The features of parsnip's lyrics are briefly the most important. Report: Pasternak b. l. Geniuses and villains. Boris Pasternak

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."

The creative way of writers, poets, artists goes through 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 enter 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 incompatibility is most commonly associated with the omission of a dependent noun or the placement of a dependent noun in a word that usually does not have such a 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 based on the usual or associative connection of 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 - the decision of the Nobel Committee to award the Nobel Prize to Pasternak;

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 wonderful!

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. The detailed world of 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 alienness 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 of the poem "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” (a piece of music in the form of a religious polyphonic chant), “mass” (a choral work based on the text of a Catholic divine service), “improvisation” (creating music at the time of performance) mean. But you need to read a lot, be familiar with serious music, love it - in a word, 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 rumble and crackle" is "the rumble 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 mysterious power contained in it: they carry it “like a bell to a bell tower” (Lermontov immediately comes to mind “... 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 members - quite specific words (night, flame) - suddenly 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. This is what the last three stanzas are about. 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 explained by 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, not without reason 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 a reader of the 20th century, like any question about the perception of art by a person, in my opinion, in its “broadest foundations” is connected 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

"Secondary 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

1. Biography of Pasternak
2. Analysis of the poem "February"
3. Analysis of the poem "Spring"
4. Features of Pasternak's early lyrics
5. Analysis of the poem "Hamlet"
6. Analysis of Pasternak's poem "Winter Night"
7. Features of Pasternak's late lyrics

M. Tsvetaeva said this about Pasternak: “Where is the person who fully understood Pasternak? Pasternak is a mystery, an allegory, a cipher.”

Indeed, Pasternak is a complex poet. And if it is sometimes difficult for a sophisticated reader, literary critic or writer, to penetrate the world of the artist's poetic images, then what can we say about children. Pupils, meeting with Pasternak's early poems, often say: "Beautiful, but incomprehensible."

Studying the poet's lyrics at school, it is necessary to make Pasternak's images accessible and understandable to students, to acquaint them with the personality of the poet, to show them the originality of the artist's poetic world.

Brief biographical note about the family in which Pasternak grew up, and about the paths in life he tried to follow, will help us understand what shaped him as an artist of the word.

It is better to start a conversation about the poet's lyrics, of course, from the early poems: they contain an abundance of metaphors, a shift in concepts, swiftness and pressure. Here it is also necessary to explain to the children that Pasternak's poetic manner changes dramatically in the second half of the 1940s, therefore literary critics conditionally call the poet's work until 1940 an early period, despite the fact that by this time Boris Leonidovich was already 50 years old.

Analysis of the poem "February".

The poem is dated 1912. This is one of the earliest poems of the poet.

Pasternak often timed the landscape in verse to a certain moment - the time of the year or the time of day, as if denoting the reality of what was happening. So in the poem "February" the lyrical hero keenly feels the change of the season, the breakdown that occurs in nature.

Let's turn to the text and write out the words that characterize the state of nature and the state of the soul of the lyrical hero. The result is a record like this.

The state of nature: rumbling slush burns black in spring, downpour, puddles, thawed patches, wind.

State of mind: to cry, to write sobbing tears, dry sadness, sobbing.

What state of mind do these words convey? (The moment of the highest tension, fullness of feelings.)

When does a poet have such a state? (When inspiration comes, in the process of creation.)

How do you understand the last two lines of the poem? (Poems are born when inspiration comes.)

How do the images of nature correlate with the state of the lyrical hero? (They are helping
convey the feelings of the lyrical hero.)

“Pasternak conveyed deep human experiences through soulful landscape sketches, admiring the miracle of the universe and feeling himself a part of it. Therefore, we perceive each of the master's poems as the development of one common theme - the theme of the beauty of the world, "the condensation of some energy", deployed at any point in time and space."

Look at the form of the verbs that convey the state of the lyrical hero.

