Damn you, darlings! Why this particular poem, why this particular damn lesson, this disgusting Monday? Oh, burn in hell - I'm with you.

Being famous is not nice.
It's not what lifts you up.
No need to archive
Shake over manuscripts.

The goal of creativity is self-giving,
Not a hype, not a success.
It's shameful to mean nothing
Be a parable on everyone's lips.

Hear the call of the future.

And leave gaps
In fate, not among papers,
Places and chapters of a whole life
Underlining in the margins.

And dive into the unknown
And hide your steps in it

Others on the trail

But defeat from victory
You don't have to be different.

And owe not a single slice
Don't back away from your face

Alive and only until the end.

The poem “Being famous is ugly” was written in 1956 and is included in Boris Pasternak’s lyrical cycle “When it clears up” (1956-1959). In addition, it includes 44 more poems. The basis of this cycle of reflections on time, being, truth, life and death, art and other philosophical topics. The release of the cycle of poems "When it clears up" is associated with the refusal in the USSR to publish the novel "Doctor Zhivago".

The theme of the poem is philosophical.

We can say that this poem “Being famous is ugly” is instructive, and Boris Pasternak himself is in the role of a mentor. He notices that “to be famous is ugly”, explains “the goal of creativity is dedication”, and then begins to teach in 3, 4, 5 stanzas about how to live, what to do

But we must live without imposture,
Live so that in the end
Attract the love of space
Hear the call of the future.

And leave gaps
In fate, not among papers,
Places and chapters of a whole life
Underlining in the margins.

And dive into the unknown
And hide your steps in it
How the area hides in the fog,
When you can't see anything in it.

And in the last 2 stanzas, explaining, gives instructions

Others on the trail
They will go your way span by span,
But defeat from victory
You don't have to be different.

And owe not a single slice
Don't back away from your face
But to be alive, alive and only,
Alive and only until the end.

The mood of the poem is sublime, solemn, aimed at success, desiring it. The poet's creative life was difficult, so he tried to understand why everything was happening this way, what he was doing wrong, and most importantly, how long would it continue?

Perhaps, at the same time, he noticed that there are many in Russia who write specifically for fame, height, “noise” and “success”, at the same time not at all betraying the importance of what to write and what to write about.

Read the poem and learn. You learn to understand the whole essence of writing, you learn to understand your role, not to become "noise", but "to attract the love of space." This poem uplifts, inspires, inspires

But to be alive, alive and only,
Alive and only until the end.

The rhyme of the poem is cross. There are practically no epithets, personifications, metaphors and comparisons in the text. It is filled with verbs, participial phrases, complex and complex sentences - the author tried to give movement to his instructions, to encourage movement, to life, because "there is no standing position: either you move forward or backward." With frequent alliterations to the solid sounds “n”, “p”, “d”, “t”, “zh”, Pasternak gives his instructions firmness, steadfastness, confidence, thereby expressing his position in life.

Boris Leonidovich Pasternak (January 29, 1890, Moscow - May 30, 1960, Peredelkino, Moscow Region) - Russian writer, one of the greatest poets of the 20th century, winner of the Nobel Prize in Literature (1958).

The creative path of Boris Pasternak was very difficult and extraordinary. Today he is rightfully considered one of the brightest Russian poets of the 20th century. However, Pasternak wrote his most famous works, including the novel Doctor Zhivago, which brought the author the Nobel Prize, in the era of the formation and development of the USSR. Naturally, in order to become a well-known writer in a country with a totalitarian regime, it was necessary to have not only a bright and original talent, but also be able to hide his true feelings both in public and in his works. This parsnip was never able to learn, so it was periodically subjected to disgrace by the ruling elite. Nevertheless, he was popular, and his poems, novels and plays, which periodically disappeared from sale and were rejected by censors, were printed abroad and copied by hand. The author was really famous, but he was embarrassed that he was recognized on the street and tried in every possible way to belittle his own contribution to literature. However, not all Soviet writers behaved this way. Many of them, not having even a hundredth of Pasternak's talent, considered themselves real geniuses and emphasized this in every possible way. Moreover, in those days, it was not so much a literary gift that was valued, but a loyal attitude to the policy of the party.

