EntranceIt’s easy to wake up and see through the rubbish of words. “Loving others is a heavy cross...” B
All the people and all the events in your life came into it because you attracted them. Now you have to choose what to do with them.
As soon as you completely concentrate the power and energy of your mind on what you love, prosperity will fill your life and all your desires will come true easily and simply.
If you stay in place and don’t move forward, everything fades and loses its meaning. Both in work, in relationships, and in life.
When things get really bad and you want to leave your life, leave... Just not yours. There will be many more happy moments in yours... Leave the lives of those people with whom you feel bad.
Since your mind has not comprehended great truths -
It's funny to worry about petty intrigues.
Since God in heaven is always great -
Be calm and cheerful, appreciate this moment.
Fear is your best friend and your worst enemy. It's like fire. You control the fire - and you can cook with it. You lose control over it, and it will burn everything around and kill you.
If in the morning you hug something other than your pillow,
And everyone can wish for pleasant dreams at night.
And you brew two mugs of coffee in the morning -
You have found everything in life, all you have to do is hold on to it!!!
One day someone will need you like air, and someone will need you like air.
Love is the stimulus for life, its meaning, its content. Without love, you lose the taste of life, the taste of desires, the taste of passion. Loving is both difficult and easy, both bitter and sweet. But it is so necessary!
You see, we quarrel all the time. We can't be together, right?
- Do you like cherries?
- Yes.
- Do you spit out the bones when you eat it?
- Well, yes.
- It’s the same in life. Learn to spit out the seeds and love cherries at the same time!
And you are beautiful without gyrations,
And your beauty is a secret
It is tantamount to the solution to life.
In spring the rustling of dreams is heard
And the rustle of news and truths.
You come from a family of such fundamentals.
It's easy to wake up and see clearly,
Shake out the verbal trash from the heart
And live without getting clogged in the future,
All this is not a big trick.
Analysis: Already in the first lines of the poem the main idea of the work is stated. The lyrical hero singles out his beloved, believing that the beauty of this woman is in simplicity. But at the same time, the heroine is idealized. It is impossible to understand and unravel it, therefore “the charms of its secret are tantamount to the solution to life.” The poem is a confession lyrical hero who can no longer imagine his life without his beloved.
In this work, the author touches only on the theme of love. He does not address other problems. But, despite this, the deep philosophical meaning of this poem should be noted. Love, according to the lyrical hero, lies in simplicity and lightness:
In spring the rustling of dreams is heard
And the rustle of news and truths.
You come from a family of such fundamentals.
Your meaning, like air, is selfless.
The beloved of the lyrical hero is part of the force that is called truth. The hero is well aware that one can very easily get away from this all-consuming feeling. You can wake up one day, as if after a long sleep, and no longer plunge into such a state:
It's easy to wake up and see clearly,
Shake the verbal rubbish out of your heart.
And live without getting clogged in the future,
All this is a little trick.
But, as we see, the hero does not accept such a deviation from his feelings.
The poem is written in iambic bimeter, which gives the work greater melody and helps subordinate it to the main idea. The love in this poem is as light as its meter.
Pasternak turns to metaphors, which he often uses in his text: “the delights of a secret,” “the rustle of dreams,” “the rustle of news and truths,” “shake verbal dirt out of the heart.” In my opinion, these paths give this amazing feeling great mystery, inconsistency and, at the same time, some kind of elusive charm.
In the poem, the poet also resorts to inversion, which, to some extent, complicates the movement of thought of the lyrical hero. However this technique does not deprive the work of lightness and some airiness.
The poet conveys the feelings and experiences of the lyrical hero with the help of sound recording. Thus, the poem is dominated by hissing and whistling sounds - “s” and “sh”. These sounds, in my opinion, give this amazing feeling greater intimacy. I think these sounds create the feeling of a whisper.
Pasternak considers the state of love to be the most valuable thing a person has, because only in love do people show their best qualities. “Loving others is a heavy cross...” is a hymn to love, its purity and beauty, its irreplaceability and inexplicability. It must be said that before last days it was this feeling that made B.L. Pasternak strong and invulnerable, despite all the difficulties of life.
For the poet, the concepts of “woman” and “nature” are fused together. Love for a woman is so strong that the lyrical hero begins to feel subconsciously dependent on this emotion. He does not imagine himself outside of love.
Despite the fact that the poem is very small in volume, it is nevertheless very capacious in ideological and philosophical terms. This work attracts with its lightness and simplicity of the truths hidden in it. I think this is where Pasternak’s talent manifests itself, who knew how to find the truth in sometimes difficult situations, which is perceived very easily and naturally.
The poem “Loving others is a heavy cross...” became, in my opinion, the key work about love in Pasternak’s work. To a large extent, it became a symbol of the poet’s work.
Size – 4 iambics
PINES
In the grass, among the wild balsams,
Daisies and forest baths,
We lie with our arms thrown back
And raised my head to the sky.
Grass on a pine clearing
Impenetrable and dense.
We'll look at each other again
We change poses and places.
And so, immortal for a while,
We are numbered among the pine trees
And from diseases, epidemics
And death is freed.
With deliberate monotony,
Like an ointment, thick blue
Lies bunnies on the ground
And gets our sleeves dirty.
We share the rest of the red forest,
Under the creeping goosebumps
Pine sleeping pills mixture
Lemon with incense breathing.
And so frantic on blue
Running fire trunks,
And we won’t take our hands off for so long
From under broken heads,
And so much breadth in the gaze,
And everyone is so submissive from the outside,
That somewhere behind the trunks there is a sea
I see it all the time.
