There were three women in Pasternak's life who were able to win his heart. A poem is dedicated to two of the lovers, the analysis of which is presented in the article. It is studied in the 11th grade. We suggest that you familiarize yourself with a brief analysis of “Loving others is a heavy cross” according to the plan.
Brief analysis
History of creation- the work was written in the fall of 1931, two years after meeting Zinaida Neuhaus.
Theme of the poem- love; qualities of a woman that deserve love.
Composition– The poem was created in the form of a monologue-address to the beloved. It is concise, but, nevertheless, is divided into semantic parts: the hero's attempt to unravel the secret of the special beauty of his beloved, brief reflections on the ability to live without "litter" in the heart.
Genre- elegy.
Poetic size- written in iambic tetrameter, cross rhyme ABAB.
Metaphors – “to love others is a heavy cross”, “the charm of your secret is equivalent to the solution of life”, “the rustle of dreams”, “the rustle of news and truths”, “to shake verbal rubbish out of the heart”.
epithets – "you are beautiful", "meaning... disinterested", "not a big trick".
Comparison – "your meaning is like air."
History of creation
The history of the creation of the poem should be sought in the biography of Pasternak. The first wife of the poet was Evgenia Lurie. The woman was an artist, so she did not like and did not want to deal with everyday life. Boris Leonidovich had to do household chores himself. For the sake of his beloved wife, he learned to cook, wash, but he did not last long.
In 1929 the poet met Zinaida Neuhaus, the wife of his pianist friend Heinrich Neuhaus. A modest, pretty woman immediately liked Pasternak. Once he read his poems to her, instead of praise or criticism, Zinaida said that she did not understand anything from what she had read. The author liked this sincerity and simplicity. He promised to write more clearly. The love relationship between Pasternak and Neuhaus developed, she left her husband and became the poet's new muse. In 1931, the analyzed poem appeared.
Subject
The poem develops the popular theme of love in literature. The life circumstances of the poet leave an imprint on the lines of the work, therefore, poetry should be read in the context of Pasternak's biography. The lyrical hero of the work completely merges with the author.
In the first line, Pasternak hints at a relationship with Evgenia Lurie, whom it was really difficult to love, since the woman was quick-tempered and wayward. Further, the lyrical hero turns to his beloved. He considers her advantage "lack of convolutions", that is, not too high intelligence. The poet believes that this is what gives a woman charms. Such a representative of the weaker sex is more feminine, can be an excellent hostess.
The author believes that the beloved lives not so much with her mind as with her feelings, therefore she knows how to hear dreams, news and truths. It is as natural as air. In the last stanza, the poet admits that next to such a woman it is easy for him to change. He realized that it is very easy to “shake the verbal rubbish out of the heart” and prevent a new clogging.
Composition
The poem is created in the form of a monologue-address to the beloved. It can be divided into semantic parts: the hero's attempt to unravel the secret of the special beauty of his beloved, brief reflections on the ability to live without "litter" in the heart. Formally, the work consists of three quatrains.
Genre
The genre of the poem is an elegy, since the author is thinking about the eternal problem, sadness is felt in the first line, apparently from the fact that he felt this “heavy cross” on himself. There are also signs of a message in the work. The poetic size is iambic tetrameter. The author uses the cross rhyming ABAB.
means of expression
To reveal the theme and create the image of an ideal woman, Pasternak uses artistic means. Plays the main role metaphor: “to love others is a heavy cross”, “the charm of your secret is equivalent to the solution of life”, “the rustle of dreams”, “the rustle of news and truths”, “shake verbal rubbish from the heart”.
Much less text epithets: "you are beautiful", "meaning ... disinterested", "not a big trick". Comparison only one thing: "your meaning is like air."
The writing
Boris Leonidovich Pasternak is a remarkable poet and prose writer of the 20th century. He can be fully called an aesthete writer, subtly and deeply feeling beauty. He has always been a connoisseur of natural and pristine beauty, which, of course, was reflected in his work. And, as a vivid example of all of the above, I would like to pay special attention to such a poem by Pasternak as "To love others is a heavy cross ...".
The first thing that catches your eye in this work is the simplicity and lightness of the style. It is very short, consisting of only three quatrains. But in this brevity lies one of its greatest virtues. Thus, each word is, as it were, more valued, has greater weight and meaning. Analyzing the author's speech, one cannot but pay attention to the amazing naturalness of the language, simplicity and even some colloquialism. The literary and linguistic bar has been reduced to almost everyday speech, take at least such a phrase as "All this is not a big trick." Although there is also a bookish style, for example, the opening phrase of the work “To love others is a heavy cross.” And here I would like to note that this phraseological phrase contains a clear allusion to biblical motifs that are so frequent in the works of Boris Pasternak.
