Analysis of the lyrics of Pasternak B.L. Report: Pasternak b
Alieva Gulsem Dzhevdetovna
Russian language and literature teacher
Scientific and methodological development.
This methodological development is based on a multifaceted study of a poetic text and a comprehensive analysis of a lyric work. This should help students "unravel" the mystery of the poet's artistic world, feel all the beauty and liveliness of his images.
The materials of this development can be used in lessons devoted to the study of the lyrics of B. Pasternak, both in a complex and in fragments, as well as to serve as didactic material for the analysis of a poetic text in speech development lessons when studying basic literary terms and scientific definitions.
Lesson form: workshop lesson.
Lesson time 2 academic hours
Lesson objectives:
1. Educational:
To study the content and artistic features of the poems of B. Pasternak.
Educational:
To cultivate an aesthetic attitude to the poetic word
3. Developing:
Develop the skills of analyzing poetic text;
Develop the skills of expressive reading of poems;
Form the ability to interpret a poem.
Preparation for the lesson.
Preliminarily, homework was given to study the biography of B. Pasternak based on the materials of the textbook and additional scientific literature, to bring collections of poems by B. Pasternak to the lesson.
Individually, some students are given the task to learn and prepare an expressive reading of B. Pasternak's poems.
Equipment for the lesson:
Computer, video projector, interactive whiteboard.
During the classes:
Introductory part of the lesson.
Teacher's word.
B. Pasternak is one of the most unusual and amazing poets not only in Russian literature, but also among the poets of the twentieth century. There is a Voice in his poetry. This is, first of all, the voice of the soul and a strong personality, who does not think for himself outside the connection with the era and the country, acutely feeling all the social and moral upheavals of his century. This is the ability to see the world with the soul, the desire to understand the deep streams of life and being, the laws of life in the universe.
What is he, Boris Pasternak, and what is the unusualness of the artistic world of his poems? We must try to find an answer to these questions today.
Let's turn to one of the key poems of B. Pasternak "Hamlet". This poem is part of the cycle "Poems by Yuri Zhivago". This cycle of poems is one of the chapters of the world famous novel of the writer, which has become a kind of artistic embodiment of the life position and worldview of the writer. Today we still have to talk about the role of this novel in the fate and work of the writer.
(a short report on the history of the creation of the work, its fate is possible)
4. Reading of the poem by B. Pasternak "Hamlet" by one of the students.
5. Analysis of the content of the poem.
1. What special have you noticed in the outlook of the lyrical hero?How does he perceive the world and life in general?
- the acuteness of the connection with time, with my own century ("I am catching ... what will happen in my lifetime");
- some anxiety ("The twilight of the night is instructed");
- feeling of loneliness ("I am alone");
- a premonition of tragedy and the inevitability of "something" terrible ("the inevitable end of the road").
2. How can you define the theme of a given poem?
The theme of the poem is philosophical: a person's place in the world, in an era, in life, his role in the general "routine of actions."
3. What is the spatial arrangement of the images of the lyrical hero and the world?
4. What does this spatial relationship between the hero and the world indicate?
The hero, as it were, "soars" over the world, looks at it from the side ("I went to the stage. Leaning against the doorframe ...")
At the same time, the hero feels himself to be the smallest particle drowning in the general stream of events ("The twilight of the night is pointed at me with a Thousand binoculars on the axis").
About the complexity of human perception of the world, about the unusualness of this perception.
5. What mood is recreated by the poet in the poem?
The mood of the poem is solemn, sometimes tense, alarming.
6. What is the peculiarity of those relationships between man and the world, which B. Pasternak seeks to convey in this poem?
A person feels his acute and inextricable connection with the world, he seeks to know all its sounds and moods, to determine, to comprehend his own role in the “disturbing” chaos of life, in the “flow” of time.
Teacher's word.
Indeed, Boris Pasternak, perhaps like no other poet, feels with particular keenness his connection with his own "age", with the era. The feeling of the continuity and close connection of man and time (in the image of a space filled with sounds and forebodings, a "cramped", "frenzied" era sounds in almost all of his poems, and the relationship between man and the world always comes to the fore in the poet's artistic world. often expands to the scale of the universe, and the feelings of the lyrical hero acquire a kind of "cosmicity", a special philosophical significance.All this allows many researchers to determine the direction of Pasternak's lyrics as philosophical.
How was the poet born in B. Pasternak? Why is the philosophical understanding of life so clearly manifested in his poems? How does this relate to the poet's biography?
Let's try to makeliterary portrait writer.
6. Analysis of the biography of the writer. (Students prepare answers to the proposed questions in groups within 5 minutes).
1. how creativeactivities carried out
B. Pasternak's parents?
Pasternak was born into a family of creative intelligentsia: his father was an academician of painting, his mother was a professor at the Imperial Russian Musical Society.
2.As a future poet
a love of nature was instilled
and loyalty to Christianity?
The family spent the summer months in the picturesque Moscow region, where they could enjoy the beauty of nature. The love of Christianity was instilled in little Boris by a Russian nanny, who secretly took the boy to church.
3. When the hobby began
B. Pasternak philosophy?
Why didn't this hobby become B. Pasternak's main hobby in life?
Passion for philosophy began while studying at Moscow University. Then, after graduating from university, the future poet goes to Germany to get acquainted with neo-Kantian philosophy.
B. Pasternak made a choice in favor of literature
4. What talents
possessed by B. Pasternak?
The poet was gifted musically, the famous composer A.N. Scriabin predicted even for him the future of a talented musician.
Questions for the 2nd group of students.
Students' answers.
5. What a book of poems
made B. Pasternak famous
and your favorite poet? What conclusions can be drawn from the title of the collection.
The book of poems "My Sister - Life" made Boris Pasternak a famous poet. These are poems about life, its foundations, maybe about its meaning.
6.What are the artistic
principles of B. Pasternak?
Why is he looking for poetry in prose?
The desire to recreate life in all its simplicity and at the same time charm, to convey the harmony of everything that exists, aversion to any protrusion of oneself and to any pomp, the absence of artificiality and falsehood, poetic and creative modesty.
7 what makes philosophical
the concept of the poet's world?
The world for Pasternak is the inseparability of everything that exists and is happening, a kind of natural commonality of everything with everything. The harmony of the world order and its predetermination, the naturalness of beauty in the ordinary, the significance of the simple and the close in general are the main features in the world order created by B. Pasternak.
Questions for the 3rd group of students.
Students' answers.
8.What historical events
the novel by B. Pasternak is dedicated
"Doctor Zhivago"?
The novel is dedicated to the revolution and the Civil War.
9. What is the fate of this novel?
The novel was proposed for publication in the Novy Mir magazine, but was rejected by the editors. In 1957, the novel was published abroad, the author was awarded the Nobel Prize in Literature. After that, the authorities demanded that the writer travel abroad.
10.Why B. Pasternak refused
from the Nobel Prize?
Unable to leave Russia, Boris Pasternak refuses the Nobel Prize.
11. What was the idea of the writer when creating the novel?
The idea of the writer is to create realistic prose, but to embody it as a drama or tragedy.
12. How is the protagonist of the novel related to the writer himself?
When creating the image of the protagonist, one can see autobiographical features: the novel reveals the deep tragedy of the life of an intellectual in the world of a totalitarian state and in an era of social upheaval. Yuri Zhivago's perception of the world is reminiscent of the poet's own perception of the world.
Communication work in groups
Students' answers.
13. What conclusions can we do about the personality of B. Pasternak?
The poet's personality is versatile and creative. The poet is sensitive to everything that surrounds him, seeks to convey in poetry all the diversity and acuteness of his sensations of life, to reveal the very essence of his own perception of the world, to embody in an artistic form the cruel truth and the extraordinary beauty of life at the same time... (The conclusions are written by students in a notebook under entry)
14. Are the motives of the poet's works connected with the facts of his biography? ?
Both the lyrics and the prose of B. Pasternak are closely related to his biography: the works are of a philosophical nature, the tragedy of the poet's life is conveyed in the attitude of his lyrical hero. The style of the writer is inherent in musicality, the lack of protest of the lyrical hero against the existing world order testifies to the Christian views of the writer.
Literary practice.
(Work with the texts of poems and scientific-critical literature is made out in the table).
Table shape.
7. Acquaintance with an excerpt from the critical article of A.D. Sinyavsky about the philosophical nature of the lyrics of B. Pasternak. (The quote is projected onto the whiteboard with a video projector).