There are waves above these branches
And, falling off the boulder,
Shrimp rain down
From the troubled bottom.
And in the evenings behind a tug
Dawn stretches across traffic jams
And leaks fish oil
And the hazy haze of amber.
It gets dark, and gradually
The moon buries all traces
Under the white magic of foam
And the black magic of water.
And the waves are getting louder and higher,
And the audience is on the float
Crowds around a post with a poster,
Indistinguishable from a distance.
Analysis:
The poem “Pines” can be categorized according to genre landscape-reflection. Reflection on eternal concepts - time, life and death, the essence of all things, the mysterious process of creativity. Considering that during this period the destructive wave of the Second World War was rolling across Europe at full speed, these poems sound especially heartfelt, like an alarm bell. What should a poet do in such terrible times? What role can he play? Pasternak, being a philosopher, painfully sought the answer to these questions. All of his work, especially the late period, suggests that the poet is trying to remind humanity of beautiful and eternal things, to return to the path of wisdom. Creative people always see beauty, even in ugly things and events. Isn't this the main calling of an artist?
The simplicity with which “Pines” was written, the prosaism, the description of the most ordinary landscape - all this borders on the sacred, evokes an inexplicably painful feeling of love for the homeland, real, hardwired into the subconscious at the genetic level. Iambic tetrameter with pyrrhic The poet chose the size subconsciously; I don’t want to believe in other reasons for this choice. There is something pagan, eternal in the way these verses sound. It is impossible to remove or rearrange the words; they are woven into a single wreath. Everything is natural and irreplaceable, just like Mother Nature. The heroes ran away from the bustle, civilization, murder and grief. They merged with nature. Are they asking Mother for protection? We are all children of a huge planet, beautiful and wise.
Size – 4 iambics
FROST
The silent time of leaf fall,
The last geese are shoals.
No need to get upset:
Fear has big eyes.
Let the wind cosset the rowan tree,
Scares her before bed.
The order of creation is deceptive,
Like a fairy tale with a good ending.
Tomorrow you will wake up from hibernation
And, going out onto the winter surface,
Again around the corner of the water pump
You will stand rooted to the spot.
Again these white flies,
And the roofs, and the Christmas grandfather,
And the pipes and the lop-eared forest
Dressed as a jester in fancy dress.
Everything became icy in a big way
In a hat right up to the eyebrows
And a sneaking wolverine
The path dives into a ravine.
Here is a frost-vaulted tower,
Lattice panel on the doors.
Behind a thick snow curtain
Some kind of gatehouse wall,
The road and the edge of the copse,
And a new thicket is visible.
Solemn calm
Framed in carving
Looks like a quatrain
About the sleeping princess in the coffin.
And the white dead kingdom,
To the one who mentally made me tremble,
I quietly whisper: "Thank you,
You give more than they ask."
Analysis: Aesthetics and poetics of B.L.’s lyrics Pasternak, the most extraordinary and complex poet of the twentieth century, is based on the interpenetration of individual phenomena, on the merging of everything sensual.
In a poem "Frost" this is expressed so strongly that it is difficult to understand who the author is telling us about. Does he depict a landscape or paint a person?
Dead leaf fall time
The last geese are shoals.
No need to get upset:
Fear has big eyes.
In fact, lyrical hero inseparable from nature, there are no barriers between them.
The tangled labyrinth of Pasternak’s metaphorical nature seems to grow in “Rime” from line to line. landscape space becomes larger, from one emotion - “no need to be upset”, caused by natural decay, increases to the whole world "and the white dead kingdom".
The poem “Rime” is written not in the first person, but also not in the third, and this is not a paradox, but a filigree mastery.
The endless life of nature freezes in momentary constraint. Frost, a fragile crust of ice, seems to force existence to slow down, which gives the soul of the lyrical hero the opportunity to open up to nature, to dissolve in it.
Main motive works - the motive of the road.
And the more dynamically it moves lyrical plot, the further the hero rushes to understand the complex and multifaceted world, the slower time moves, bewitched by frost. The road here is not a linear path forward, but a wheel of life, "order of creation", in which winter replaces autumn.
The fabulousness and enchantment of natural existence is created through a difficult associative series:
Looks like a quatrain
About the sleeping princess in the coffin
Pushkin motives are not accidental here, because the poem “Rime” is a striving for truth and beauty, which forms the basis spiritual existence, and Pushkin’s lyrics are mesmerizing in their simplicity, harmonious with the elements of the word. In general, the poem is full of references to Russian classical lyrics. You can also see the forest, which looks like a fairytale tower. But behind Pasternak’s fairy tale lies life, such as it is.
Images of Death, filling the poetic space of the last lines, do not create a feeling of doom, although notes indicating mental pain creep into the narrative. But nevertheless, here these motives indicate that consciousness rises to a different, more high level. And like dissonance "dead kingdom" The life-affirming lines of the finale sound:
I quietly whisper: “Thank you”
Their solemnity unites Pasternak's broken syntax into a harmonious artistic structure.
The title of the poem “Rime” is significant. This natural phenomenon B.L. Pasternak attached importance to the transition from one state to another, the path that the lyrical hero makes, he overcomes through a breakdown, and frost is also a fractured stage between autumn and winter, testifying to the whirlwind of life, unstoppable in its forward striving.
Size – 3 amphibrachs
JULY
A ghost is wandering around the house.
Steps overhead all day.
Shadows flicker in the attic.
A brownie is wandering around the house.
Hanging out inappropriately everywhere,
Gets in the way of everything,
In a robe he creeps towards the bed,
He tears the tablecloth off the table.