Verbs are in the infinitive; the meaning of this verb form is "incitement to action." Indeed, there are no personal pronouns in the poem, the lyrical hero recedes into the background before the imperious pressure of the surrounding world, the awakening nature inspires the poet, encourages him to work.

Nature in Pasternak is spiritualized, as a person is spiritualized. She lives a complex spiritual life." Spring nature corresponds to the mood of the lyrical hero. She is a source of inspiration and poetry. And the deeper the poet feels nature, the more directly, "accidentally", "more truly" the verses will be "composed". The February nature preparing for awakening is depicted as a graphic drawing: in the light of the increasing day, thawed patches, ink, charred pears (rooks) are black - all this conveys the state of the hero.

How is the poem phonetically organized? What sounds fill it? Poetic lines are filled with sounds. The author uses alliteration. The repeated repetition of the sound p creates a feeling of roar, city noise, rumbling slush, a click of wheels. And above all this is the blessing - the bell ringing! Look for comparisons and metaphors in the poem. “One of the most striking distinguishing features of Pasternak's artistic system is the metaphorical richness of the poem.

Comparisons and metaphors, which abound in the early poems of the poet, often seem arbitrary, even incomprehensible: rooks will fall from the trees like charred pears, the wind is not pierced, but pitted with their cries. The poet himself writes about the February thaw not excitedly, but sobbing, etc. However, it is precisely such unusual impromptu images that are much brighter and much more accurate than ordinary and easily understood images: the author’s individuality is fully manifested in them.

What is the overall emotional tone of the poem? Prove your point. This poem is about spring and creativity. Spring is a symbol of awakening life, the blagovest is the ringing of bells, the cheerful click of the wheels creates a feeling of celebration, tears are a symbol of the purification of the soul. General mood
life-affirming, optimistic poems.

Analysis of the poem "Spring".

Continuing the theme of creativity, let's turn to the poem "Spring" "What kidneys, what
sticky swollen cinders ... ", 1914).

In it, the poet answers the questions: “What is poetry? How and what should a poet write about?

Find similes and metaphors in the first two quatrains. (The kidneys are like cinders; “The replicas of the forest have grown stronger” - a bird’s hubbub; “The forest is tied up to the throat with a loop of feathered larynxes, like a buffalo with a lasso ... " All the same metaphorical richness and unexpectedness of images.)

What is the poetry in the third quatrain compared to? (With a sponge in suction cups.)

A sponge is an aquatic animal that attaches to the seabed or rock with suction cups. Soft, spongy sponge body absorbs moisture well. Here, it is obvious that poetry, absorbing life, is likened to a sponge.

One of the features of Pasternak's work, as literary critics note, is that Pasternak poeticizes the world with the help of prose, which gives his poetry a special simplicity and truthfulness.

Pushkin called prosaisms words that are not usually used in poetic, poetic speech and are characteristic of prose, colloquial language: “... Desires are seething - I am happy again, young, / I am full of life again - such is my body / (please forgive me for unnecessary prosaism) " "Autumn").

What is poetry, according to Pasternak? How do you understand the last stanza of the poem? Compare it to the beginning.

“And it turns out, according to Pasternak, that poetry is dissolved in everything, that it is “rolling in the grass underfoot.” The role of the poet is not to disturb, not to frighten, to turn into ears, nostrils, eyes and absorb, absorb into himself what is exuded, squandered by nature.

The poet is a sucking sponge. He only writes down what life dictated. Such is the aesthetics of Pasternak” (A. Yakobson).

“Poetry is lying in the grass underfoot, so you just have to bend down to see it and pick it up from the ground” (Pasternak).

First, the poet is an observer, he is afraid to violate beauty, then he is an energetic creator, he recreates the world of nature with a word. “The last lines sound in a special tone, if not predatory, then, in any case, greedy. They hear the greed. And there is no timidity, no quivering inviolability that was needed before, so as not to spill, to preserve precious moisture.