“The penchant for a philosophical understanding of life characterizes the entire work of Boris Pasternak, a poet-thinker who gravitates towards the art of broad generalizations, great spiritual saturation. He has long been close (in the words of Boris Pasternak himself) "that bottomless spirituality, without which there is no originality, that infinity that opens from any point of life in any direction, without which poetry is one misunderstanding, temporarily not clarified." In many of Pasternak's works, there is a persistent desire "to get to the bottom of the matter and, when talking about any things, not only imagine what they are like, but reveal their real nature." (A.D. Sinyavsky).
(Writing in a notebook the main conclusion from the quote by Sinyavsky :
"Philosophical understanding of life, the breadth of generalizations, the desire to establish connections with everything").
Teacher's word:
One of the famous poems of the poet- "In I want everyone get to the very bottom. " The poem is included in sat ornik "When will clear up". It became a kind of attempt to present the life and creative "program" of the writer.
What is the peculiarity of Boris Pasternak's attitude to life? What place does he assign to himself in her?
Expressive reading of a poem by one of the students.
8. Analysis of the poem "In everything I want to get to the very essence."
2. What exactly does the poet want to know in life?Find the answer in the lines of the poem.
“The essence of the past days”, “the root cause” of events, “grasping the thread of destinies, events.
3. What manifestations of life does the poet highlight in the poem, knowing its essence?
-the general course of life
- the life of the heart and soul
- the world of nature and everyday life.
4. How is the world surrounding the hero drawn?
The world is drawn somehow immense and inexplicable. It is very many-sided and somewhat contradictory: Phenomena that are not related to each other are united together (Linden trees bloom in the back of the head, lawlessness, sins, and next to them are elbows and palms).
5. What "poetry formula" does B, Pasternak derive in this poem?
The goal of poetry is to glorify passion, to show the fullness of life, "to deduce its law", to convey everything amazing in verses and fill them with the "breath of life": "the breath of roses, the breath of mint, meadows, sedge, haymaking, thunderstorms rumbling", create in lines "Living miracle". Poetry is "play and torment."
6. What do the last lines of "Tight bow-string drawn" mean?
They convey the tension of feelings, in the soul of the hero, the depth of contradictions connected in life, but not existing without each other.
7. What is the specificity of building the world in a poem?
In the construction of the world, one can distinguish two-dimensionality images: on the one hand, the poet draws a concrete, everyday side of life, on the other hand, it exists in the universal vastness of space.
8. What is the meaning of the music motive in the poem?
Pasternak draws parallels between music and poetry, emphasizing their fullness of "living" images and the ability to glorify the beauty of tragedy.
Acquaintance with opinion L.P. Panfilova about this poem.
Reading an excerpt of a critical article that is projected on the screen:
“Of particular importance for understanding the meaning of this poem is thread image. It means in the poetic system of B. Pasternak “to measure, to know, to order the Universe ... This image deepens the meaning of the word“ essence ”and the concept“ to reach the very essence ”.
Concludes the poem capacious metaphor - the bowstring of the "tight bow". You can also find the bow of Odysseus, on which no one, except himself, pulls himself a tight bowstring, and, of course, Apollo, equipped with a bow and arrows. Poetry is a prophetic, divine destiny. This is a special mission of the creator of the world. " (L.P. Panfilova).
Writing the main idea of the article in the notebook.
Teacher question:
Which output can be done about understandingthe poet's mission on earth in this poem?
Answer: The poet is understood by B. Pasternak as the creator of the world in poetic images. In this his mission is similar to that of a prophet. He is called upon to explain the cause of the phenomena, to draw the "essence of life" in poetry.
Teacher question:
What great predecessors of Boris Pasternak thought about the poet's destiny? In what ways are Pasternak's reflections in tune with them?
Answer:
A.S. Pushkin and M.Yu. Lermontov reflected on the role of the poet.
They also highlighted the prophetic role of the poet, the importance of his mission on earth in revealing the essence of life. The peculiarity of understanding the poet in the lyrics of B. Pasternak is associated with his desire to convey in verse the idea of the essence of life in feelings and sensations.
From this point of view it is interesting to analyze the poem “February. Get ink and cry ... ".
9. Analysis of the poem “February. Get ink and cry ... "
1.What is the understanding of creativitygiven by B. Pasternak
in this poem?
Creativity is understood as the desire to convey all acuity of feelings, fullness and brilliance life, and the poem is transmitted and inevitability these feelings, their inevitability, as well as their many faces.
2. What emotions possess the lyrical hero in moments of creativity? What are some phrases that indicate these emotions?
The lyrical hero experiences acute pain b, mixed with the joy of realizing the uniqueness of the surrounding beauty, its dissolution and absolute eternity. This eternity is due depicting the most ordinary and simple in an unusual, unexpected , and therefore - inexpressibly beautiful: after all, the simple lives forever. The soul of the lyric hero “cries”, and the poems are correlated with tears. However, the reason for the tears in this poem is not some kind of tragedy, but rather, the amazement with beauty, which affects the hero's soul, as if scratching it with its brightness, tangibility, forcing him to write poetry "sobbing." The poem mixes two feelings: piercing sadness and admiration for everyone around.
3. What can be said about the personality of the lyric hero based on his feelings in this poem?
The lyrical hero of this poem is a person who perceives the world as poetry, as a miracle. He is able to see life as something amazing, deeply exciting, and the hero reveals the miracle in very ordinary things: in the "rumbling slush", in the force of the "downpour", in "thousands of rooks", in "black thawed patches", "clique of wheels." The hero is possessed by an extraordinary power of feelings, unexpected and inexplicable for himself, born for no reason, from contact with the fullness of life.
4. How is the artistic world of the poem built?
In the artistic world, one can single out the space of real life, filled with everyday trifles, which is inextricably linked with beauty and gives rise to the charm of creativity. You can also highlight the space of the universe, expanding from the fullness of the feeling of the hero's life. Both spaces are, as it were, connected by the process of creativity, "accidental" and "sensual".
On what basis are the artistic images of the poem created?
The images of nature are very unusual, in many ways unexpected, as well as their appearance. In the construction of images one can feel the incompatibility of phenomena, their non-standard: "black spring", "rain is louder than ink", "rooks like pears", "dry sadness". The author himself considers this unexpectedness of the birth of images to be the most "true".
Define the idea behind the poem.
The idea of the poem is the idea of the close connection of poetry with a sense of admiration for life, with a sense of its completeness and harmony of everything at all.
Teacher's word:
This poem is consonant in the thematic orientation and mood of another poem from the collection "The Second Birth". The poems of this collection reveal the transformation of the hero's soul, as well as a new, unexpected and original view of the world, in many ways are an attempt to summarize the poet's creative credo.
10. Expressive reading of the poem "Oh, I would have known that this happens ..." by one of the students.
Teacher question: What do these two poems have in common and how do they differ?
Students' answers:
Common is the idea of the predetermination of creativity and its close connection with feelings. Art is revealed in both verses as a mission chanting of life, sincere disclosure of feelings. Art is portrayed as "soil and destiny."
The intonation differs in the second poem: it is more pathetic, decisive, inviting, here there appear motives of the tragic nature of the poet's mission ("What about the lines with blood - they kill, They will flood their throats and kill!").
11. Acquaintance with the statement of L.P. Bykov about the worldview of B. Pasternak and his creative principles (the statement is projected onto the board):
“Pasternak's perception of life is as pathetic, so fresh and direct. As if everything that exists is not just seen for the first time, but is named only now. This feature of his talent will prompt A. Akhmatova to say to the poet: “He is endowed with some kind of eternal childhood.” Feeling like a son of a centuries-old culture, Pasternak retained a primitive view of reality characteristic of our distant ancestors, who deduced all cause-and-effect relationships in the world from involvement of phenomena in time and space. The conviction that "all living things are connected by a wave of circular, vortex similarity", and determined the "powerful force of cohesion", manifested by Pasternak's metaphor. "
Write out from the statement of L.P. Bykov the main, in the opinion of the critic, feature of poetics and perception of B. Pasternak.
(Note in a notebook:"Childish primitive outlook on life, the randomness of associations and images, formed by the connection of everything with everything").
Teacher's word:
The chance, the primordial nature of the images became the basis of the poetic style of B. Pasternak. This kind of image is especially characteristic of the poet's poems about nature and love.
12. Analysis of the poem "My beauty is all to become."
1.How does it manifestpeculiarity of experience
lyrical hero of the feeling of love?
The feeling of love is revealed through the perception of oneself and the beloved relative to space. The "world" of lovers is opposed to the "worlds" of the era and at the same time is closely connected with them.
2.What is
unusual artistic
images of the poem?
The beloved is portrayed by the lyrical hero with “spatio-temporal” measures: “wardrobe number”, “place at the columns”, “entrance and pass through the threshold”; the very moment of the life of a love feeling is associated with a sense of time and space.