Don’t wipe your feet at the threshold,
Runs in a whirlwind draft
And with a curtain, like with a dancer,
Soars to the ceiling.
Who is this spoiled ignorant
And this ghost and double?
Yes, this is our visiting tenant,
Our summer summer vacationer.
For all his short rest
We rent out the whole house to him.
July with thunderstorm, July air
He rented rooms from us.
July, dragging around in clothes
Dandelion fluff, burdock,
July, coming home through the windows,
All loudly speaking out loud.
Uncombed steppe disheveled,
Smelling of linden and grass,
Tops and the smell of dill,
The July air is meadow.
Analysis: The work “July”, written by the poet in the summer of 1956 while relaxing at his dacha in Peredelkino, is written in a similar vein. From the first lines, the poet intrigues the reader, describing phenomena from the other world and claiming that “a brownie wanders around the house,” who sticks his nose into everything, “rips the tablecloth off the table,” “runs in in a whirlwind of a draft,” and dances with the window curtain. However, in the second part of the poem, the poet reveals his cards and notes that the culprit of all mischief is July - the hottest and most unpredictable summer month.
Despite the fact that there is no more intrigue, Pasternak continues to identify July with a living being, which is characteristic of an ordinary person. So, in the author’s perception, July is a “summer vacationer” to whom a whole house is rented, where he, and not the poet, is now the full owner. Therefore, the guest behaves accordingly, plays pranks and scares the inhabitants of the mansion with incomprehensible sounds in the attic, slamming doors and windows, hangs “dandelion fluff, burdock” on his clothes and at the same time does not consider it necessary to observe at least some decency. The poet compares July to an unkempt, disheveled steppe who can indulge in the most stupid and unpredictable antics. But at the same time it fills the house with the smell of linden, dill and meadow herbs. The poet notes that the uninvited guest who burst into his house like a whirlwind very soon becomes sweet and welcome. The only pity is that his visit is short-lived, and July will soon be replaced by the August heat - the first sign of the approaching autumn.
Pasternak is not at all embarrassed by such proximity. Moreover, the poet speaks of his guest with slight irony and tenderness, behind which lies a genuine love for this time of year, filled with joy and serene happiness. Nature seems to encourage one to put aside all important matters for a while and join the naughty June in his harmless amusements.
Size – 4 iambics
Sergei Alexandrovich Yesenin
Imagism was part of the literary movement.
the reason for coming to imagism. the desire to find a solution to the most important conflict of life: the revolution that Yesenin dreamed of and to which he devoted his art was increasingly disturbed by the frenzied glow of corpses. imagism stood outside politics. in 1924, the poem “Song of the Great March” was published, which mentioned party leaders Trotsky and Zinoviev.
main themes in creativity:
1. theme of homeland and nature;
2. love lyrics;
3. poet and poetry
the theme of the homeland is one of the broad themes in the poet’s work: from patriarchal (peasant) Rus' to Soviet Russia.
Goy, Rus', my dear,
Huts - in the robes of the image...
No end in sight -
Only blue sucks his eyes.
Like a visiting pilgrim,
I'm looking at your fields.
And at the low outskirts
The poplars are dying loudly.
Smells like apple and honey
Through the churches, your meek Savior.
And it buzzes behind the bush
There is a merry dance in the meadows.
I'll run along the crumpled stitch
Free green forests,
Towards me, like earrings,
A girl's laughter will ring out.
If the holy army shouts:
"Throw away Rus', live in paradise!"
I will say: "There is no need for heaven,
Give me my homeland."
Analysis:
early poem. 1914
Yesenin's image of the homeland is always associated with images of nature. This technique is called psychological parallelism
In this poem, the poet glorifies the patriarchal principles in the life of the village, “huts in the robes of the image,” “Through the churches, your meek Savior.”
in the poem one can hear sadness over the passing patriarchy. and this once again proves the boundless love for one’s land.
the poet renounces paradise, accepting any homeland.
Yesenin admires the discreet beauty of nature “the poplars are withering away”
in its early poetry the poet is pleased with everything that he notices in nature.
the poem is similar to a folk song. epic motifs.
visual and expressive means:
metaphor, “blue sucks the eyes,” which expands the space of the verse.
comparison,
antithesis
“Loving others is a heavy cross” Boris Pasternak
Loving others is a heavy cross,
And you are beautiful without gyrations,
And your beauty is a secret
It is tantamount to the solution to life.In spring the rustling of dreams is heard
And the rustle of news and truths.
You come from a family of such fundamentals.
Your meaning, like air, is selfless.It's easy to wake up and see clearly,
Shake out the verbal trash from the heart
And live without getting clogged in the future,
All this is not a big trick.
Analysis of Pasternak’s poem “Loving others is a heavy cross”
Boris Pasternak's personal life was full of fleeting romances and hobbies. However, only three women were able to leave an indelible mark on the poet’s soul and evoke a feeling that is commonly called true love. Boris Pastrenak married quite late, at 33, and his first wife was the young artist Evgenia Lurie. Despite the fact that the spouses were crazy about each other, quarrels constantly broke out between them. The poet's chosen one turned out to be a very hot-tempered and capricious lady. Plus, she considered it beneath her dignity to be involved in arranging her life while another unfinished painting was waiting for her on the easel. Therefore, the head of the family was forced to take on all the household chores, and within a few years family life I learned how to cook, wash and clean well.