How can you determine the theme of this poem? It would seem that the work is an appeal of a lyrical hero to his beloved woman, admiration for her beauty:
Loving others is a heavy cross,
And you are beautiful without convolutions,
And the charms of your secret
The solution to life is tantamount to.
The question arises - what is the secret of the charm of his beloved? And then the writer gives us the answer: her beauty lies in her naturalness, simplicity (“And you are beautiful without convolutions”). The next quatrain takes us to a deeper semantic level of the work, to reflections on the essence, nature of beauty in general.
What is beauty according to Pasternak? This is natural beauty, without artificiality, without pomposity and frills. In this poem, we again encounter the so-called "theory of simplicity" of the poet, simplicity, which is the basis of life, of all things. And female beauty should not contradict, but organically fit into the overall huge and global picture of universal beauty, which all God's creatures equally possess. Beauty is the only and main truth in the poet's world:
In the spring, the rustle of dreams is heard
And the rustle of news and truths.
You are from a family of such foundations.
Your meaning, like air, is disinterested.
The last line of this quatrain is especially symbolic. How profoundly metaphorical is the expression "selfless air"! Thinking about it, you understand that nature is actually disinterested, it gives us the opportunity to breathe and, accordingly, live without asking for anything in return. So beauty, according to Pasternak, should be disinterested, like air, it is something that belongs to everyone equally.
In this poem, the poet delimits two worlds - the world of natural beauty and the world of people, everyday squabbles, "verbal rubbish" and petty thoughts. The image of spring as a time of rebirth and rebirth is symbolic: “In spring, the rustle of dreams and the rustle of news and truths are heard.” And the lyrical heroine herself is like spring, she is “from the family of such foundations”, she is like a fresh breath of the wind, she is a guide from one world to another, the world of beauty and naturalness. In this world there is only room for feelings and truths. Getting into it, it would seem, is easy:
Easy to wake up and see
Shake verbal rubbish from the heart
And live without clogging in the future,
All this is not a big trick.
Beauty is the key to this new and wonderful life, but is everyone able to see true beauty in simple and artless things?.. Is it possible for each of us to “wake up and see clearly”…
It should be noted the features of the author's presentation of the lyrical hero and the lyrical heroine of this poem. They seem to remain behind the scenes, they are unclear and vague. And each of us can involuntarily imagine himself and his beloved in the place of the heroes. Thus, the poem becomes personally meaningful.
Referring to the composition of the poem, it can be noted that the author chose a fairly easy-to-perceive meter (iambic tetrameter), which once again confirms his intention to emphasize the simplicity and uncomplicated form, which recedes before the content. This is also proved by the fact that the work is not overloaded with artificially created paths. Its beauty and charm is in its naturalness. Although it is impossible not to notice the presence of alliteration. “Rustle of dreams”, “rustling of news and truths” - in these words, the frequent repetition of hissing and whistling sounds creates an atmosphere of peace, silence, tranquility and mystery. After all, you can only talk about the main thing the way Pasternak does it - quietly, in a whisper ... After all, this is a secret.
Finishing my reflection, I involuntarily want to paraphrase the author himself: reading other poems is a heavy cross, but this is really “beautiful without convolutions”.
Loving others is a heavy cross,
And you are beautiful without convolutions,
And the charms of your secret
The solution to life is tantamount to.
In the spring, the rustle of dreams is heard
And the rustle of news and truths.
You are from a family of such foundations.
Your meaning, like air, is disinterested.
Easy to wake up and see
Shake verbal rubbish from the heart
And live without clogging in the future,
All this is not a big trick.
Analysis of the poem "To love others is a heavy cross" by Pasternak
B. Pasternak's work always reflected his personal feelings and experiences. He devoted many works to his love relationships. One of them is the poem "To love others is a heavy cross." Pasternak was married to E. Lurie, but his marriage could not be called happy. The poet's wife was an artist and wanted to devote her whole life to art. She practically did not do housework, putting him on her husband's shoulders. In 1929, Pasternak met his friend's wife, Z. Neuhaus. He saw in this woman an ideal example of the mistress of the family hearth. Literally immediately after they met, the poet dedicated a poem to her.