3.How is the feature manifested
revealing feelings of love
in this poem?
Love turns out to be inextricably linked with the themes of poetry and time. The feeling of love evokes a desire to create, to express it "Everything is eager to become music, And everything is asking for rhyme"; "Spirals the chest and pulls on the way, And pulls to sing and - like it."
4. What does this disclosure of the theme of love testify to?
Such a revelation of love testifies to the inextricable connection of any poet's feeling with creativity, since poetry is a way to “throw out”, “cry out”, express what excites the soul to pain, agitates it, makes it “cry” and “sing” at the same time. Time is a connecting link between poetry and feeling: it either narrows in the consciousness of the hero to a moment, then expands to "distant years"
4. What features of the creative method of B. Pasternak, found by us in other poems, manifested in this poem?
Finding the connections of everything with everything
Inconsistency of images
The acuity of the senses
The relationship of suffering and happiness
The principle of "randomness" in the construction of images of a poem
Writing the basic principles of building images and disclosing the ideas of the poem in a table.
Teacher's word:
Thus, it is unthinkable for Pasternak to reveal any topic separately, in isolation from others.Everything that is individual and particular is connected in his artistic world with the universal, is connected by invisible threads with the whole and multidirectional.
Try to name three components of the poet's artistic world that hold all ties.
Student response:
The main components of the artistic world of Boris Pasternak are poetry, life in all its complexity and fullness, the voice of time and epoch, the infinity of world space. (Writing in a notebook).
In this model of the world, poetry is inseparable from life, and life is from poetry, poems spill out in the space of the universe, ring with a booming echo in epochs and, pushing off, rush into the distance.
The model of the original and eternal harmony of the world and the universe is presented in the poem"When it clears up."
13. Assignment.
Read the poem yourself. Try to describe in several sentences the image of the world created by B. Pasternak in this poem.
14. Independent work of students with the text.
Reading the resulting analyzes-miniatures.
An example option:
The world around us is infinitely beautiful. He is many-sided, but the many-sidedness does not violate the general harmony. One image of the world smoothly connects with another, as if flowing into it and becoming it. The life of this mysterious space seems eternal, and a person only gazes at it with fascination through the crack of his era, never being able to fully solve the amazing riddle of the universe and time.
15. Problem question:
How does Boris Pasternak manage to create such an unusual model of the world in his poems? What artistic techniques become the basis of the poetics of his poems. Partially, you already have records in the tables.
Please read them.
Students read the contents of the right column of the table, the form of which was given at the beginning of the analysis of the verses:
- sharp metaphoric poetry;
- "randomness" of artistic images;
- the principle of opposition in the creation of images and the system;
- the desire to revive the whole world;
- search for a connection between incompatible concepts.
Teacher question:
What kind of figurative means does a poet need to embody these artistic principles?
Answer:
The poet needs metaphors, personifications, oxymorons, comparisons, metonymy, oppositions.
16. Analysis of visual and expressive means. Find examples of the named linguistic means in the poems of B. Pasternak. Individualwork on options. Writing in a notebook found in
the text of linguistic means.
Option 1"February. Get ink and cry .. "
Option 2
"My beauty, all become"
Option 3
"When it clears up"
Comparisons : "Rooks like charred pears", "rainfall louder than ink and tears"
Comparisons: "To become torn by music", "disease is like a cloak for a plaque"
Comparisons : "The lake is like a dish", "greenery is like painting", "the vastness of the earth is like the interior of a cathedral", "glaciers heaped up"
Metaphors : "The wind is pitted with screams", "the bottom of the eyes", "poems are composed sobbing", "click of the wheels", "they will bring down sadness."
Metaphors: "Discord of the worlds", "intrusion of lines", "plaque of verse", "in the distance of years."
Metaphors: "Accumulation of clouds", "secret of the universe", "the sun is poured out", "the forest is on fire."
Epithets: "Dry sadness", "rumbling slush".
Impersonations : "Rock dies", "discord enters", "love breathes".
Impersonations: "The blue will appear," "the forest changes," "the grass is full of triumph."
Metonyms: "Pass over the threshold", "sickness of the disease."
Metonymy : "Echo of the chorus".
Antithesis : "And the rhyme is not a second line, but a wardrobe number ..."
Teacher question:
What feature have you noticed in the construction of the found figurative means?
Answer: Figurative means are very unusual, unexpected, built on the principle of incompatibility, combination of opposites in unity, which leads to non-standard form, bright individuality of the author's style.
Teacher's word:
The non-standard, uniqueness of the poetic language and form is indeed a distinctive feature of Boris Pasternak's lyrics. His poems are characterized by a flow of metaphors running over each other, which, giving the impression of subjective or random, amaze the imagination, convey a certain deep essence of life, helping the poet to convey it in exceptional images. It is connected, as many believe, with the writer's desire to record a stormy stream of feelings. The poet seeks to catch any phenomenon by surprise, to describe, as he himself put it “from all ends at once”; comparisons and assimilations split and multiply, encircling the object from all sides, which creates the feeling of a pulsating, moving world.
In addition, researchers also note the unusual syntactic structure of Pasternak's poems. According to V. Shklovsky, the lines of Pasternak's poems"They are torn and cannot lie down like steel rods, run into each other like the carriages of a train suddenly decelerated." This is often accompanied by omissions, a violation of logical connections, the use of a predicate without a subject.
Let's observe the peculiarities of syntax in the poem "The Definition of Poetry".
17. Reading the poem "Definition of poetry" and analyzing the syntax in it.
| 1. What property of poetry does the poem talk about? | About the inconsistency of poetic creativity and the property of poetry itself, about its sonority, fullness and secrecy at the same time. |
| 2. What kinds of syntactic constructions have you noticed in the text of the poem? | 1. A number of syntactically parallel sentences with the omission of the verb link and there is no subject subject. 2. Parcelling. 3. Incomplete sentences. |
| 3. What is highlighted by these proposals? | The unusual properties of poetry, the contradictory nature of the poetic world, its versatility, contrast, the variety of its connections with everything else. |
| 4. How does the nature of the syntax affect the idea of the poem? | The "discontinuity" of syntax helps to convey all the complexity and brightness of the poetic world, the breadth and acuteness of its connections with life, the richness of the poetic space, its dynamics, liveliness and primordiality . |
18 ... Lesson summary.
Teacher question:
What conclusions can we draw about the poetry of Boris Pasternak?
Students' answers:
The poetry of B. Pasternak is a way of self-expression of the poet, the result of his philosophical understanding of life.
The poet's poems are characterized by an extraordinary sincerity of feelings, bordering on childishness, a combination of the complex and incomprehensible with the incredibly simple.
3. Life appears in the artistic world of B. Pasternak in all its fullness, dynamics, primordiality. All artificiality and bombast are alien to the poet's images, which leads to a combination of simplicity with singularity.
4. The poet's poems are characterized by an unusual artistic form and poetic style.
5. Creativity becomes the embodiment of the life of the soul and the world in their harmonious contradiction and at the same time the indissolubility of ties.
The lesson ends with an expressive reading of the poem "To be famous is ugly."
Homework:
Write an essay on the topic "Philosophical comprehension of life in the poetry 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. The poetry of Pasternak 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 - they even predicted a composer's future for him, but poetry became the meaning of his life.
The first publications of his poems date back to 1913. The next year the first collection of the poet "The Twin in the Clouds" was published. Pasternak was a member of the small group of poets "Centrifuge", close to futurism, but under the influence of the Symbolists. He was critical of his early work and subsequently thoroughly revised a number of poems.
Do not sleep, do not sleep, work,
Do not interrupt work
Do not sleep, fight nap
Like a pilot, like a star.
Don't sleep, don't sleep, artist,
Don't go to sleep.
You are a hostage of time
Captured by eternity.
Already in the first years of his creative work, Pasternak showed those features of his talent that were fully revealed in the subsequent: the poeticization of “the prose of life,” outwardly dull facts, philosophical reflections on the meaning of love and creativity, life and death:
Write bitterly about February,
While the rumbling slush
It burns in black in the spring.
Boris Pasternak introduced rare words and expressions into his poems - the less the word was in the book circulation, the better it was for the poet. Therefore, there is nothing surprising in the fact 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 he wrote. And Pasternak was very attentive to their choice. He wanted to avoid clichés, he was repelled by "worn out" poetic expressions. Therefore, in his poems we can often find outdated words, rare geographical names, specific names of philosophers, poets, scientists, literary characters.