Of course, Boris Pasternak and Evgenia Lurie had a lot in common, but the poet dreamed of family comfort and that there would always be an ordinary person next to him, devoid of creative ambitions. Therefore, when in 1929 he was introduced to the wife of his friend pianist Heinrich Neuhaus, he literally fell in love with this modest and sweet woman from the first moments. During one of his visits to a friend, Boris Pasternak read several of his poems to Zinaida Neuhaus, but she honestly admitted that she did not understand anything about them. Then the poet promised that he would write especially for her in a simpler and more accessible language. At the same time, the first lines of the poem “Loving others is a heavy cross” were born, which were addressed to his legal wife. Developing this theme and turning to Zinaida Neuhaus, Pasternak noted: “And you are beautiful without convolutions.” The poet hinted that the subject of his hobbies was not distinguished by high intelligence. And this is what most attracted the author in this woman, who was an exemplary housewife and fed the poet excellent dinners. In the end, what had to happen happened: Pasternak simply took Zinaida away from her legal husband, divorced his own wife and remarried the one who for many years became his true muse.
What the poet admired about this woman was her simplicity and artlessness. Therefore, in his poem he noted that “your charm is tantamount to the secret of life.” With this phrase, the author wanted to emphasize that it is not intelligence or natural attractiveness that makes a woman beautiful. Her strength lies in her ability to live according to the laws of nature and in harmony with the world around her. And for this, according to Pasternak, it is not at all necessary to be an erudite person who is able to support a conversation on philosophical or literary themes. It is enough just to be sincere, to be able to love and sacrifice yourself for the sake of a loved one. Addressing Zinaida Neuhaus, the poet writes: “Your meaning, like air, is selfless.” This simple phrase is full of admiration and admiration for a woman who does not know how to pretend, flirt and conduct small talk, but is pure in thoughts and actions. Pasternak notes that it is not difficult for her to wake up in the morning and “shake out the verbal trash from her heart” in order to start the day with a clean slate, joyfully and freely, “to live without getting clogged in the future.” It was this amazing quality that the poet wanted to learn from his chosen one, and it was precisely this kind of spiritual purity, balance and prudence that he admired.
At the same time, the author noted that loving such a woman is not at all difficult, since she seemed to be created for a family. Zinaida Neuhaus became for him an ideal wife and mother, who won his heart with her selfless care for loved ones and the desire to always come to the rescue in difficult times.
However, touching affection for his wife did not prevent Boris Pasternak from again experiencing the pangs of love in 1946 and starting an affair with an employee of the magazine “ New world» Olga Ivanskaya. But even the news that his chosen one was expecting a child did not affect the poet’s decision to preserve his own family, in which he was truly happy.
In memory of Evgeny Borisovich Pasternak
Loving others is a heavy cross,
And you are beautiful without gyrations,
And your beauty is a secret
The answer to life is tantamount to .
In spring the rustling of dreams is heard
And the rustle of news and truths.
You come from a family of such fundamentals.
Your meaning, like air, is selfless.
It's easy to wake up and see clearly,
Shake out the verbal trash from the heart
And live without getting clogged in the future.
All this is not a big trick.
1931
Addressed to the poet’s new lover and future second wife, Zinaida Nikolaevna ( Eremeeva-Neuhaus-Pasternak), this poem (hereinafter referred to as LI) largely bears the imprint of her image. As you know, Zinaida Nikolaevna immediately told Pasternak that she did not really understand his early poems; he replied that he was “ready to write easier for [her].” 1
Pasternakovathe lyrics of the early 1930s really showed a new style aimed at unheard of simplicity, and LI, written in a fundamentally “simple” way, develops the idea that truth lies in artless liberation from painful and unnecessary complexity. But, updating, voicing rustle of news, the manner remains recognizable Pasternak's, initially “complex”, and perhaps the main secret of LI is the combination of two opposing techniques.
1. Vocabulary and grammar. Simplicity is realized in LI primarily at the lexical level. There are no foreign words here (like vin gai, vin triste, homo sapiens), nor barbarisms á la Northerner (such as dressing table, cocoa, blinds; the only borrowing secret, - has long been part of the everyday lexicon), nor sought-after terminological rarities, archaisms and dialectisms (such as finish, strong darkness, highway, shoulder blades [peas]), requiring subpage author's explanations. Even words with sublimely spiritual semantics ( cross, secret, solution, foundations, truths, equivalent, see the light) are emphatically elementary, and the vocabulary is deliberately simple ( shake out the rubbish) does not go beyond the conversational norm.
The syntax is extremely simple, especially compared to early poems. All sentences are simple or complex, but not complex. The peaks of “subordination” are comparative turnover like air and participial phrase without clogging related to the repertoire simple sentence and expressing precisely the rejection of everything superfluous. Another complication, but again within the boundaries of simple syntax, is the use of infinitives, once in the 1st line, and then four times in the 3rd stanza. This is also an example of combining extremes, not only simplicity and complexity, but also statics and dynamics. 2
The fact is that the text of LI is constructed as a system of static identities. All predicates are nominal: each consists of an omitted connective [ There is], expressing the fact of predication, and the nominal part - a noun or adjective ( cross, beautiful, secret, equivalent, audible, easy, cunning), carrying the semantic predicate itself. Infinitive construction L to celebrate [There is]cross immediately sets a compromise between a dynamic verbal beginning and a static nominal one. The main lyrical verb of the poem acts as the subject, but it also appears in imperfect form and in the form of the indefinite mood, functionally close to the verbal noun and meaning not an action or event, but the state of the subject.
In the subsequent lines of stanza I, staticity and generality are consolidated, and in stanza II, a dynamic revival begins - spring comes, everything rustles, rustles, and is renewed. However, this coming into motion is packaged in the format of a nominal predicate with a passive, imperfect participial form ( audible), and into fixed, although initially predicate, nouns ( rustle, rustle, news). In the second half of the stanza the movement stops and panchronous movements return truth.