While ears, nostrils and eyes pumped it into a sponge, into the soul. And when the moisture is collected, strong, greedy hands are needed to squeeze it out. And Pasternak exclaims: "Art is the audacity of the eye, attraction, strength and capture." And only both of these acts, taken together, are almost Christian humility (“Nature, the world, the secret of the universe, I serve your long one, enveloped in secret trembling, I stand in tears of happiness ...“) and a pagan, greedy manifestation: “Art is the audacity of the eye … »

Only both of these acts, taken together, give the poet special rights in relation to life and put him on a short footing with it ”(A. Yakobson). We analyzed two poems that reveal the theme of creativity. Both are about nature.

We have already said that Pasternak has a special way of depicting nature. In his poems, she is spiritualized, saturated with human emotions and can
feel, empathize. The inner experiences of the hero, the most complex philosophical questions, the fullness of life and the diversity of the world are revealed through nature, or rather, by nature itself. The author talks about nature, and nature about the author.

The central place in Pasternak's lyrics belongs to nature. The content of these poems is wider than ordinary landscape sketches. Talking about springs and winters, about rains and dawns, Pasternak tells about the nature of life itself, world existence, professes faith in life, which, as it seems to us, dominates his poetry and forms its moral basis. Life in his interpretation is something unconditional, eternal, absolute, an all-pervading element and the greatest miracle. Surprise at the miracle of existence - this is the pose in which the
Parsnip. Forever amazed, fascinated by his discovery: "Spring again."

The landscape in Pasternak's work is often no longer the object of the image, but the subject of the action, the main character and the engine of events ”(A. Sinyavsky).

“So, Pasternak’s nature speaks and acts on behalf of the author. But so naturally and directly that it seems - from its own name. "I'm not talking about spring, but spring is about me." I say: “acts” and I emphasize: “nature acts” ”(A. Yakobson).

How nature works instead of man can be clearly seen in Pasternak's poem "Thunderstorm, instant forever ..." from the collection "My sister is life" in 1917.

Only one question is asked to this poem: in what lines of poetry does nature act as an agent?

After analyzing the three poems, we summarize the intermediate result.

Features of Pasternak's early lyrics:

- Metaphorical richness of the work.

- Brightness and unusualness of metaphors and comparisons.

— Poetization of the world with the help of prosaisms.

- Spirituality of nature. Nature acts on behalf of the author.

- The swiftness, tension of poetic speech.

A conversation about Pasternak's late lyrics can begin with the words of the author himself.
Pasternak notes that his manner changed dramatically after 1940. This time line is not accidental. Pasternak lives in a Soviet country where it is dangerous to have your own point of view. In 1936, the persecution of the poet began: he was no longer published, he was sharply criticized in the official press for not glorifying the working days of the Soviet
five-year plan.

Boris Leonidovich retires to Peredelkino, writes almost no poetry for four years, and is engaged in translations. Meyerhold asks him to translate Shakespeare's Hamlet for a theater performance. Meyerhold is arrested, but Pasternak does not quit his job. After finishing the translation, he writes
poem Hamlet.

Analysis of the poem "Hamlet".

The poem "Hamlet" of 1946 opens the cycle, which is the final part of the novel "Doctor Zhivago". This is one of the key works of the late period of Pasternak's work. A feature of this poem is the versatility of the lyrical hero.

The lyrical hero of the work feels like an actor playing the role of Hamlet.

Why do you think this particular image of world literature appears in the poem?

The problems facing Hamlet are also relevant in the 20th century. The hero of Shakespeare's tragedy saw that "something was rotten in the Danish kingdom", moral foundations collapsed: the brother raised his hand against his brother, Hamlet's mother betrayed his father, Hamlet is surrounded on all sides by lies and hypocrisy, "words, words, words". He understands that he must defeat evil even at the cost of his own life, and this requires courage and willingness to sacrifice.