The peculiarity of Pasternak's poetic style also lies in its unusual syntax. The poet violates the usual norms. It seems to be ordinary words, but their arrangement in the stanza is unusual, and therefore the poem requires careful reading from us:
In the posad, where not a single foot
Where and how the slain sleeps of the snow
("Blizzard")
But what expressiveness such syntax gives to a poetic text! In the poem "Snowstorm" we are talking about a traveler lost in the settlement, about a snowstorm, aggravating 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 kind of syntax.
Pasternak's associations are also original. They are unusual, but thanks to this they are really fresh. They help the image described by the poet to reveal itself exactly as he sees it. The poem "Old Park" says that "the punishing flocks of nines scatter from the trees." And then we find the following lines:
The wind grows stronger, brutalized,
And rooks nines fly,
Black nines of clubs.
The imagery of this poem is deeper than it might seem at first glance. The poet uses here a threefold comparison: 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 with nines, and their formation reminded the poet of nines of clubs and rooks. In complex associative rows - the originality of Pasternak's poetry.
M. Gorky wrote about this to Pasternak: "There are many amazing things, but often you find it difficult to understand the connections of your images and your struggle with the language, with the word, tires you." 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 poet's mature lyrics, there really is a clarity of expression combined with depth of thought:
In everything I want to reach
To the very essence.
At work, in search of a way
In a heartfelt confusion.
To the essence of the days gone by
Until their cause,
To the root, to the roots,
To the core.
The evolution that happened to the poet was the natural path of an artist who wants to reach "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 to reflect on the issues of life order. For example, here is an excerpt from the poem "Station":
Train station, fireproof box
My separation, meetings and partings,
Proven friend and pointer
To start is not to count merit.
It used to be my whole life - in a scarf,
As soon as the composition is submitted for landing,
And the muzzles of the harpies are bursting,
In pairs, he froze our eyes.
I used to sit next to only -
And the cover. Prinik and otnik.
Goodbye, it's time, my joy!
I'll jump off now, guide.
The picturesque and sonic 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, an intelligent conversationalist, and a citizen poet. It is known that his career was not easy, he was condemned, herbs (after writing the novel "Doctor Zhivago"). In those days Pasternak will write:
I disappeared like a beast in a pen.
Somewhere people, will, light,
And behind me the noise of the chase
I can't go outside.
What have I done for the dirty trick,
Am I a murderer and a villain?
I made the whole world cry
Over the beauty of my land.
The recognition of Boris Pasternak's great literary talent was the Nobel Prize awarded to the poet in 1958 “For outstanding services in contemporary 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 is safe to say 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 irreplaceable 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. She amazes with the richness of sounds and associations.
Long-familiar objects and phenomena appear before us from an unexpected side. The poetic world is so bright and unique that one cannot remain indifferent to it. The poetry of Pasternak 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 next year the poet published his first collection "Twin in the Clouds". 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 story, giving it many definitions, uses a predicate without a subject. So, for example, he built his poem "In Memory of the Demon".
It must be said that Pasternak, in general, is characterized by an attitude towards poetry as a hard work that requires complete dedication:
Do not sleep, do not sleep, work,
Don't interrupt your work.
Do not sleep, fight nap
Like a pilot, like a star.
Don't sleep, don't sleep, artist,
Don't go to sleep.
You are a hostage of time
Captured by eternity.
Already in the first years of creativity, Pasternak showed those special aspects of talent, which were fully revealed in the poeticization of the prose of life, philosophical reflections on the meaning of love and creativity:
February. Get out ink and cry!
Write bitterly about February,
While the rumbling slush
It burns in black in the 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 was very attentive to their choice. He wanted to avoid clichés, he was repelled by "worn out" poetic expressions. Therefore, in his poems we can find outdated words, rare geographical names, specific names of philosophers, poets, scientists, literary characters.
The peculiarity of Pasternak's poetic style also lies in the unusual syntax. The poet violates the usual norms. It seems to be ordinary words, but their arrangement in the stanza is unusual, and therefore the poem requires careful reading from us:
In the posad, where not a single foot
I did not step, only sorcerers and blizzards
A foot stepped in, in a possessed district,
Where and how the killed, the snow sleeps ...
But what expressiveness such syntax gives to a poetic text! The poem speaks of a traveler lost in the settlement, a blizzard 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 kind of syntax.
Pasternak's associations are also original. They are unusual, but thanks to this they are really fresh. They help the described image to unfold exactly as he sees it. The poem "Old Park" says that "cawing flocks of nines scatter from the trees." And then we find the following lines:
The brutal pain, the contractions are getting stronger,
The wind grows stronger, brutalized,
And rooks nines fly,
Black nines of clubs.
The imagery of this poem is deeper than it might seem at first glance. The poet uses here a threefold comparison: rooks - nines of clubs - airplanes. The fact is that the poem was written in 1941, when German planes flew with nines, and their formation reminded the poet of 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 warmed air in a coniferous forest is conveyed:
Rays flowed. Beetles flowed with ebb,
The glass of the dragonflies scurried down their cheeks.
The forest was full of painstaking shimmer,
Like a watchmaker's tongs.
The poetry of Pasternak is the poetry of roads and unfolding spaces. This is how Pasternak defines poetry in the book "My Sister - Life".
This is a cool whistle,
This is the clicking of crushed pieces of ice,
This is a leaf-freezing night
This is a duel of two nightingales.
These are sweet stale peas.
These are the tears of the universe in the shoulder blades,
This - from remotes and flutes -
Figaro Falls down in a hail on the garden bed.
Everything. that the night is so important to find
On deep bathing bottoms,
And bring the star to the cage
On trembling wet palms ...
"Definition of poetry"
In Pasternak's poems you always feel not simulated, but deeply natural, even spontaneous lyrical pressure, impetuosity, dynamism. They have a tendency to sink into the soul, get stuck in the corners of memory. Pasternak's landscape exists on an equal footing with man's rights. Phenomena of nature are like living creatures in him: the rain is stamping on the threshold, the thunderstorm, threatening, breaks into the gate. Sometimes the poet himself writes the rain poetry:
The branches of the downpour are dirty in clusters
And long, long, until dawn
They sprinkle their acrostics from the rooftops.
Blowing bubbles into rhyme.
Primordial purity appears before us in Pasternak's poems and the Urals ("On a Steamer", "Ural 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 he clears up", strings of landscapes will invade the poet's poems, expressing his delight in the natural world.
Throughout his life (especially in his mature and late times) Boris Pasternak was extremely strict with himself, exacting and sometimes unjustifiably harsh in his auto characteristics. This is understandable. 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 keep clear traces of symbolism: an abundance of nebulae, aloofness from time, a general tonality reminiscent of either the early Blok, or Sologub, or Bely:
Day does not rise in the efforts of the luminaries,
Do not lay off the baptismal veils of the earth.
But, like the earth, the experienced one is exhausted,
But, like the snow, I fell to the dust of days.
These lines are the original version of the poem "Winter Night", radically revised in 1928:
Do not correct the day with the mouths of the luminaries,
Do not raise the shadows of the baptismal veils.
It's winter on earth, and the smoke of the lights is powerless
Straighten the houses that have fallen into the ground.
Everything is different here. True, the poet is still busy here with “extraneous acuteness,” but a step has been taken, and this is an important step.
Over time, Pasternak's poetry becomes clearer and clearer. The new syllable is felt in such large of his works as “Nine hundred and fifth year”, “Lieutenant Schmidt”, “Spektorsky.” Achieving simplicity and naturalness of the verse, he creates things of rare power. with the artist, evolution was a natural path that sought to reach the very essence in everything.
In everything I want to reach
To the very essence.
At work, in search of a way
In a heartfelt confusion.
Until the essence of the days passed.
Until their cause,
To the foundations, to the roots,
To the core.
The artist believed that the image should not distance the depicted, but, on the contrary, bring it closer, not lead it aside, but force you to focus on it:
There is a river and a frozen talnik in the ice,
And across, on naked ice,
Like a mirror on a mirror
A black firmament is set.
The spiritualized objectivity of "the prose of a gritty grain" ("Anna Akhmatova"), introduced into the poetic fabric, the desire in his art to "be alive" ("To be famous is ugly ..."), the historical truth, supported by dynamic pictures of nature - all this testifies about Pasternak's desire to move away from schools marked by "unnecessary mannerisms."
It's ugly to be famous.
This is not what lifts up.
No need to start an archive
Shake over the manuscripts.
And should not be a single slice
Don't give up on your face
But to be alive, alive and only,
Alive and only to the end.
The world of B. Pasternak's poetry has been expanding all the time, and it is difficult to imagine the extent and form of further expansion, if the poet lived for more years and continued the best that was laid down in his last book "When he roams around."
Nature, the world, the secret of the universe,
I am your long service.