In stanza III, the motif of awakening is picked up again. The text is saturated with verbs, which, while remaining infinitives and subjects, are decisively activated. Firstly, they now appear predominantly in perfective forms, denoting processes directed towards a goal and even one action ( wake up and see the light;shake out). Secondly, infinitives move from the initial position (which love occupied in I) in the final - under logical emphasis and rhyme.
But after this burst of activity, which the indefinite mood both restrains and hypostatizes, proclaiming a new program of life 3, calm comes. It is introduced first by two non-personal forms of an imperfect form, projecting into the newly panchronic future the true state that, having been achieved ( live), will only require maintenance ( without clogging). Complete panchronic calm is marked (in the last line of the poem) by the return of an elementary simple sentence with a dropped connective.
The interweaving of simplicity and complexity is also manifested in the way syntactic proliferation is handled by independent clauses, without resorting to hypotaxis - the use of subordinate clauses. 4
The first stanza contains a three-part conjunction (with conjunctions A And AND), with the third sentence being equal in length to the sum of the first and second, giving the classic summation (1+1+2).
The second stanza again consists of three independent sentences, but with a mirror reversal of the length of the parts (2+1+1), and the first is formed by one predicate ( audible) with two homogeneous subjects.
In stanza III, the first sentence already covers three lines: all four infinitives are homogeneous subjects in it, and the nominal predicate is easily(contrasting in meaning to heavy from the initial LI line). This is followed by a one-line summary sentence (3+1 scheme), which in its brevity echoes the simplification of syntax - the rejection of infinitive constructions.
All these expansions and contractions take place strictly within the framework of entire stanzas and lines - without enjambments, which are actually frequent in Pasternak. A special “modest virtuosity” consists precisely in saturating the text with a variety of rhetorical moves, but without rhythmic-syntactic convolutions and tricks. We have already considered some of its aspects: working with simple and complex sentences of different lengths, with homogeneous subjects of one predicate, with nominal predicates and infinitive subjects, with comparative and participial phrases. Others, in particular the hidden complexity/dynamism of a number of predicates, we touched upon only briefly and now we will dwell on them in more detail.
2. Logic, semantics. As was said, the nominal part of the nominal predicate is a predicate, that is, some correlation of concepts. If the subject is a verb (for example, love), two predicates turn out to be connected.
Loving others is a heavy cross This means, translated into the language of logical prose, something like this:
When someone loves a person (woman) of a certain type, it is equivalent to the fact that the lover undertakes to suffer heavily (from this person / such love).
The first predicate is expressed quite directly - by a verb, although in a complex, infinitive form, the second - by the construction Adjective + Noun, that is, syntactically simple, but semantically more complex - due to the internal complexity of the phrase heavy cross, and more compact - due to its idiomatic nature.
In the 2nd line the situation seems to be simplified - the role of the subject is taken over by the personal pronoun You. But at the same time it becomes more complicated, since to a simple nominal predicate beautiful definition is added without convolutions, complex in form (a noun with a preposition) and non-standard in meaning. The formula “to be beautiful without convolutions” connects two very dissimilar predicates with each other and forms a phrase that is much more complex than the usual heavy cross from 1st line . However, this bold turn of phrase was partly prepared: the pretext without explicates the negation implied in the semantics of the word other and announced by the opposing union A. 5
The following sentence is both transparent in its structure and marks a new level of logical complexity. Transparency is ensured by lexical synonymy ( secret - solution) and syntactic symmetry (which is slightly broken only by the “extra” pronoun yours in the subject group):
Subject: charms... secret(noun + disagree. define. in gen. hell.) - Nominal Predicate: [ There is] equivalent(short adj.) - Addition: the solution to life(noun + disagree. define. in gen. hell.).
Transparency is also enhanced by the fact that the link [ There is], still omitted, is spoken out loud here in the form of a full adjective equivalent- a complex word dividing into two roots exactly in the middle.
And thanks to its internal form, built on the idea of equality, logical equivalence, this word not only verbalizes the connective, but also literally reifies it. Without such verbalization, the equation would look shorter, but would sound heavier, more tongue-tied, in the spirit of early Pasternak, something like *AND
The secret of your charms is the solution to life without effort.
All this simplifying technique does not obscure the fact that we are talking about high philosophical matters, about the essence of beauty and the meaning of life, that a predicate from the logical-mathematical dictionary is introduced into the text ( be equivalent) and that a two-story equation is being built, a kind of syllogism:
If it's a secret Ha (your beauty) is equal to the answer to Y ( life), then therefore X ( your beauty) = Y-y ( life), that is You = life, which was what needed to be proven (and is affirmed in one form or another in LI and other verses of the “Second Birth”).
The second root of a compound word is also important for the semantics of the poem. equivalent: an indication of the strength exuded by the heroine and guaranteeing a saving transition from heaviness at the beginning of stanza I to lightness at the beginning of III. 6
The variation of simple identities continues in the second half of stanza II by introducing a more verbose phrase: be from a family + disagree def. in genus hell. pl. h. ( basics). Philosophical basics(and Pasternak in early years was engaged in philosophy) are simplified by transferring to the domestic plane (things are heading towards marriage, and the poet is generally partial to names of kinship), and instead of abstract synonyms (such as number, class, set, category, not uncommon in Pasternak) appears family of foundations, and exactly such, as it should, - unlike those other who were challenged.