The image of the lyrical hero in the poem is ambiguous. Behind him is the author himself. The well-known researcher of Pasternak’s work, Anatoly Yakobson, said that Boris Leonidovich understood art as a tool for studying life, the ultimate goal of which is the exaltation of a person, the happiness of a person, and people’s happiness, as you know, is obtained at a high price: “Art is a kind thing in relation to those to whom it is addressed, to us. And a very cruel thing in relation to those who give it to us, to the artists. Because, making his discoveries, the poet consumes not only verbal material, but also the material called nerves and brain, blood.

In his poems, Pasternak spoke about this more than once.

Oh, I wish I knew that it happens
When he made his debut
That lines with blood - kill,
Gush throat and kill!

From jokes with this background
I would flatly refuse.
The beginning was so far away
So timid first interest.

But old age is Rome, which
Instead of turuses and wheels
Does not require reading from the actor,
A complete death in earnest.

When the feeling dictates the line
It sends a slave to the stage,
And this is where the art ends.
And the soil and fate breathe.

And of course, the image of the lyrical hero echoes the image of the protagonist of the novel "Doctor Zhivago". You are not yet familiar with the novel, but, looking ahead, I will say that Yuri Zhivago also opposes a world in which the foundations have collapsed.

The hero understands that confronting this world is mortally dangerous, that it is sometimes possible to save the human essence only at the cost of one's own life. Thus, we see that the lyrical hero of the work is Hamlet, the actor, the poet himself, and Yuri Zhivago.

How is the image of the theater created? Is this image unique?

Words: buzz, stage, binoculars, role, drama - create the image of the theater. The image of the theater is ambiguous. It includes the concept of life itself. The hero of the poem leaned against the “door jamb” and catches the echoes of the century, which means that “a different drama is now underway.” The drama of life is being played out on the stage of the century. “The whole world is a theater, and the people in it are actors,” said Shakespeare. And our hero is a real person, a representative of his era, who resists the chaos of life and must defend the highest spiritual values.

How do you think the character feels when entering this world? What is the relation of the world to the hero?

The world "instructed" the hero in the "twilight of the night", darkness, chaos, evil, and "thousands of binoculars on the axis" are like the muzzle of guns that are aimed at him and are ready to shoot at any moment.

The hero experiences loneliness and anxiety for the future. He confronts a hostile world and understands that in such a struggle one must be prepared for sacrifice.

What new image of the lyrical hero appears in the second quatrain? (Here the image of Christ appears.) Let's remember the gospel life in the Garden of Gethsemane and read the biblical text.

Find lines in the poem that resonate with the Gospel. “And this is connected with another meaning of the image of the lyrical hero: the idea arises of the greatest sacrifice for the sake of saving people - the sacrifice of Christ. Therefore, new features appear in Hamlet's monologue - his words: "If possible, Abba Father, take this cup past," are a direct quotation from the Gospel: "Abba Father! Everything is possible for you; take this cup away from me…”

“The word “chalice” is a traditional symbol, in a figurative sense, it is the fate that fills life. Life can be a “full cup”, or it can be filled with grief: “drink a bitter cup” - having experienced suffering, “drink a mortal cup” - die. Remember also that before entering Jerusalem, Jesus asked his disciples John and James: "Can you drink the cup that I drink?" Both here and in Christ's prayer this word has a symbolic meaning. He knows about the coming suffering and death and understands that he must fulfill "as it is written in him."

Remember also Andrey Rublev's icon "Trinity": the cup on the table is a symbol of the forthcoming sacrifice of Christ, and the figures sitting around it are the three Faces of God - they are full of mutual love and high humility, readiness for sacrifice.

Jesus concludes his prayer for the cup with the words: “If this cup cannot pass me by, lest I drink it, Thy will be done.” Similarly, the hero of the poem understands that fate has prepared for him a difficult role, and would like to avoid it: "Fire me this time." But the tragedy is inevitable, and he is ready to sacrifice himself: "the schedule of actions is thought out and the end of the path is inevitable."