Embraced by a trembling intimate
, In tears of happiness, downtime.
However, the subjunctive “if only” 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 comprehension of society, nature, the spiritual world of the individual. The recognition of the great talent of B. Pasternak was the award of the Nobel Prize to him in 1958.
The legacy of Boris Pasternak is legally 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 a reason for thinking about the fundamental issues of human existence.
Long-familiar objects and phenomena appear before us from an unexpected side. The poetic world is so bright and unique that one cannot remain indifferent to it. The poetry of Pasternak 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 next year the poet published his first collection "Twin in the Clouds". 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 story, giving it many definitions, uses a predicate without a subject. So, for example, he built his poem "In Memory of the Demon".
It must be said that Pasternak, in general, is characterized by an attitude towards poetry as a hard work that requires complete dedication:
Do not sleep, do not sleep, work,
Don't interrupt your work.
Do not sleep, fight nap
Like a pilot, like a star.
Don't sleep, don't sleep, artist,
Don't go to sleep.
You are a hostage of time
Captured by eternity.
Already in the first years of creativity, Pasternak showed those special aspects of talent, which were fully revealed in the poeticization of the prose of life, philosophical reflections on the meaning of love and creativity:
February. Get out ink and cry!
Write bitterly about February,
While the rumbling slush
It burns in black in the 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 was very attentive to their choice. He wanted to avoid clichés, he was repelled by "worn out" poetic expressions. Therefore, in his poems we can find outdated words, rare geographical names, specific names of philosophers, poets, scientists, literary characters.
The peculiarity of Pasternak's poetic style also lies in the unusual syntax. The poet violates the usual norms. It seems to be ordinary words, but their arrangement in the stanza is unusual, and therefore the poem requires careful reading from us:
In the posad, where not a single foot
I did not step, only sorcerers and blizzards
A foot stepped in, in a possessed district,
Where and how the killed, the snow sleeps ...
But what expressiveness such syntax gives to a poetic text! The poem speaks of a traveler lost in the settlement, a blizzard 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 kind of syntax.
Pasternak's associations are also original. They are unusual, but thanks to this 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 "cawing flocks of nines fly from the trees." And then we find the following lines:
The brutal pain, the contractions are getting stronger,
The wind grows stronger, brutalized,
And rooks nines fly,
Black nines of clubs.
The imagery of this poem is deeper than it might seem at first glance. The poet uses here a threefold comparison: rooks - nines of clubs - airplanes. The fact is that the poem was written in 1941, when German planes flew with nines, and their formation reminded the poet of 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 warmed air in a coniferous forest is conveyed:
Rays flowed. Beetles flowed with ebb,
The glass of the dragonflies scurried down their cheeks.
The forest was full of painstaking shimmer,
Like a watchmaker's tongs.
The poetry of Pasternak is the poetry of roads and unfolding spaces. This is how Pasternak defines poetry in the book "My Sister - Life".
This is a cool whistle,
This is the clicking of crushed pieces of ice,
This is a leaf-freezing night
This is a duel of two nightingales.
These are sweet stale peas.
These are the tears of the universe in the shoulder blades,
This - from remotes and flutes -
Figaro Falls down in a hail on the garden bed.
Everything. that the night is so important to find
On deep bathing bottoms,
And bring the star to the cage
On trembling wet palms ...
"Definition of poetry"
In Pasternak's poems you always feel not simulated, but deeply natural, even spontaneous lyrical pressure, impetuosity, dynamism. They have a tendency to sink into the soul, get stuck in the corners of memory. Pasternak's landscape exists on an equal footing with man's rights. Phenomena of nature are like living creatures in him: the rain is stamping on the threshold, the thunderstorm, threatening, breaks into the gate. Sometimes the poet himself writes the rain poetry:
The branches of the downpour are dirty in clusters
And long, long, until dawn
They sprinkle their acrostics from the rooftops.
Blowing bubbles into rhyme.
Primordial purity appears before us in Pasternak's poems and the Urals ("On a Steamer", "Ural 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 he clears up", strings of landscapes will invade the poet's poems, expressing his delight in the natural world.
Throughout his life (especially in his mature and late times) Boris Pasternak was extremely strict with himself, exacting and sometimes unjustifiably harsh in his auto characteristics. This is understandable. 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 keep clear traces of symbolism: an abundance of nebulae, aloofness from time, a general tonality reminiscent of either the early Blok, or Sologub, or Bely:
Day does not rise in the efforts of the luminaries,
Do not lay off the baptismal veils of the earth.
But, like the earth, the experienced one is exhausted,
But, like the snow, I fell to the dust of days.
These lines are the original version of the poem "Winter Night", radically revised in 1928:
Do not correct the day with the mouths of the luminaries,
Do not raise the shadows of the baptismal veils.
It's winter on earth, and the smoke of the lights is powerless
Straighten the houses that have fallen into the ground.
Everything is different here. True, the poet is still busy here with “extraneous acuteness,” but a step has been taken, and this is an important step.
Over time, Pasternak's poetry becomes clearer and clearer. The new syllable is felt in such large of his works as “Nine hundred and fifth year”, “Lieutenant Schmidt”, “Spektorsky.” Achieving simplicity and naturalness of the verse, he creates things of rare power. with the artist, evolution was a natural path that sought to reach the very essence in everything.
In everything I want to reach
To the very essence.
At work, in search of a way
In a heartfelt confusion.
Until the essence of the days passed.
Until their cause,
To the foundations, to the roots,
To the core.
The artist believed that the image should not distance the depicted, but, on the contrary, bring it closer, not lead it aside, but force you to focus on it:
There is a river and a frozen talnik in the ice,
And across, on naked ice,
Like a mirror on a mirror
A black firmament is set.
The spiritualized objectivity of "the prose of a gritty grain" ("Anna Akhmatova"), introduced into the poetic fabric, the desire in his art to "be alive" ("To be famous is ugly ..."), the historical truth, supported by dynamic pictures of nature - all this testifies about Pasternak's desire to move away from schools marked by "unnecessary mannerisms."
It's ugly to be famous.
This is not what lifts up.
No need to start an archive
Shake over the manuscripts.
And should not be a single slice
Don't give up on your face
But to be alive, alive and only,
Alive and only to the end.
The world of B. Pasternak's poetry has been expanding all the time, and it is difficult to imagine the extent and form of further expansion, if the poet lived for more years and continued the best that was laid down in his last book "When he roams around."
Nature, the world, the secret of the universe,
I am your long service.
Embraced by a trembling intimate
, In tears of happiness, downtime.
However, the subjunctive “if only” 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 comprehension of society, nature, the spiritual world of the individual. The recognition of the great talent of B. Pasternak was the award of the Nobel Prize to him in 1958.
The legacy of Boris Pasternak is legally 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 a reason for thinking about the fundamental issues of human existence.
Music
The house towered like a watchtower.
Along the cramped coal staircase
Two strong men carried the piano,
Like a bell to a bell tower.
They dragged up the piano
Over the wide city sea
As with the commandments tablet
To the stone plateau.
And now there is an instrument in the living room,
And the city is in a whistle, noise, din,
Like underwater at the bottom of legends
Downstairs remained underfoot.
Resident of the sixth floor
I looked at the ground from the balcony,
As if holding it in my hands
And powering it legally.
Back inside, he played
Not someone else's play
But my own thought, chant,
The hum of the Mass, the rustle of the forest.
The roll of improvisations carried
The boulevard in the rain, the sound of the wheels
Street life, the fate of loners.
So at night, by candlelight, in return
Former naivety simple,
Chopin wrote down his dream
On a black music stand.
Or outstripping the world
For generations four,
On the roofs of city apartments
The flight of the Valkyries thundered like a thunderstorm.
Or conservatory hall
With a hell of a rumble and shake
Tchaikovsky shook to tears
The fate of Paolo and Franchenko.
Features of the late lyrics of Boris Pasternak
In many studies concerning Pasternak's work in one way or another, I have come across a judgment that the “early” work of the poet is complex, “later” is simpler; The "early" Pasternak was looking for himself, the "late" - he found; in early work there is a lot of incomprehensible, deliberately complicated, later full of "unheard of simplicity."
The creative path of writers, poets, artists goes through several stages. And this is not always a path from simple to complex, from superficial
to the deep or vice versa.
"Late" Pasternak ("On the early trains" - "When he clears up") is Pasternak, who found new means of creating expression. If in early creativity imagery was largely created through the use of individual linguistic means, then in the later period the poet mostly uses general linguistic units.
