Helping a student. 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 instance:

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 instance:

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

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 climactic “When it clears up ...”, by the name of which the whole book is named, reflecting a 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 beautiful!

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

Pasternak is a synthesis of the 19th and 20th centuries. Its forest limits, enchanted thickets, sleeping distances, the twilight of the night are not the monumentality of Mayakovsky and not the wielding of the masses. It's details and details. The fraction of drops, and thin-skinned icicles cannot be compared with a giant column, with the iron of trains. 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 kind of mysterious power contained in it: it is carried “like a bell to a bell tower” (Lermontov is immediately recalled “... like a bell on a veche tower”); they drag him like a “tablet with the commandments”, that is, like a slab of those on which, according to legend, the laws given to people by God were written ... But now the piano is raised up; both the city and its noise remained below (“as under water at the bottom of legends”). The first 3 stanzas are over. The musician appears in the next stanza. And although it is simply and casually named: “a tenant of the sixth floor”, it is under his hands that the piano will sound, come to life, cease to be a dead object. But pay attention to the fact that the pianist does not start playing right away. The game is preceded by a moment of silence, contemplation, a look from a height - on the ground. These reflections on the earth and the power of music should make clear a very unusual combination: “play your own thought” (its unexpectedness is emphasized by the fact that it comes after the quite usual “play a piece”). Thought, music embraces, contains everything - the life of the spirit and the life of nature. Nara becomes the strength and power of sounds. "Ring of improvisations" - again an unusual combination, but evoking another, familiar one - a roll of thunder. Music absorbs everything: sounds, colors, light, darkness, the whole world and every person. See how a new series of homogeneous terms - 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 due to the time when he developed ideas about creativity, then - in music, a little later, in his youth, among the futurists, at meetings of the poetry circle, when Pasternak, sitting at the piano, commenting on the newcomer with musical improvisation.

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

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

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

Two strong men carried the piano,

Like a bell to a belfry.

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

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

Bibliography

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

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

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

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

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

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

Conclusion

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

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

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

Municipal educational institution

"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

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

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.

) - poet, writer (February 10, 1890, Moscow - May 30, 1960, Peredelkino near Moscow). Father artist impressionistic directions, mother is a pianist. Pasternak studied music as a child. From 1909 he studied philosophy at Moscow University, in 1912 - in Marburg, Germany. He completed his university education in 1913 in Moscow.

Pasternak's first poems appeared in print in 1913. He joined the Centrifuge literary group, which was in line with futurism. His first collection of poems twin in the clouds(1914) published Aseev and Bobrov, Pasternak included most of the poems of the first collection in the second - Over the barriers(1917). The greatest recognition was brought to Pasternak by the third collection of poems Sister my life(1922), which arose in the summer of 1917, but inspired not by political events, but by the experiences of nature and love. The next collection of his poems is Themes and variations(1923), after which critics recognized him as "the most significant of the young poets of post-revolutionary Russia."

Geniuses and villains. Boris Pasternak

In small epic poems year nine hundred and five (1925-26), Lieutenant Schmidt(1926-27) and Spektorsky(1931) Pasternak partly speaks of revolutionary events.

Since 1922, Pasternak has also published prose. First prose collection stories(1925) includes Childhood Luvers, II tratto di apelle, Letters from Tula and Airways. Behind him, from 1929, Pasternak's first autobiographical story appeared, dedicated to the memory of Rilke, Certificate of protection(1931); the understanding of art expressed in it is in sharp contradiction with the ideas of the then influential functionaries of the RAPP.

After a collection of new poems Second birth(1932) until 1937, several more collections were published, including previously written poems by Pasternak.

In 1934 he was invited to the board of the new Union of Writers. Since 1936, Pasternak had to go into translation work, he translates especially Shakespeare's tragedies. "His translations from Georgian poets won the favor of Stalin, and perhaps saved the poet from persecution."

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 learned about the most unprecedented and elusive revolution." According to the poet, the revolution was not to be described by a historical chronicle in poetic form - it should be 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 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 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 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.
Everything. 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, demanding 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.