The author compares his love for his wife with carrying a "heavy cross". Art activities once brought them together, but it turned out that this was not enough for family life. E. Lurie, for the sake of writing a new picture, neglected her direct female duties. Pasternak had to cook and wash himself. He realized that two gifted people are unlikely to be able to create an ordinary cozy family.
The author contrasts his new acquaintance with his wife, and immediately points out her main advantage - "you are beautiful without convolutions." He hints that E. Lurie is well educated, you can talk with her on equal terms about the most complex philosophical topics. But "learned" conversations will not bring happiness in family life. Z. Neuhaus almost immediately admitted to the poet that she did not understand anything in his poems. Pasternak was touched by this simplicity and gullibility. He realized that a woman should be valued not at all for having a great mind and education. Love is a great mystery that cannot be based on the laws of reason.
The poet sees the secret of the charm of Z. Neuhaus in the simplicity and disinterestedness of her life. Only such a woman is able to create a calm family atmosphere and bring happiness to her husband. Pasternak is ready to descend from transcendental creative heights for her sake. He really promised Z. Neuhaus that he would part with vague and obscure symbols and begin to write poems in a simple and accessible language (“verbal rubbish ... shake out”). After all, this is “not a big trick”, but the long-awaited family happiness will be the reward for it.
Pasternak was able to recapture his friend's wife. In the future, the couple still experienced family troubles, but Z. Neuhaus greatly influenced the poet and his work.
And you are beautiful without convolutions,
And the charms of your secret
The solution to life is tantamount to.
In the spring, the rustle of dreams is heard
And the rustle of news and truths.
You are from a family of such foundations.
Easy to wake up and see
Shake verbal rubbish from the heart
And live without clogging in the future,
All this is not a big trick.
Analysis: Already in the first lines of the poem, the main idea of \u200b\u200bthe work is stated. The lyrical hero highlights 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 charm of her secret is equivalent to the unraveling of life." The poem is a confession of a 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 issues. But, despite this, it should be noted the deep philosophical meaning of this poem. Love, according to the lyrical hero, lies in simplicity and lightness:
In the spring, the rustle of dreams is heard
And the rustle of news and truths.
You are from a family of such foundations.
Your meaning, like air, is disinterested.
The beloved of the lyrical hero is part of the force that is called truth. The hero is well aware that it is very easy to get away from this all-consuming feeling. You can wake up once, as after a long sleep, and no longer plunge into a similar state:
Easy to wake up and see
Shake verbal rubbish from the heart.
And live without clogging in the future,
All this is a little trick.
But, as we see, the hero does not accept such a retreat from his feelings.
The poem is written in two-foot iambic, which gives the work a great melody, helps to subordinate it to the main idea. The love in this poem is as light as its meter.
Pasternak refers to metaphors that he very often uses in his text: “the charm of a secret”, “the rustle of dreams”, “the rustle of news and truths”, “shake rubbish from the heart”. In my opinion, these paths give this amazing feeling a 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 the thought of the lyrical hero. However, this technique does not deprive the work of lightness and some airiness.
The poet also conveys feelings, experiences of the lyrical hero with the help of sound writing. So, hissing and whistling - "s" and "sh" prevail in the poem. These sounds, in my opinion, give this amazing feeling a lot of intimacy. I think that 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. “To love others is a heavy cross…” is a hymn to love, its purity and beauty, its indispensability and inexplicability. It must be said that until the last days it was this feeling that made B.L. Pasternak is strong and invulnerable, despite all the difficulties of life.
For the poet, the concept of "woman" and "nature" are merged. Love for a woman is so strong that the lyrical hero begins to feel a subconscious dependence on this emotion. He does not think of himself outside of love.
Despite the fact that the poem is very small in volume, but, nevertheless, it is 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 is manifested, who was able to find the truth in sometimes difficult situations, which is perceived very easily and naturally.
The poem "To love others is a heavy cross ..." has become, in my opinion, the key work about love in Pasternak's work. To a large extent, it has become a symbol of the poet's work.
Size - 4 iambic
PINES
In the grass, among the wild balsams,
Daisies and forest baths,
We lie with our arms outstretched
And lift your head to the sky.
Grass on a pine clearing
Impassable and dense.
We look back and again
We change positions and places.
And now, immortal for a while,
We are numbered among the pines
And from diseases, epidemics
And death is released.