The stanza of the verses is very diverse: the stanza can include from four (which is most typical up to ten verses. The originality of the stanzas lies not only in the number, but also in the combinations of long and shortened verses. United by a common thought, the stanza is not necessarily complete and sometimes has syntactic and semantic duration in the next one. I, for example, 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 deduce any regularity in correlating the size of the stanza with the syntactic structure of the sentences filling 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:
Splendor above strength
Carcasses, and sickles, and whitewash,
Blue, crimson and gold
Lviv and dancers, lionesses and dandies.
The raging of blouses, the singing of doors,
Roar of toddlers, laughter of mothers,
Dates, books, games, nougat,
Needles, rugs, races, runs.
This passage presents an example of one of the features of the late Pasternak syntax: the use of a long chain of one-part sentences. Here the author uses an interesting stylistic device: the combination of multi-union and non-union in one stanza. The whole stanza imitates the rhythm of a waltz (time signature "three quarters"), and if in the first half of the stanza (due to the multi-union) the tempo is calm, then in the second - ununioned - half of the stanza the "waltzing" is accelerated, 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 delicious candied fruit
They are tearing like hot cakes for hats.
Stuffy from the treats. Christmas tree in sweat
Drinks the darkness with glue and varnish, -
The first and fourth sentences are two-part, the second is vaguely personal, the third is impersonal.
The syntax of the late Pasternak is characterized by constructions of enumeration of homogeneous members of a sentence. The latter have an external resemblance to the named names mentioned. For example:
Here he is with extraordinary secrecy
The bend has gone beyond the streets,
Rising up stone cubes
Lumps lying on top of each other,
Posters, niches, roofs, pipes,
Hotels, theaters, clubs,
Boulevards, squares, heaps of lime trees,
Courtyards, gates, rooms,
Entrances, stairs, apartments,
Where all passions play
In the name of remaking the world.
("Drive").
In my opinion, this example of sustained non-union is similar to the enumeration technique used by the poet to create expression. Externally, a multifunctional technique internally obeys one pattern: combining things of a different order in one row.
The roll of improvisations carried
Night, flame, thunder of fire barrels,
The boulevard, under the rain, the sound of wheels
Street life, the fate of loners.
(" Music").
Various concepts united 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 centuries, all dreams, all worlds,
The whole future of galleries and museums
All the pranks of fairies, all the deeds of sorcerers,
All the trees in the world, all the dreams of children.
("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,
Lean on your knees
I may be learning to hug
Cross tetrahedral bar
And, losing my feelings, I torn to the body,
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 stanza typical of Pasternak. Metaphoricity is unevenly distributed in it. In the first sentence- The sun goes down - designation of reality, in the second - a detailed metaphor. The result of this organization of the trope 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-controlling in Pasternak, which is confirmed by the absence of regularities in the construction of stanzas and sentences.
The central theme that has passed through the entire work of B. Pasternak is the real world of objects, phenomena, feelings, and 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 the work of Pasternak, internal experiences are often given through the external picture of the world, the landscape-object 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, permeating most of the metaphors and comparisons.
"Early" Pasternak was reproached for the complexity of metaphor and syntax; in later work, complexity is primarily semantic.
Pasternak's poetry did not become simpler, but it became more delicate. In such verses, when attention is not impeded by multi-stage paths, it is important not to miss the metaphors that “hide” behind the outwardly familiar language.
In the lyrics of the late period, phraseological phrases are often found, colloquially everyday vocabulary and colloquial syntax. This is especially characteristic of the cycle "On Early Trains", from which, according to the researchers, the "new", "simple" Pasternak began.
In the early period of creativity, the use of colloquial and everyday vocabulary in a poetic context against the general background of interstyle and book vocabulary increased expressiveness, unexpectedness of perception; in later cycles, the use of colloquial and everyday vocabulary is conditioned thematically, 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 in secret, That with miracles in the sieve Winter is full at the dacha extreme ... |
| Phraseologisms with the main features of semantics and structure preserved and an updated lexical and grammatical side |
Parting will eat them both, Longing with bones will eat them. In it, and this year, I would live a full cup. |
| Phraseologisms given as a free combination of words |
You reach out to him from the ground, As in the days when the results have not yet been summed up on it. |
| Individual-arts. 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 it to the wall of the Manege. |
| Merging of two phraseological units |
Somehow, in the twilight of Tiflis, in winter I raised my foot ... |
| Combining semantically close phraseological units in one context |
Suddenly the enthusiasm and noise of the game, The stomp of the round dance, having fallen into tartarars, sank like into water ... |
Pasternak individualizes phraseological units as much as possible, which is expressed in a significant change in their lexical, grammatical and syntactic structure in accordance with certain artistic tasks.
"When he clears up" - a book of poems as a whole
The book of poems "When he walks around" (1956-1959) completes the work of B.L. Pasternak. The more important and interesting is its linguistic comprehension in terms of the creativity of the poet, his predecessors and contemporaries.
In connection with the problem posed, I will be interested in two factors: compositional ordering 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 viewed the book as an independent organism. The poet himself pointed to the organizing role of the three poems: this is the initial poem-credo "In everything I want to get through ..."; then - the culminating "When it will clear up ...", by the name of which the entire book is named, reflecting a turning point in the life of both the poet and the country, and in which the worldview of the late Pasternak is openly expressed; the final one is "The Only Days", in which the theme of time dominates, one of the main ones for Pasternak. In the first poem, all the themes of the book are pulled together 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 combinations of poems is obvious, in each of which some part of the bi-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 in the foreground 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 read, there is nothing more of this, it has already passed and has taken place, a huge period of unheard-of strength is over and past. An immensely large, still empty and unoccupied place for the new and not yet experienced has been freed up ... "
Each of the named cycles has an internal structure, internal dynamics of themes and images. And all this complex construction 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 a phenomenon, an image, a word; the second principle is the connection, the rapprochement of different, distant, dissimilar.
The phenomenon, event, thing, object are bifurcated. They can have contrasting, sometimes mutually exclusive properties. Time moves non-stop ( Maybe year after year Follows like snow falls, Or like words in a poem), and even a moment can stretch to eternity ( And the day lasts longer than a century). Space, like time, is limitless and endless ( So they look into eternity from the inside In the shimmering crowns of insomnia Saints, schemniks, kings ...), but it is also enclosed in certain boundaries, frames, has a form.
The image bifurcates either visually or verbally: the same thing is called twice, as if dividing, and to achieve this effect, a trope can also be duplicated, or expressively stylistically.
A word or phrase is bifurcated, 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 manifests itself in "rapprochement":
Divorced in the everyday consciousness of the phenomena of reality (which underlies the construction of tropes)
Divorced in the everyday consciousness of linguistic phenomena (prosaic and poetic speech; various stylistic layers)
Divorced 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 can be a condition that usually the phenomenon itself causes in a person. Phenomena enter into human relations not only with each other, 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 ethereal materializes, takes shape or becomes unsteady, viscous. Poems also materialize, acquiring the status of a natural phenomenon or structure. The 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 serves as a basis for comparison.
II. The convergence of prose and poetry in Pasternak is mutual: "His poetry is directed towards prose, as well as prose towards poetry" (Likhachev)
The ultimate tension of feeling in prose - from the lyrics, the reliability of the details, the simplicity of syntactic constructions - from the narrative prose.
The convergence with prose is manifested, in particular, in the fact that colloquial vocabulary, vernacular, outdated or regional words freely enter the lyric verse. All these lowered layers do not contrast with the bookish, poetic or highly expressive vocabulary, but "are placed in one common layer of lyric utterance", with a clear predominance of "not high" vocabulary.
Behind the simplicity and "comprehensibility" are hidden the most skillful, as if not noticed by the poet, linguistic "mistakes". However, the fact that verses are literally permeated with them testifies that for Pasternak they were a deliberate technique. These are "mistakes" associated primarily with the 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 selected from words of both one semantic series with the substituted 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.
Violation of syntactic compatibility is most constantly associated with the omission of a dependent noun or the setting of a dependent noun with a word that usually does not have such control.
III. The convergence of traditional and non-traditional poetic phenomena can be traced through examples of poetic images and ways of combining words in a poetic line. Pasternak also continued the tradition of constructing a poetic line on the basis of a usual or associative connection of words. However, the asemantic connection also becomes active, which can be regarded as figurative: each of the words of the line, not connected by the seme with the others, “works” for the image.