Among the creative intelligentsia, Pasternak, for all his fame, had few friends. The poet himself explained this by the fact that he was unable to maintain warm and trusting relations with hypocrites and careerists. Those who were favored by the authorities could afford to live in luxury, although from the pages of the newspapers they called on the people to equality and fraternity. Therefore, in 1956, Pasternak wrote his famous poem “Being famous is ugly,” which he addressed to his colleagues in the literary workshop.
Pasternak knows that history is created by people and interpreted by them for the sake of their own interests. Therefore, he is convinced that everything in this world is relative, and you should not revel in your achievements, which after many years may be perceived in a completely different way. The author believes that a real poet should not distinguish between “defeats and victories”, because time will judge everyone in its own way anyway. And the only value that is an absolute value for Pasternak is the opportunity to "be alive" to the end, i.e. be able to sincerely love, despise and hate, and not portray these feelings to please someone in their works.

"Being famous is ugly" Boris Pasternak

Being famous is not nice.
It's not what lifts you up.
No need to archive
Shake over manuscripts.

The goal of creativity is self-giving,
Not a hype, not a success.
It's shameful, meaning nothing
Be a parable on everyone's lips.

But we must live without imposture,
So live so that in the end
Attract the love of space
Hear the call of the future.

And leave gaps
In fate, not among papers,
Places and chapters of a whole life
Underlining in the margins.

And dive into the unknown
And hide your steps in it
How the area hides in the fog,
When you can't see anything in it.

Others on the trail
They will go your way span by span,
But defeat from victory
You don't have to be different.

And owe not a single slice
Don't back away from your face
But to be alive, alive and only,
Alive and only until the end.

Don't sleep, don't sleep, artist
Don't give in to sleep.
You are the hostage of eternity
Time is a prisoner.

“Being famous is ugly ...” analysis of the work - the theme, idea, genre, plot, composition, characters, problems and other issues are disclosed in this article.

Lyric poem by Boris Pasternak “Being famous is ugly…”, ironically, is famous, like its author himself. The first line, which has long become an aphorism, is an example that proves how important it is for the beginning of a literary work to instantly grab the reader and make them read the text with greed until the very end. In fact, already in the first line of his programmatic poem, the author formulates an artistic and personal position, which is very unusual for a poet. After all, it is known that people of creativity at all times were in dire need of understanding and success. Often doubting everything, it is thanks to an enthusiastic attitude towards themselves that they understand that they are not doing in vain. However, Pasternak clearly distinguishes between the concepts "hype" and "space love" ("future call"). This is the main antithesis poems, and it is supported by intonational cross-rhyme.

The poet emphasizes: recognition, if it has already come, should be a natural consequence "self-giving" in art, not "imposters". He seems to foresee the coming glory of the true creator:

Others on the trail
They will go your way span by span,

- and immediately insists that the person "must not distinguish" "defeat from victory". He needs complete acceptance of everything that happens to him as a sign of fate.

Modesty and dignity - this is what Boris Pasternak teaches his reader. And it seems that at the same time he addresses himself, his inner voice and possible impulses of ambition in his own soul. Is it so? ... Let's see at what time and under what circumstances of the poet's life this poem was created.

Dated 1956, the work was born in the late period of the life and work of Boris Pasternak. By this moment, the “great leader of the Soviet people” I. Stalin, who had been glorified by a romantic poet a few years ago, had already passed away. Already left behind a short period of public recognition of Pasternak in the Soviet Union and membership in the Union of Writers. The poet moved away from the general near-literary fuss and increasingly devoted himself to translating the works of foreign authors and risky activities to protect and support disgraced friends, among whom were Akhmatova and her son. The life of the writer included a rethinking of the events of past years and his own path, and in this sense, it would not be wrong to assume that "Being famous is ugly..."- a reminder to himself and his fellow writers about true values ​​and, of course, to readers who, in fact, create a destructive hype around their idols.