The last line of stanza II, comparing meaning beloved with vital necessities, but seemingly devoid of properties by air, continues to develop the apophatic theme of negative virtues without convolutions and closes with an adjective selfless, incorporating the preposition without in the form of a prefix . 7 Structurally, the final two lines of stanza II are relatively simple - there is some syntactic lull before the takeoff coming in stanza III, which will be followed by final calm.The final line is completely freed from predicate complexities in the subject - it becomes a generalized indefinite IN all this, pronominally summing up a series of homogeneous infinitives. And the role of the predicate is again played by the simplest combination Adjective + Noun (such as the initial heavy cross), sounding unpretentious in meaning and colloquial in style.
3. Connotations.The leitmotiv theme of simplicity appears in the characteristic turn of “lightness, non-heaviness, non-difficulty”, sounding quietly in a series of “negative” motives, cf.:
refusal of a heavy cross;
redundancy of convolutions;
the frivolous equation of the secret of female charm with the answer to life;
the ephemerality of the rustle of dreams and other spring rustles;
disembodiment/selflessness of air;
involuntary morning awakening;
impliedproblem-free the transition from physical awakening to existential insight;
purely mechanical discarding of litter and subsequent preventive protection against it;
insignificant scale of an already effort-saving trick.
“Lightness” breathes both in the deliberate simplicity of the text and in some of its ambiguity. A clumsy turn without convolutions echo:
ambiguous junction easy to wake up, interpreted by some readers as Verb + Adverbial (like wake up early, instantly, without difficulty), and not as Subject + Predicate (like P to grow up at dawn is not difficult);
ambiguous sequence not a big trick, which can be interpreted as little trick, that is, approval of some small tricks, whereas what is meant is the idea - and even the linguistic formula itself Little wisdom...;
contradiction between refusal from the convolutions and acceptance tricks, at least on a purely verbal level.
However, all these roughnesses organically correspond to the defiantly improvisational style that Pasternak first practiced in complicated tongue-tied forms, and since the 1930s - in the spirit of colloquial freedom from the conventions of written speech. 8
4. Genre.The poem begins with a rhetorical rejection of certain other, which is contrasted with the traditional addressee of the poem in the 2nd person singular. h. This You and him possessive forms yours, your will dominate the first two stanzas, but will completely disappear in the generalizing third.The focus on generalization and going beyond narrow personal limits manifests itself already in stanza II: in its first half You is absent, and only typical spring changes appear, and in the second, although You And your meaning come back, but You dissolves in a multitude of correct basics Blurring identity You A fundamentally negative way of characterizing it also contributes: without, bes-, you-, no, not. 9 And in stanza III there is no You in general there are no longer any, just as there are no mentions of love, which is echoed by the predominance of the indefinite mood of verbs. The poem, as it were, enters the expanse of general truths about life, leaving behind declarations of love for a specific woman.
In this light, the meaning of the word is of particular interest other in the 1st line. I never thought about it before referential sense, but thinking about it now, I would attribute it to the poet’s first wife, Evgenia Vladimirovna Lurie-Pasternak. 10 E if this is true, then the expression other sounds, on the one hand, like a euphemism softening awkwardness (they say, it’s not about her alone), and on the other hand, like a rude, Soviet-type dismissive gesture ( Others are unaware...). But in light of the generalizing rhetoric of LI as a whole, which in the finale moves away from mentions of the poem’s addressee, my first reaction seems more adequate: it’s not only about Evgenia Vladimirovna at the beginning, not only about Zinaida Nikolaevna in the middle, and not even about love at all at the end .
It can be said that LI oscillates between the poet’s two favorite genres of lyrical discourse: poems about “You” - declarations of love, whether to a woman or a Christmas tree, in the format: * You [are] so-and-so... 11, and poems about “This” - definitions of some more abstract entities in the format: *This is [is] such and such. 12 In comparison with both groups of texts, LI is extremely balanced, free from exclamations, cumbersome enumeration and enjambment, very judicious and axiomatic in the presentation of his system of equations. And by connecting the infinitive series to this in the finale, it also tends to the third typically Pasternak's format: action program in infinitives. 13
5. Phonetics.In development Pasternak's themes of the unity of the universe, varied by diverse manifestations of contact, the most important place is occupied by alliteration and paronomasy, clearly demonstrating phonetic similarity, almost identity different words, and therefore the corresponding objects. It is only natural that in a poem, the leitmotif of which is the equating of different entities according to the principle “this is the same as that” 14, such a technique would find rich application. And indeed, the LI dictionary as a whole, and often individual lines, form a kind of sound continuum, where individual words resonate in various ways and seem to flow into each other. But at the same time, the poem retains an aura of transparent clarity, so different from the improvisational chaos of the poet’s early poems (cf. the characteristic line AND the chaos of the thickets splashes).
Let us sketch, for example, a picture of the alliterations of stanza I:
1st line: three T, two drums And 15 ;
2nd: two And, two r , two h ;
3rd: three T, all three drums - e, including two after r ;
4th: two ra at the beginning of words , two h, three And, of which two are drums, three n.
In the future, this trend continues, only the orchestration focuses on other leading sounds: the consonant With and vowel O in stanza II and on consonants With, r And t and vowel e in III.
But the obvious repetitions of individual sounds do not give an idea of the resulting powerful system of alliterative connections between words throughout the entire space of the text. Here are some impressive chains:
ST: cross - charms - rustle - news - truths - disinterested - shake - cunning;
SN: beautiful - spring - dreams - news - basics - wake up - verbal;
RE: cross - beautiful - charms - secret - to see the light - henceforth.