Thus, the unity of the book grows from its compositional integrity, from the unity of the considered principles. It is also based on the unity of the pictorial techniques proper. Literary criticism noted the affinity of Pasternak's poetics with the plastic arts: sculpture, architecture, painting. Pasternak's creative workshop is a dyehouse, the laws of perspective are reflected in the movement, the point of the movement is precisely indicated, the direction of which is usually oblique, at an angle. A visual detail is drawn: a separate gnarled maple branch makes a bow, one acorn dangles on a branch, one bird chirps on a branch, yarn rings crawl and curl. Fixing the fact, the details are significant. Theatrical associations are also included in the visual picture: sets, 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, a landscape, expressed by the prevailing high-intensity vocabulary, particles, unions, introductory constructions with modal-evaluative meanings, syntactic elements indicating causal connection of events. Jacobson called Pasternak's poetry “the kingdom of metonymy, awakened for independent existence”. And we find an essential explanation of the metonymic structure of the image of the lyrical hero in Pasternak himself: Never, never, even in the moments of the most donative, forgetful happiness, did the highest and most exciting thing leave them: the enjoyment of the general sculpting of the world, the sense of their responsibility to the whole picture, the feeling of belonging to the beauty of the whole spectacle, to the entire 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 poetry group of the poet and artist Y. P. Anisimov. During these years, serious communication with circles, which were grouped around the publishing house "Musaget".
1912 spring - A one-semester trip to Germany, to the University of Marburg to study philosophy with Professor Hermann Cohen.
1913 - Graduated from Moscow University.
1913 - In the anthology of the Lyrica group, Pasternak's poems were first published.
1914 - the first collection "The Twin in the Clouds", with a foreword by Aseev.
Pre-revolutionary - participates in the futuristic group "Centrifuge".
1917 - the second collection "Above the Barriers" was published.
1922 - the collection that brought fame to Pasternak is published - "My sister is life."
20s - friendship with Mayakovsky, Aseev, partly due to this relationship with the literary association "LEF".
1916-1922 - collection "Themes and Variations".
1925-26 - the poem "Nine hundred and fifth year".
1929-27 - the poem "Lieutenant Schmidt".
1925 - the first collection of prose "Childhood Luvers".
1930 - autobiographical prose "Security Certificate".
1932 - the book of poems "The Second Birth" is published
1934 - Pasternak's speech at the first all-Union congress of Soviet writers, followed by the time of Pasternak's long publication. 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 of the first chapter of the novel.
1954 - published in the magazine "Banner" 10 poems from the novel "Doctor Zhivago".
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 latest collection "When will clear up".
October 23, 1958 - the decision of the Nobel Committee to award the Nobel Prize to Pasternak;
the writer's refusal from the award due to persecution in the country.
1987 - The writer was posthumously reinstated in the Union of Writers of the USSR.
1988 - The novel "Doctor Zhivago" was published in our country for the first time in the magazine "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 in the Elysium of the soul day and night, looking at the world from the height of God. To comprehend the perfection of the world - what is the task! In the 20th century it seems the opposite is true ... The boundaries have been shifted. Order ... Who invented it? The mind moves off the familiar, run-in rails; I wanted to turn it over, 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 awful it is to get into this wave. And how not to get into it if you are born again? And you can sculpt your perfection anew. ... How without it? Where can we go without it? The world is beautiful!
Pasternak, by the will of his word, connects the chaotic world of the city, planet, and the Universe. The world is chaotic because it develops and collapses at the same time. Poetry of Pasternak - connecting the fragments. She - streams of seams that do not allow ice floes to spread. His poetry does not flow, but flies in jerks, like blood from 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 more drunk you are with the world around you and yourself. The energy of the world is directed at you, you absorb it and transform it into the energy of the word.
Parsnip is a synthesis of the 19th and 20th centuries. Its forest limits, enchanted thickets, dormant distances, the dusk of the night is not Mayakovsky's monumentality and not being wielded by the masses. These are details and details. A fraction of drops, and the thinness of icicles cannot be compared with a giant column, with the iron of trains. The detailed world of Pasternak is not the fragility of the Fetov world, where the smell of roses spreads in the “gentle breath of grass and flowers”, and in the azure night one can hear a whisper about the delight of a date. Pushkin's extinct gaiety and Lermontov's alienation to everything are canceled by Pasternak's crazed clicking of birds, a raging, stupefied ravine, a wave splash, a flap of a wing, a conversation about everything.
The purpose of my work is to consider the features of Pasternak's late lyrics, to find the 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 he roams around."
Brief analysis of the poem "Music"
Few have read Pasternak's poems, 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, in childhood he wanted to devote his life to it, and, obviously, if it were not for Pasternak's categoricalness in demanding the absolute, Scriabin's certain arrogance towards the young musician, the poet's fate could have been different. 15 years of his life devoted to music, writing, not only objectively presuppose 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. For this reason, music is not an independent theme of creativity, it is consonant with love, suffering, it marks the rise of creativity, the state of inspiration, Pasternak's music voices steps in cultural space, time.
"Music" is one of those poems that are fully revealed only to a thoughtful and knowledgeable reader. Of course, just take and see what the words "chorale" (a piece of music in the form of a religious polyphonic chant), "mass" (a choral piece based on the text of a Catholic 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 "Flight of the Valkyries" is an episode from the musical drama of Richard Wagner, one of the greatest composers in the world, you will understand what it is: "ahead of the world by four generations." Only if you have heard Wagner's music, you will find its echo in two lines: “The flight of the Valkyries thundered across the roofs of city apartments”, where the poet did not accidentally collect so many solid “GK”, so many rolling “R”. If you know that, inspired by reading Dante, Tchaikovsky wrote the symphonic fantasy Francesca da Rimini on the theme of the episode from Hell - The Divine Comedy, you will be able to catch in the word hellish 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 grand piano, an inanimate object (and the fact that it is being carried, dragged only confirms its “objectivity, cumbersomeness”). However, comparisons cause 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 remembered "... like a bell on a veche tower"); he is being dragged as “a tablet with 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 lifted up; both the city and its noise remained below ("like under water at the bottom of legends"). The first 3 stanzas are over. In the next stanza, the musician appears. And although it is called simply and casually: "tenant of the sixth floor", it will sound under his hands, the piano will come to life, will cease to be a dead object. But note that the pianist does not start playing right away. The game is preceded by a moment of silence, contemplation, a look from a height - to the ground. These reflections on the land and power of music should make clear a very unusual combination: "play your own thought" (its surprise is emphasized by the fact that comes after the quite usual "play a piece"). Thought, music embraces, contains everything - the life of the spirit and the life of nature. Nara will melt the strength and power of sounds. "The roll of improvisations" - again an unusual combination, but recalls another, familiar - a roll of thunder. Everything is absorbed by music: sounds, colors, light, darkness, the whole world and each person. Look at how a new series of homogeneous members - quite specific words (night, flame) - unexpectedly ends with two nouns of a completely different series, a completely different meaning: "the life of the streets, the fate of loners."
But the person sitting at the piano is not alone. The last three stanzas are about this. 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 to which B. Pasternak was striving. The sounds of the piano - "the roll 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 on music, a little later, in his youth, among the futurists, at meetings of a poetry circle, when Pasternak, sitting at the piano, musical improvisation commented on the newcomer.
The idea of the poem "Music" is similar to the one heard in the poem "Improvisation" in 1915 - the world is in sounds, but now these are clear sounds rushing over the city.
In my opinion, the significance 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 for universal harmony. 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 incessantly passing time, like the sound of a bell - the longest musical sound, it is not for nothing that the piano is compared to a bell in the poem:
Two strong men carried the piano,
Like a bell to a bell tower.
The poetic meter, with which the poem was written, I defined as a 4-foot iambic with pyrrhic in place of the 2 and 3 feet. Moreover, the rhyme is precise, masculine-feminine, cross, which is very typical of the "late" Pasternak.
And I would like to finish my analysis with the words of Pasternak himself: “We are dragging everyday life into prose for the sake of poetry. We involve prose in poetry for the sake of Music. "
Bibliography
1. J. "Russian language at school", M., "Education", 1990.
2. E. "Who is who", volume 2, "Education", 1990.
3. J. "Russian language at school", M., "Education", 1993.
4. E. "One hundred great poets of Russia", M., "Bustard", 2004
5. The book of poems by Pasternak "When he roams around", 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", "contemplator", "seeker", "culture", "talent", "in his own way", " subordinated to art "," cut off from everyday life "," poetry and speech "," intuitive understanding of life "- the dominant words characterizing the personality of Pasternak, taken from a variety of responses about the poet, scattered in print, containing, like a code, his fate.
There are always many reasons for being incomprehensible for any truly talented artist. In the case of Pasternak, the question of understanding his poems, his prose has a fatal flavor. The question of the perception of B.L. Pasternak as a reader of the twentieth century, like any question about the perception of art by a person, in my opinion, in its “broadest foundations” it 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, fancifully transform in the individual consciousness, interacting with data from nature, from ancestors with the ability to perceive beauty and circumstances, details, signs, the spirit of reality.