Literary critics suggest that in this poem, Boris Pasternak frankly dissociates himself from the creative path of another famous contemporary of his and a former like-minded person, Vladimir Mayakovsky. By that time, it was customary to praise him, without knowing the measure, as "the best poet of our time." The words belonged to Stalin, which for a long time determined the “immunity” of Mayakovsky, who had already become a cult poet in the eyes of the people. In this "court way" Pasternak saw a terrible danger for a creative person. And yet, the lyrical hero of his poem does not at all salivate slander and does not conceal in his words and intonations resentment against the whole world for his own lack of recognition.

In every phrase one hears a conscious and hard-won truth. This is a strict sermon addressed to those who have the divine gift to inspire and "raise up" and who has forgotten or can forget his destiny on earth. "There is no need to start an archive, the author writes, Shake over manuscripts". And openly pronounce judgment

It's shameful, meaning nothing
Be a parable on everyone's lips.

Some exaggeration of the denial of the gift in this case should work like a tub of cold water. This is the beginning of the awakening from sleep, and it is compositionally expressed in the first two stanzas. Further, the author nevertheless proceeds to reasoning about what a poet should be like (both in the narrow and in the broad sense of the word).

A poem written in complex, ever-changing verse size(spondeus - pyrrhic - pyrrhic - iambic), has no external plot- only internal. This is the movement of the thought of the poet-philosopher from the denial of glory to the affirmation of the great power of the gift.

… leave spaces
In fate, not among papers.

Metaphor "gaps" here takes on the meaning of understatement, motive for learning and search for oneself, and the lexical repetition of a word "alive" convinces the reader of the need to strive for spiritual life - "but only"!

Being famous is not nice.
It's not what lifts you up.
No need to archive
Shake over manuscripts.

The goal of creativity is self-giving,
Not a hype, not a success.
It's shameful, meaning nothing
Be a parable on everyone's lips.

But we must live without imposture,
So live so that in the end
Attract the love of space
Hear the call of the future.

And leave gaps
In fate, not among papers,
Places and chapters of a whole life
Underlining in the margins.

And dive into the unknown
And hide your steps in it
How the area hides in the fog,
When you can't see anything in it.

Others on the trail
They will go your way span by span,
But defeat from victory
You don't have to be different.

And owe not a single slice
Don't back away from your face
But to be alive, alive and only,
Alive and only until the end.

Analysis of the poem "Being famous is ugly" by Pasternak

The creative fate of B. Pasternak was very difficult. His works did not fit into the standards of Soviet ideology. The poet and writer was constantly subjected to devastating criticism. His work was under an unspoken ban. At home, only an insignificant part of the works was published, subjected to the strictest censorship corrections and distortions.

Despite this, Pasternak always remained true to his convictions. He never adjusted to official requirements, believing that the duty and sacred duty of a real writer is to remain extremely sincere and express real, and not thoughts imposed by someone. The best works of Pasternak were illegally distributed in lists and published abroad.

Few writers shared the convictions of Boris Pasternak. The majority preferred to create mediocre works, the main criterion for which was loyalty to the authorities and praise of the leaders. Such waste paper was declared "masterpieces" of world literature, and its authors enjoyed artificial honor and respect.

In 1956, Pasternak wrote the poem "Being famous is ugly", in which he expressed his opinion about the true vocation of the writer. He considers the main goal of a writer not to achieve fame and success, but to give maximum dedication and selfless service to art. In Soviet times, voluminous memoirs that did not represent any artistic value were very common. The "cult of personality" is deeply rooted in the mind. In a country that officially proclaims universal equality and fraternity, works were popular in which the authors endlessly exalted their role and merits in life.

Pasternak sharply criticizes this position. He believes that a person is not able to evaluate his own value. His assessment will always be subjective. Therefore, one should not stick out one's affairs, but, on the contrary, "plunge into the unknown." Only the future is able to make a final judgment on a person and fairly consider his life path.