The penultimate line again brings us back to the gospel context “everything is drowning in hypocrisy”, that is, in lies, hypocrisy, in formalism. And you end the poem with the Russian proverb “to live life is not to cross the field”, and we again see the life of our country in the era of an authoritarian state.

Pasternak understands that the point here is not a coincidence of facts and events from different eras, but “the commonality of the spiritual path that Christ once walked and at all times since then has been chosen by the best representatives of mankind, the sacrificial path.

Moreover, Pasternak does not directly transfer the circumstances of two thousand years ago (as well as the Middle Ages, the Renaissance and the beginning of the 20th century) to the present: these circumstances seem to shine through the veil of time, do not replace each other, but merge into an indissoluble whole. Thus, time itself is overcome: what happened centuries ago is happening here and now and will never pass, it will be forever.

Let us recall the features of Pasternak's early lyrics and see how the author's manner has changed. There is no metaphorical richness in this poem, there is no landscape. In the first quatrain, the author uses the prose "door jamb". The combination of everyday details with the high spiritual meaning of the poem is a distinctive feature of Pasternak's poetics. The tension in the poem increases from line to line.

Another poem from the final part of Doctor Zhivago is Winter Night.

Analysis of Pasternak's poem "Winter Night".

Explain the symbolic meaning of the blizzard and candle images. Underline with contrasting colors the lines relating to two different worlds.

A candle is a symbol of peace, home, comfort. The blizzard is a symbol of chaos, revolution, civil war.

Look: the lines are constantly alternating. It all starts with a blizzard, it is in the foreground, then the image of a candle appears, and then they alternately replace each other. You and I know that this is not just a candle and a blizzard, these are two worlds: the world of light, warmth, home comfort, love and the world of cold, anxiety, danger.

What is the relationship between these worlds?

Chaos is limitless: "It is snowy, it is snowy all over the earth, to all limits", everything in this world is subordinate to it, and only a single fragile candle tries to resist it. Let's see with what words the author describes the two worlds. Snowstorm world: Melo all over the earth, to all limits, flakes flew, everything was lost in the snowy haze, gray and white, it was snowy all month in February. The world of a candle: an illuminated ceiling, shadows, two shoes, a corner, tears, a nightlight, a dress.

“The poem by Boris Pasternak shows the deep meaning of earthly love as the highest manifestation of life. It crosses the carnal and the spiritual, the temporal and the eternal, the human and the angelic.”

There are Christian symbols in the poem: “lifted like an angel”, “two wings crosswise”, “crossed arms”, which means that a candle is also a symbol of Divine love. Only love, the brightest and purest feeling on earth, can resist the world of a blizzard, return to the mad world the meaning it has lost.

(The poem is built on the antithesis, anaphora and refrain are used: "The candle was burning on the table, the candle was burning.")

How does Pasternak's poetic manner manifest itself in this poem?

(A simple manner of presentation, deep symbolic images, nature acts and comes into conflict with the lyrical hero of the work.)

Let's summarize and name the features of Pasternak's late lyrics.

— Simplicity and transparency of presentation.
— A small number of metaphors.
— Depth and symbolism of images.
— Christian motives in lyrics.
- Spirituality of nature.
- The swiftness, tension, of poetic texts.
— Poetization of the world with the help of prosaisms.

Highlighting the features of Pasternak's early and late lyrics, it is important to note the unity of his poetic method.

With all the differences between the early and late Pasternak, the commonality is much deeper and more significant than these differences. Therefore, the integrity of the poetic world of Pasternak in general is not in doubt among any of the serious critics and literary critics.

0 / 5. 0

And the more random, the more true
Poems are folded up.
B. Pasternak

Boris Leonidovich Pasternak - the greatest poet of the twentieth century, Nobel Prize winner. Pasternak and my favorite poet. I feel some mysterious connection between his appearance and his poetry. He has a special poetic, noble posture and look. From the first acquaintance with his work, I discovered a special handwriting of the author, an original system of artistic means and techniques. They say that you have to get used to Pasternak's poems, you have to slowly get used to them in order to fully enjoy his poetry. But I have always liked poets who looked at the world from a completely unexpected, own point of view, and therefore the development of his poetry was “painless” for me.