I would like to finish 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 continuation of his thought and speech. "
Municipal educational institution
"Secondary school №99"
Abstract on the topic
“Late lyrics by B.L. Pasternak "
Work completed:
Nekrasova Ekaterina,
student of grade 11 "A".
Checked:
Romanova Elena Nikolaevna,
literature teacher
Kemerovo
1. Introduction ………………………………………………………… ... 3 p.
2.Features of Pasternak's late lyrics ………………………………………………………………………………………………………………………………………………………………………………………………….
3. "When he walks around" - a cycle of poems as a whole …………. 8-11 p.
4. Brief analysis of the poem "Music" …………………… .... 12-13 p.
5. Brief biographical summary ………………………………… .14-16 p.
6. Conclusion ……………………………………………………… ... 17 p.
7. List of used literature ……………………………… .18 p.
8. Review ………………………………………………………… 19 pages.
Review
We know Boris Pasternak as one of the five Nobel laureates in the field of Russian literature. But the fact that he refused the award makes his personality somehow mysterious, extraordinary, and it is this fact that makes one interested in the content of his poems and the novel "Doctor Zhivago". His work opens up for everyone in different ways, sometimes with many questions and answers cannot be read in any of the most complete encyclopedias.
Why do I love Pasternak? "To read Pasternak's poems - to clear your throat, strengthen your breathing, renew your lungs: such verses should be curative from tuberculosis" - this is how Osip Mandelstam said about Pasternak's poems. This is indeed the case. The problems touched upon in his works and values are always relevant and belong to the category of "eternal". Pasternak is this: reading his poems, you heal your soul, for what is expressed in them is deeply natural, spiritual, healthy. The main merit of Pasternak's poetry is unheard of simplicity, the integrity and power of the humanistic thought of his lyrics.
Purpose of work: to contribute to the formation of an idea of the peculiarities of Pasternak's style: the peculiarity of the poet's dictionary, the peculiarity of syntax, the associative rows of his images. The goal defines the following tasks: to compare and analyze the poet's poems and identify features using the example of several poems, to help, on the basis of research work, see the general evolution of the poet's poetry, to contribute to the formation of communicative, linguistic competencies, to instill a love of the word, to educate the analyzing reader. The method of structural analysis was used in the study of his work, the facts of his biography were compared with the feelings of the lyrical hero of the works, during the study, materials from the local history museum and the city library were used. All materials collected by us were summarized and reflected in our research work.
2. Features of the poetic world of Pasternak
You read Pasternak's lyrics slowly, getting used to his extraordinary vocabulary and combination of words, rhythm, intonation, because Pasternak is one of the “difficult” ones. Reading his poems is an occupation that should be equated with creative work. Lines written "sobbing," and the reader immediately has an association with this word "crying sobbing" - uncontrollably, loudly, with sobs, which means that the author composes just as uncontrollably, without restraining himself in feelings, this is why ambiguous images appear in his poems , metaphors and comparisons that seem random or complicated, the emphasized subjectivity of the image - all this makes the author's poetry difficult for the reader. Speaking about understanding the poet's work, one cannot claim one correct interpretation of the author's intention - it hardly exists. It is rather about creating your own explanation of what has been written, your picture of the world, which manifested itself from the reading of lyric lines.
2.1. Poetic Dictionary of Pasternak
The poetic world of Pasternak appears before us in all the richness of the poetic vocabulary, for example, the signs of spring are animated in the poem "March": "The business of spring boils in the hands, like a hefty cowgirl's work ..." Such a comparison allows us to expressively represent the onset of spring, and renews our understanding familiar objects and phenomena, in all the dynamism of the changing pictures of nature and human life. Everything is fine with Pasternak, and even that which ordinary people would not have thought of poeticizing: "the manure smells of fresh air", he is "the life-giving and culprit of everything." As you can see, the poet has no division into high and low, but there is an eternal truth of life, its endless renewal in spring. And in the poem "Indian Summer", on the contrary, nature is shown, which is preparing for a long winter calm: "That everything comes to an end. That it is pointless to clap your eyes when everything is burned before you ... ”In Pasternak's poetic speech, there are no templates and familiar phrases expressing familiar ideas. The arrival of spring ("March") is expressed in the metaphor "The snow is languishing and sick with anemia", "Roofing icicles are thin. Sleepless chatter brooks "," I feel sorry for the patchwork of autumn ... "(" Indian Summer "). Who else would have come to say this about the arrival of spring, because you need to have life experience, and even be a little doctor, in order to combine the arrival of spring in such an oxymoron.
2.2. The syntax of Pasternak's poetic text
An even more difficult stage in comprehending the poet's texts is his syntax. For the poet, it is important, without naming the object of description, to say something so that he appears through the indirect designations "This is a sweet stale peas, These are the tears of the universe in the shoulder blades ..." , what is it about. “You are not the posture of a sweetheart, You are summer with a place in the third grade, You are a suburb, not a chorus” (“Poetry”) - this is a syntactic technique, but it has a purely semantic meaning. The use of one-part sentences (called "February" and the infinitive "Write out loud about February"); sentences with homogeneous members ("Laughter and household hubbub in the house") is characteristic of Pasternak's poetic text. Everything in Pasternak's poems "dictated feeling", it was from his pure soul and open heart. "Poems were composed" of a poetic personality, her life experience, literary education and artistic perception of the constantly changing world.
2.3. Associative series in Pasternak's poetry
The next step in the difficulty of penetrating into the poetic world of Pasternak is his associative series. You can verify this by referring to the poem “February. Get ink and cry! " Crying is used figuratively, i.e. to create, to write and ink dripping from a pen means dripping tears. And as you know, you can cry for joy and happiness, but people are so arranged that you usually cry in moments of despair, disappointment, hopelessness, etc. And only when you “burst into tears” to your heart's content, you find harmony with yourself.
What associations arise with the word "February"? Snow, blizzard, cold, frost, wind ... But there is also "February azure", that is. feeling of imminent spring, snow melting. Already the first proposal states the conflict is still winter and almost spring. The world appears to sound in different ways: here there is smoothness, and rustling, and roar ... All this is the music of the approaching spring - it is spring that becomes the reason for the poet's inspiration, encourages him to creativity. The image of the awakening spring is the outer plane; the process of awakening poetry is an inner plan. Associative rows, a combination of vocabulary of different styles (book and colloquial) enhances expressiveness, surprise of perception. The epithets “rumbling slush”, metaphors “the wind is pitted with screams”, comparisons “rooks like charred pears”, historicism “carriage” of “hryvnias”, the method of destroying the phraseology “cry bitterly” - “write sobbing” - enhances the growing sense of the poet's drama. In the repetition "get ink", "get a carriage" - reality and flight of imagination are coupled. With the artist's keen eyesight, the poet sees the image of a “burning” spring, filled with the music of renewal, the transformation of the world, washed by a noisy shower that washes away everything ordinary. Concrete, real external images are filled with hidden meaning; feelings, sensations, experiences intensify, grow - the lyrical hero, breaking through into the world of the renewing, flow of life that has fallen upon him, acquires the ability to "compose poetry", "write sobbing about February."
The reality of poetry is raised to the reality of nature, nature and poetry are equalized: the inclusion of the poet in the world of living nature gives him the ability to hear the many sounds of the awakening world.
3. Conclusion
Surprisingly transparent linguistic images, which do not lose their expression and depth, appear before the reader while reading the poet's poems. But under the external simplicity, the concreteness of poetic images, lies the richness of the verse. Poeticity, expressiveness is created not by an abundance of linguistic means, but by an unexpected combination of the simplest, well-known words.
In the work of Pasternak, that "unheard of simplicity" emerges, which comes from the "experience of great poets", our unfading Russian poetic classics. B.L. Pasternak himself said this very well:
In kinship with all that is, reassuring
And knowing with the future in everyday life,
It is impossible not to fall to the end, as in heresy,
Into unheard of simplicity.
Bibliography
Pasternak B. Poems. Poems. Prose. Moscow, TKO "AST" Olympus, 1996.
Pasternak B. Questionnaires, applications, petitions (autobiography) 1920. Russian speech, 1992, no. 4. S. 38-39.
Soviet encyclopedic dictionary. Edited by A.M. Prokhorov. 4th ed. M., "Soviet Encyclopedia", 1990.
Shansky N.M. Linguistic analysis of the poetic text: Book. For the teacher / N.M. Shansky. - M .: Education, 2002 - 224 p.
Shafikova Regina, Mendeleevsk, MBOU "Gymnasium No. 1", grade 11
Academic Supervisor: Pereina Milyausha Talgatovna