At the end of the work, Pasternak consolidates his thought. Instead of creating a false halo of glory for himself, capable of deceiving his contemporaries, but not future generations, the writer must remain a living person and recognize that human vices and weaknesses are inherent in him.

Time has proven the writer right. Many "masters" of Soviet prose have been thrown into the dustbin of history. Pasternak is recognized as a world-class figure, a worthy winner of the Nobel Prize in Literature.

The writing

“In the field of words, I love prose most of all,
but he wrote most of the poetry. Poem
regarding prose - this is also an etude
regarding the picture. Poetry seems to me
great literary sketchbook.
B.L. Parsnip

The work of Boris Leonidovich Pasternak stands apart in the history of Russian literature. He lived and worked in a very difficult time for Russia. The old canons collapsed, the old life changed harshly, people and destinies broke ... And in the midst of all this - a wonderful poet with a subtle soul and a peculiar vision of the world. Born at the turn of fate, Boris Pasternak managed to become one of the symbols of his age.
Poems occupy a separate place in his work. From his pen came many wonderful lines. The last collection of poems, called “When it clears up”, which was never published during Pasternak’s lifetime, absorbed the author’s selected works. The theme of renewal, hope, is clearly audible in the book, which became a reflection of the changes taking place in the country. It was in this collection that the poem "Being famous is ugly ..." was printed, which can be called a kind of set of rules for a real poet. It is in this work that Pasternak reveals his attitude to creativity.

The poem has a programmatic meaning, as if continuing Pushkin's appeal to the "Poet". The lyrical hero, continuing the idea of ​​the great poet about the independence of the artist from the "love of the people", introduces a moral assessment into his judgment:
Being famous is not nice. It's not what lifts you up. No need to start an archive, Shake over manuscripts.

The goal of creativity is self-giving,
Not a hype, not a success.
It's shameful, meaning nothing
Be a parable on everyone's lips.

We see that Pasternak does not accept empty, undeserved fame, it is easier for him to sink into obscurity than to be on the lips of everyone without doing anything for this. Such a position deserves only respect. The artist paves his lonely way "in the fog", where "not a single sight can be seen", hearing only the "future call" ahead. He must leave a "living trace" in modernity, which will be continued by "others".
The unique fate of the poet is understood by Pasternak as a link between the past and the future in a single chain of art, loyalty to the vocation:

And owe not a single slice
Don't back away from your face
But to be alive, alive and only,
Alive and only until the end.

Once having chosen this path, the poet should never deviate from it.
Also an important work for revealing the image of the poet in the view of Pasternak can be the poem “In everything I want to get to the very essence ...”, written in the same year as the first, and included in the same collection.

In everything I want to reach
To the very essence.
At work, in search of a way,
In heartbreak.

From this quatrain follows the aspiration of the lyrical hero, who can conditionally be equated with Pasternak himself. The desire for life, for the knowledge of its secrets and mysteries, the thirst for activity and feelings. In this poem, the lyrical hero sets himself an almost impossible task - to penetrate the secret essence of life, deduce its laws, unravel its secrets ... He tries to grab the "thread of fate, events." But the task is complicated by the fact that he seeks not only to understand, but also to express in words the general law of being:

Oh if only I could
Although in part
I would write eight lines
About the properties of passion.

Discarding empty words, he is looking for the main, basic ones. Is this not the task and goal of poetry in general and of each poet in particular? .. Pasternak always believed that what is significant does not have to be complex. The truth of things and phenomena lies precisely in their simplicity. Hence the poet's desire to express in eight lines the properties of passion, which for Pasternak is life, because only when a person feels does he actually live. This is the recipe for penetrating the mystery of life.

The role of nature in the work of Pasternak in general and in this poem in particular is interesting. She miraculously comes to life, but not as a cluster of living and inanimate objects of the world around us, but as embodied poetry:
I would break poetry like a garden.

With all the trembling of the veins, the lindens would bloom in them in a row,
Guskom, in the back of the head.

The world of poetry and the world of nature are intertwined, and it is not entirely clear where one ends and the other begins, and the poet's lindens line up in orderly rows, like words in a line...