The chains, as is easy to see, intersect and even overlap, sometimes forming powerful clusters, for example, CRST: cross - secret - selfless. The main network of roll calls consists of more sparse overlays, with one or two common sounds, sometimes in different orders, and sometimes with voicing/stunning, so that the feeling is created not of a catchy equation, but of a kind of blurred unity.
An example would be a series of combinations h followed by a variable consonant ( c, d, n, d, r, s): And sound Ilin - ra zg adke - zhi zn and - in building uh - about sp eat - and z s hearts, after which for the first and only time in the poem h finally appears separately, without an accompanying consonant: n e for quarreling.
And the previous combination h with the sound closest to it With(V from the heart) sounds like it sums up the rich system of parallels between these combinations h+ consonant and numerous combinations With+ consonant.
This is the overflow h V With begins in the rhyme of stanza I, where And h vilin rhymes with equals With Ilen, despite the two preceding the rhyming word h-words : ra h you bastard h neither, but based on beautiful With on And prele With you With secret; it is also effectively presented at the beginning of stanza III: in a pair wake up - see the light, where in a similar morphological and phonetic context With(n ) seems to go into h (r ).
A special layer of “weaving of words” forms a sound that is pulled through the entire text n , interesting in terms of semantic interpretation. Abundant use of consonant n due to a number of factors:
its role as a suffix of adjectives ( beautiful, verbal, equal- 16 ) what's in short forms puts it in the outcome of the word ( audible) and therefore sometimes to rhyme ( equivalent, selfless);
its role as the main consonant of a negative particle ( not clogging, not big) and the adversative pronoun ( other);
to its presence in a considerable number of full-valued words ( convolutions, life, spring, news, truths, dreams, foundations, wake up).
All together this promotes crystallization around n semantic halo, associating “equating adjective" (= function of nominal predicates) with negativity and with cluster " without convolutions - life - spring - news - dreams/awakening - basics - truths - clearness».
It is worth emphasizing that against the background of Pasternak’s early poems, this paronomastics looks rather modest. It is carried out quite carefully and is largely offset by the simplicity and transparency of other aspects of the structure.
6. Rhyming.At first glance, the rhyme structure of LI is more or less simple. Before us are three quatrains of 4 st. iambic with cross rhyme MF. The rhymes are sometimes precise ( dreams/foundations;see the light/henceforth), sometimes not quite ( cross/secret), often deep and rich ([ Shoro ]X dreams/[after all]X basics; shake out /cunning).
Deviations from this simplicity are also largely traditional for Pasternak and consist in giving different rhyme pairs similarities to each other, which increases the unity of the rhyme repertoire.
The rhymes of stanza I are weakly subject to this (except perhaps s/z presented in all four): they set an almost complete initial difference between the pairs, but will later be involved in the process of mutual fertilization.
The rhymes of stanza II are united by common sounds With And n, and With is inherited from most of the rhymes of stanza I, and n- from her even rhymes; in addition, even rhymes ( true/selfless) inherit T from odd rhymes of stanza I ( cross/secret); are inherited from stanza I and grammatical relationships within even rhymes convolutions/equivalent And true/selfless(noun female, gender, plural) / briefly adj. husband. r. units h. in them. pad.), which works for the overall symmetry of structures and maintains proportion the secret of beauty = the answer to life.
In stanza III, the common part of all rhyming words forms a cluster h /With, r, t, which picks up the rhyming material of certain rhymes from previous stanzas (cf. see the light/henceforth With cross/secret, A shake out /cunning With true/selfless).
The single block on which these rhyming roll calls are put is the rhyme on And in the even - and, therefore, final - lines of all stanzas and on e in the odd lines of stanzas I and II. Rhymes on O in the odd lines of stanza II, thus, there is a compositional turn to the side, with a return to the original scheme at the end e-e-e-e, according to the principle of thesis - antithesis - synthesis . Synthesis consists of the enrichment of final rhymes, especially even ones, outlined above, with sound material from previous stanzas. Another detail that attracts attention in the rhymes of the last stanza is the consistent softening T, inherited from previous stanzas: the poem ends with a chord of four rhymes with [- t ]. 17
Long, unsettled chains of imprecise rhymes are a known trait Pasternak's versification. 18 They can form continuous sequences or alternate with other rhymes. There are numerous cases when the same vowel (or consonant) is included in several rhyme series, forming a series of different, but “consonant” rhymes, for example:
play - tear - epigraph - love ;
reasons - reason - lawns - horizon ;
chorale - molokan - picked up - to the clouds ;
across the face - striping - towards the end - kissing ;
paternal - protecting - boiling - (to) thicker .
In LI, such a free, sometimes to the point of disorder, impulse is disciplined within the framework of a regular three-stanza composition, but the effect of free flow increases from stanza to stanza. Rhymes on And form a single imprecise chain: convolutions - equivalent - truths - disinterested - shake out - cunning; the first pair is connected to the second And Andn, and the second and third - and, with, t. Moreover, this chain also accumulates some elements from the first rhymes on e and thus partly hybridizes, at the level of consonants, with a parallel chain: cross - secret - see the light - henceforth.