With deliberate uniformity,
Like an ointment, deep blue
Lies like bunnies on the ground
And dirty our sleeves.
We share the rest of the redwoods,
Under the swarm of ants
Pine sleeping pill mixture
Lemon with incense breathing.
And so frantic on the blue
Runaway fire barrels,
And we won't take out our hands for so long
From broken heads
And so much breadth in the eyes
And so submissive are all from the outside,
That somewhere behind the trunks of the sea
Seems to me all the time.
There are waves above these branches
And falling off the boulder
Bring down a hail of shrimp
From the churned bottom.
And in the evenings in tow
Dawn stretches on traffic jams
And oozes fish oil
And hazy haze of amber.
It's getting dark, and gradually
The moon buries all traces
Under white foam magic
And the black magic of water.
And the waves are getting louder and higher
And the public on the float
Crowds at a post with a poster,
Indistinguishable from afar.
Analysis:
The poem "Pines" can be attributed by genre to the category landscape-reflection. Reflection on the concepts of the eternal - 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 rolled across Europe in full swing, these verses sound especially heartfelt, like an alarm. 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 his work, especially the later 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 vocation of the artist.
The simplicity with which “Pine Trees” was written, prosaisms, descriptions of the most ordinary landscape – all this borders on sacredness, evokes in an incomprehensible way a nagging feeling of love for the motherland, real, sewn into the subconscious at the genetic level. Iambic tetrameter with pyrrhic subconsciously chosen by the poet as a size, 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, like mother nature. Heroes ran away from the bustle, civilization, murder and grief. They merged with nature. Asking the Mother for protection? We are all children of a huge planet, beautiful and wise.
Size - 4 iambic
FROST
Silent time of leaf fall,
The last geese shoals.
No need to freak out:
Fear has big eyes.
Let the wind, the mountain ash is busy,
Scares her before going to sleep.
The order of creation is deceptive
Like a fairy tale with a happy ending.
Tomorrow you will wake up from hibernation
And, going out into the winter expanse,
Again around the corner of the water tower
You will stand as if rooted to the spot.
Those white flies again
And the roofs, and the holy grandfather,
And the pipes, and the lop-eared forest
Dressed as a masquerade jester.
Everything is covered in ice
In a hat to the very eyebrows
And a crouching wolverine
The path dives into a ravine.
Here the hoarfrost is a vaulted tower,
Lattice on the doors.
Behind the thick snow curtain
Some kind of gatehouse wall,
The road, and the edge of the copse,
And a new bowl is visible.
solemn calm,
threaded,
Looks like a quatrain
About the sleeping princess in the coffin.
And the white dead kingdom
Throwing mentally trembling,
I whisper softly: "Thank you,
You give more than they ask."
Analysis: Aesthetics and poetics of B.L. Pasternak, the most extraordinary and complex poet of the 20th century, is based on the interpenetration of individual phenomena, on the fusion of everything sensual.
In a poem "Frost" it is expressed so strongly that it is difficult to understand who the author is talking about. Whether he depicts a landscape or paints a person.
Silent time of leaf fall
The last geese shoals.
No need to freak out:
Fear has big eyes.
In fact, lyrical hero inseparable from nature, there are no barriers between them.
The intricate labyrinth of Pasternak's metaphor seems to grow in Hoarfrost from line to line. landscape space becomes larger, from one emotion - "no need to get upset", caused by natural decay, increases to the whole world "and the white dead kingdom".
The poem "Hoarfrost" is written not in the first person, but not in the third person either, and this is not a paradox, but a filigree skill.
The endless life of nature freezes in momentary stiffness. Hoarfrost, a fragile crust of ice, seems to make life 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 dynamic moves lyrical plot, the further the hero rushes to the knowledge of the complex and multifaceted world, the slower time moves, bewitched by hoarfrost. The road here is not a linear path forward, but the wheel of life, "order of creation" where autumn is replaced by winter.
The fabulousness, the enchantment of natural being 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 "Hoarfrost" is an aspiration for truth and beauty, which is the basis of spiritual life, and Pushkin's lyrics are a harmonious element of the word that bewitches with its simplicity. In general, the poem is full of references to Russian classical lyrics. You can also see the forest, similar to a fairy-tale tower. But behind the fairy tale, Pasternak hides life, such as it is.