I understand Pasternak’s aphoristic phrase “In everything I want to get to the very essence” as the poet’s goal to capture and convey in poetry the authenticity of the mood, the state of the soul. To achieve this, of course, a superficial glance is not enough. I will give an example where the feeling of warm air in a coniferous forest is surprisingly accurately 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.

This is what it means to reach the poetic essence of a phenomenon! Nature is controlled by the Master. It is in a constant process of updating. The poetic substance conveys the delight of unraveling yet another mystery of the universe.
Real talent is always appreciated with dignity even by poets working in a different vein. Mayakovsky, for example, is quite far from Pasternak in spirit, but in his famous article "How to Make Poems" he called one quatrain of Pasternak's "Marburg" a genius.

Pasternak's delight in the natural world was grandiose. It was Pasternak and only Pasternak who could give us a sense of the Value of everything that exists on earth:

And cross the road for tyn
It is impossible not to trample on the universe.

The poet said that Poetry "rolls in the grass underfoot, so you just have to bend down to see it and pick it up from the ground." He could with great skill draw the flowering of the garden and convey the state of flowers doomed to death. And the work of a pilot who took off into the clouds served as an occasion for him to embody his own thoughts about the lifelong work of a person, about his dreams, about his connection with the era in light flying lines. And all this with a clear sense of the Universe against the backdrop of cities, railway stations, and boiler houses overlooked from a great height.

It seems to me that after the death of Blok and Yesenin, not a single poet in Russia wrote such significant poems. For example, the poems “Revived Fresco”, “Pine Trees” are absolutely beautiful. "August", "Night" and others. Most often, as in the poem "Pines". - these are reflections on time, on the truth of life and death. & the nature of art and the miracle of human existence;

It's getting dark, and gradually
The moon buries all traces
Under white foam magic
And the black magic of water
And the waves are getting louder and louder.
And the public on the float
Crowds at a post with a poster,
Indistinguishable from a distance.

The essence of this poem, the last two stanzas from which I have quoted, is a deep faith in life, in the future.

Already at a respectable age, the poet did not grow old in soul. Anna Akhmatova admired the youth of his soul: "He, who compared himself with a horse's eye, squints, looks, sees, recognizes."

To me, the reader, Pasternak also gave Shakespeare's Hamlet. It is his translation of Shakespeare's drama that more than others, in my opinion, conveys the essence of Hamlet Pasternak and in the tragedy of a distant era managed to "get to the very essence", or rather, to catch the very essence. of our time, because the poet's day is bigger than the age of the sleeping soul:

And half-asleep shooters are too lazy
Toss and turn on the dial
And the day lasts longer than a century,
And the hug never ends.

Pasternak is a unique lyricist. For people with a smart heart, his poetry helps to reach the very essence of being.

Works on literature: The originality of the lyrics of B. Pasternak 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. It must be said that Pasternak, on the whole, is characterized by an attitude towards poetry as hard work that requires complete dedication: Do not sleep, do not sleep, work, Do not interrupt work, Do not sleep, fight drowsiness, Like a pilot, like a star. Don't sleep, don't sleep, artist, don't indulge in sleep. You are a hostage of time In captivity of eternity.

