do not take off the baptismal covers of the earth.
But, like the earth, the experienced is exhausted,
But, like snow, I fell to the dust of days.
These lines are the original version of the poem "Winter Night", radically altered in 1928:
Do not correct the day with the mouths of the light,
Do not raise the shadows of baptismal bedspreads.
It's winter on earth, and the smoke of the lights is powerless
Straighten the houses that have fallen flat.
Everything is different here. True, the poet is still busy here with “extraneous witticism,” but the step has been taken, and this is an important step.
Over time, Pasternak's poetry becomes more transparent, clearer. The new style is felt in such major works of his as “The Nine Hundred and Fifth Year”, “Lieutenant Schmidt”, “Spektorsky”. Achieving simplicity and naturalness of the verse, he creates things rare in strength. with the artist, evolution was a natural path that sought to reach the very essence of everything.
In everything I want to reach
To the very essence.
At work, in search of a way,
In heartbreak.
To the essence of past days.
Until their reason
Down to the roots, down to the roots
To the core.
The artist believed that the image should not move away the depicted, but, on the contrary, bring it closer, not take it away, but make it focus on it:
In the ice the river and the frozen willow,
And across, on bare ice,
Like a mirror on a mirror,
A black sky has been set.
The spiritual objectivity of the “prose of a close grain” (“Anna Akhmatova”), introduced into the poetic fabric, the desire in his art to “be alive” (“Being famous is ugly ...”), historical truth, supported by dynamic pictures of nature - all this testifies about Pasternak's desire to move away from schools marked by "unnecessary mannerisms."
Being famous is not nice.
It's not what lifts you up.
No need to archive
Shake over manuscripts.
And owe not a single slice
Don't back away from your face
But to be alive, alive and only,
Alive and only until the end.
The world of B. Pasternak's poetry has been expanding all the time, and it is difficult to imagine the measure and form of further expansion if the poet had lived for another few years and continued the best that was laid down in his last book, “When it clears up”.
Nature, the world, the secret of the universe,
I serve your long.
Embraced by the innermost trembling
I'm in tears of happiness.
However, the subjunctive “if” is inappropriate and unproductive. Before us is a completed destiny. Throughout his life, the poet went through several creative cycles, made several turns up the spiral of understanding society, nature, and the spiritual world of the individual. The recognition of B. Pasternak's great talent was the award of the Nobel Prize to him in 1958.
The legacy of Boris Pasternak is rightfully included in the treasury of Russian and world culture of the 20th century. It won the love and recognition of the most demanding and strict connoisseurs of poetry. Knowledge of this heritage becomes an urgent need, delightful reading and an occasion for reflection on the fundamental issues of human existence.
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