Death images, which filled the poetic space of the last lines, do not create a sense of doom, although the notes, indicating emotional pain, creep into the narrative. But nevertheless, here these motives testify that consciousness rises to a different, higher level. And like dissonance "dead kingdom" the life-affirming lines of the final sound:
I whisper softly: "Thank you"
Their solemnity combines the broken Pasternak syntax into a coherent artistic structure.
The title of the poem "Hoarfrost" is symbolic. 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 break, the frost is also a break stage between autumn and winter, testifying to the whirlwind of life, unstoppable in its striving forward.
Size - 3 amphibrachs
JULY
A ghost roams the house.
All day long steps overhead.
There are shadows in the attic.
A brownie wanders around the house.
Everywhere hangs out of place,
Interferes with everything
In a dressing gown sneaks to the bed,
He rips the tablecloth off the table.
Do not wipe your feet at the threshold,
Runs in a whirlwind of draft
And with a curtain, as with a dancer,
Soars up to the ceiling.
Who is this ignoramus
And this ghost and doppelgänger?
Yes, this is our guest, a visitor,
Our summer vacationer.
For all his short rest
We rent the whole house to him.
July with a thunderstorm, July air
Rented rooms from us.
July, dragging in clothes
Dandelion fluff, burdock,
July, entering home through the windows,
All loudly speaking.
Steppe unkempt mess,
Smelling of linden and grass,
Tops and the smell of dill,
July meadow air.
Analysis: The work “July”, written by the poet in the summer of 1956, while relaxing at the dacha in Peredelkino, is sustained in a similar vein. From the first lines, the poet intrigues the reader, describing phenomena from the other world and arguing that “a brownie is wandering around the house”, who sticks his nose into everything, “rips the tablecloth off the table”, “runs in in a whirlwind of draft” and dances with a window curtain. However, in the second part of the poem, the poet opens the cards and notes that July is the culprit of all mischief - 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 are characteristic of an ordinary person. So, in the author's perception, July is a "summer vacationer" who rents out a whole house, where he, and not the poet, is now the full owner. Therefore, the guest behaves accordingly, plays pranks and frightens the inhabitants of the mansion with incomprehensible sounds in the attic, slamming doors and windows, hangs “dandelion fluff, burdock” on clothes and at the same time does not consider it necessary to observe at least some decency. July, the poet compares with the steppe unkempt disheveled, who can afford 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 an uninvited guest, who burst into his house with a whirlwind, very soon becomes sweet and desirable. The only pity is that his visit is short-lived, and soon July will be replaced by the August heat - the first sign of the impending autumn.
Pasternak is not at all embarrassed by such a neighborhood. Moreover, the poet speaks of his guest with a slight irony and tenderness, behind which lies a genuine love for this time of the year, filled with joy and serene happiness. Nature seems to be conducive to putting aside all important matters for a while and keeping the naughty June company in his harmless amusements.
Size - 4 iambic
Sergei Alexandrovich Yesenin
was in the literary current of Imagism.
reason for coming to Imagism. the desire to find solutions to the most important conflict of life: the revolution, which Yesenin dreamed of and to which he dedicated his art, was increasingly illuminated by the furious glow of corpses. Imagism stood outside politics. in 1924, the poem "Song of the Great Campaign" was published, where the party leaders Trotsky and Zinoviev were mentioned.
main themes in creativity:
1. theme of homeland and nature;
2. love lyrics;
3. poet and poetry
the theme of the motherland is one of the broad themes in the poet's work: from patriarchal (peasant) Russia to Soviet Russia.
Goy you, Russia, my dear,
Huts - in the robes of the image ...
See no end and edge -
Only blue sucks eyes.
Like a wandering pilgrim,
I watch your fields.
And at the low outskirts
The poplars are languishing.
Smells like apple and honey
In the churches, your meek Savior.
And buzzes behind the bark
There is a cheerful dance in the meadows.
I'll run along the wrinkled stitch
To the freedom of the green lekh,
Meet me like earrings
A girlish laugh will ring out.
If the holy army shouts:
"Throw Russia, live in paradise!"
I will say: "There is no need for paradise,
Give me my country."
Analysis:
early poem. 1914
Yesenin's image of the motherland 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 outgoing patriarchy. and this once again proves the boundless love for their land.
the poet refuses paradise, accepting any homeland.
Yesenin admires the discreet beauty of nature "poplars wither away"
in his early poetry, the poet is pleased with everything that he notices in nature.
the poem is like a folk song. epic motifs.
figurative and expressive means:
metaphor, "the blue sucks the eyes", which expands the space of the verse.
comparison,
antithesis