Already in the first years of his work, Pasternak showed those features of his talent 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: February. Get ink and cry! To write about February sobbingly, While the rumbling slush Burns black in Spring. 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 cliches, 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 arrangement in the stanza is unusual, and therefore the poem requires us to carefully read: snow ("Snowstorm") But what expressiveness this syntax gives to a poetic text! In the poem "Snowstorm" we are talking about a traveler who got lost in the village, 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 nines scatter from the trees." And then we find these lines: Brutal pain is getting stronger, The wind is getting stronger, having become brutal, And the rooks of the nines are flying, The 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 again: "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 strove 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 get to the very essence. In work, in search of a way, In heart trouble. To the essence of the past days To their cause, To the foundation, 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, a fireproof box My partings, meetings and partings, A tried friend and pointer, To start is not to count the merits. It used to be that my whole life was in a scarf, Only the train was filed for landing, And the muzzles of harpies flared, Covering our eyes with pairs. Sometimes, just sit next to me - And the 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 uniqueness 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 behind me the noise of the chase, I can't go outside. What did I do for dirty tricks, I am a murderer and a villain? I made the whole world cry Over 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: Do not sleep, do not sleep, work, Do not interrupt work. Do not sleep, fight drowsiness, Like a pilot, like a star.

Don't sleep, don't sleep, artist, don't indulge in sleep. You are a hostage of time In captivity of 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! To write about February sobbingly, While the rumbling slush Burns black in Spring. 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.

Already in the first poems of Pasternak, his artistic and musical abilities manifested themselves, so verbal texts were enriched with sounds and melody, plasticity and relief of colors. For example, in his most famous early poem, Pasternak writes:

February. Get ink and cry!

Write about February sobbing,

While the rumbling slush

In the spring it burns black.

Pay attention to the color contrast in the first line: white and black, snow and ink. Spring comes to the city, the snowy streets turn into slush under the roar of wagons and carriages - the city is filled with a loud joyful symphony of spring. A waterfall of feelings and a surge of creative inspiration (“to cry” - “to write sobbingly”) merge with the black earth breathing life and ringing spring air. In early poetry, Pasternak often uses the method of metonymy, in which the transfer of features of the depicted objects is carried out not according to the principle of similarity, as in metaphor, but according to the principle of contiguity. For example, in the expression “rumbling slush” it is not slush that rumbles, it is the sound of wheels passing along the street, which, as it were, is transmitted by the snow slurry they grind.

A characteristic feature of Pasternak's poetry is the combination of images from different spheres of reality. For example, the poem "Improvisation" (1916) begins with an interweaving of two figurative rows: flocks of seagulls and black-and-white piano keys, inspired hand touching the keys and feeding birds:

I fed the pack with the hand

Under the flapping of wings, splashing and screaming.

This juxtaposition is developed in the poem in the night landscape, in which material and mental images are combined.

Pasternak's love lyrics are always full of strong feelings and visible, tangible images. There is a lot of original, almost primitive passion for life in it, as, for example, in a poem from the collection “My sister is life”:

Favorite - horror! When a poet loves

God restless falls in love

And chaos creeps out into the light again

Like in the fossil age.

A mature attitude towards love appears in the collection "Second Birth". In one of his most famous poems, Pasternak argues that true love should perhaps be simple, that a miracle is the very feeling that cannot be explained, but which contains the secret of being. The poem may seem witty and joking, but the poet's thought is quite serious:

To love others is a heavy cross,

And you are beautiful without convolutions,

And the charms of your secret

The solution to life is tantamount to.

An important place in Pasternak's lyrics is occupied by the theme of creativity. The poet is primarily occupied with the relationship between the creative person and the world, the artist's responsibility for his word, the poet's duty to people and society. This topic is philosophical and social in nature. Such, for example, is the poem "Hamlet", in which the theme of a person - a poet, an actor, Hamlet - goes through his thorny path on earth. In the collection “Second Birth”, the poem “Oh, I wish I knew that it happens ...” stands out about the destructive power of poetic inspiration.

One of the central poems of Pasternak's last collection "When it clears up" was the poem "Being famous is ugly ...", which expresses the ethical essence of the relationship between the poet and society. The collection ends with the poem "The Only Days", and its last two lines can serve as the motto of all Pasternak's poetry. The first of the lines speaks of the eternity of life, the second of the eternity of love:

And the day lasts longer than a century,

And the hug never ends.