1. Anagrams?Anagrammatic interpretations of Pasternak’s poems were proposed more than once: in some lines the surname was read Bryusov, in others - Bach, thirdly - Scriabin, fourthly - the name Elena(Grapes), especially since Pasternak also has an acrostic poem MARINE TSVETAEVA. I paid tribute to this in the analysis of Neuhaus’s “Ballad”, trying to discern anagrams of the name in the text Harry. There I quickly pointed out the possibility of a similar encryption in the “Second Ballad” (dedicated, in conjunction with the first, to Z. N. Neuhaus) named Zina- in lines with appropriate rhymes and alliterations ( birch and aspen - back - canvas - two sons - life long night...). 19
“I really liked both poems,” admitted Zinaida Nikolaevna. 20 It is possible that in the slightly later LI addressed to her, Pasternak used partly the same allusive rhyme (on And) and put it in the strongest structural position. Some arguments in favor of this have, in fact, already been outlined above - when considering alliterative games with h , With And n and their combinations with other consonants. I'll add that in the line AND live without getting dirty in the future, there is a verb next to it live(referring to the solution to life) and sequence of syllables NOT FOR, that is, with permutation, ZINA.
Unfortunately, these fascinating guesses contradict the obvious shift of attention in the final stanza of LI from individuals to general truths, and are generally unprovable. Now, if we could find real evidence - let’s say that in the home circle the poem was called nothing less than “Zina”!.. This would be the key to everyone.
LITERATURE
Broitman S. N. 2007.Poetics of Boris Pasternak's book “My Sister is Life.” M.: Progress-Tradition.
Gasparov M. L. 1997.Poem by B. Pasternak // Aka . Selected works. T. 3. About verse. M.: Languages of Russian culture. pp. 502-523.
Zholkovsky A.K. 2011.Poetics of Pasternak. Invariants, structures, intertexts. M.: UFO.
Pasternak B. L. 2004. Complete set of works. In 11 volumes / Comp. And
This poem was written in 1931. The creative period since 1930 can be called special: it was then that the poet glorified love as a state of inspiration and flight, and came to a new understanding of the essence and meaning of life. Suddenly he begins to understand earthly feeling differently in its existential, philosophical meaning. An analysis of the poem “Loving others is a heavy cross” is presented in this article.
History of creation
The lyrical work can be called a revelation, since in it Boris Pasternak captured the difficult relationship with two significant women in his life - Evgenia Lurie and Zinaida Neuhaus. The first lady was his wife at the very beginning of his literary career, and the poet met the second much later. Evgenia was in approximately the same circle as the poet; he knew how she lived and breathed. This woman understood art, and literature in particular.
Zinaida, on the other hand, was a person far from bohemian life; she coped well with the daily duties of a housewife. But for some reason, at some point, it was the simple woman who turned out to be more understandable and closer to the poet’s refined soul. Nobody knows why this happened, but after a short time Zinaida became the wife of Boris Pasternak. The poetic analysis “Loving others is a heavy cross” emphasizes the depth and strain of these difficult relationships with two women. The poet involuntarily compares them and analyzes his own feelings. These are the individual conclusions Pasternak comes to.
“Loving others is a heavy cross”: analysis
Perhaps this poem can be considered one of the most mysterious poetic creations. The semantic load in this lyrical work is very strong; it takes the breath away and excites the soul of true aesthetes. Boris Pasternak himself (“Loving others is a heavy cross”) analysis own feelings called it the greatest mystery that cannot be solved. And in this poem he wants to understand the essence of life and its integral component - love for a woman. The poet was convinced that the state of falling in love changes everything inside a person: significant changes occur in him, the ability to think, analyze, and act in a certain way is revised.
The lyrical hero feels a sense of reverence for a woman, he is determined to act for the benefit of the development of a great and bright feeling. All doubts recede and fade into the background. He is so amazed by the greatness and beauty of the state of integrity that has revealed itself to him that he experiences delight and rapture, the impossibility of living further without this feeling. The analysis of “Loving others is a heavy cross” reveals the transformation of the poet’s experiences.
The state of the lyrical hero
In the center is the one who experiences all the transformations most directly. the lyrical hero changes with each new line. His previous understanding of the essence of life is replaced by a completely new understanding and acquires a shade of existential meaning. What does the lyrical hero feel? He suddenly found a safe haven, a person who could love him selflessly. In this case, the lack of education and the ability for high thoughts is perceived by him as a gift and grace, as evidenced by the line: “And you are beautiful without convolutions.”
The lyrical hero is ready to devote himself to unraveling the mystery of his beloved until the end of his days, which is why he compares it with the mystery of life. An urgent need for change awakens in him; he needs to free himself from the burden of previous disappointments and defeats. The analysis of “Loving others is a heavy cross” shows the reader how deep and significant changes took place in the poet.
Symbols and meanings
This poem uses metaphors that would seem incomprehensible to the average person. To show the full power of the ongoing rebirth in the hero’s soul, Pasternak puts certain meanings into words.
“The rustle of dreams” personifies the mystery and incomprehensibility of life. This is something truly elusive and piercing, which cannot be comprehended only by reason. It is also necessary to connect the energy of the heart.
“The rustle of news and truths” denotes the movement of life, regardless of external manifestations, shocks and events. Whatever happens in outside world, life amazingly continues its inexorable movement. Against all odds. Contrary to that.
“Verbal litter” symbolizes negative emotions, experiences of the past, accumulated grievances. The lyrical hero speaks about the possibility of renewal, about the need for such a transformation for oneself. The analysis “Loving others is a heavy cross” emphasizes the importance and need for renewal. Love here becomes a philosophical concept.
Instead of a conclusion
The poem leaves pleasant feelings after reading. I would like to remember it for a long time and the meaning that it contains. For Boris Leonidovich, these lines are a revelation and an open secret of the transformation of the soul, and for readers - another reason to think about their own life and its new possibilities. The analysis of Pasternak’s poem “Loving others is a heavy cross” represents a very deep disclosure of the essence and meaning of human existence in the context of a single human existence.