Boris Leonidovich Pasternak
In everything I want to reach
To the very essence.
At work, in search of a way,
In heartbreak.
To the essence of past days,
Until their reason
Down to the roots, down to the roots
To the core.
Grasping the thread all the time
destinies, events,
Live, think, feel, love,
Complete opening.
Oh if only I could
Although in part
I would write eight lines
About the properties of passion.
About iniquities, about sins,
Run, chase,
Accidents in a hurry,
Elbows, palms.
I would deduce her law
her beginning,
And repeated her names
Initials.
I would break poetry like a garden.
With all the trembling of the veins
Limes would bloom in them in a row,
Guskom, in the back of the head.
In verses I would bring the breath of roses,
mint breath,
Meadows, sedge, haymaking,
Thunderstorms.
So once Chopin invested
living miracle
Farms, parks, groves, graves
In your studies.
Achieved triumph
Game and flour -
Strung string
Hard bow.
Boris Pasternak
The philosophical lyrics of Boris Pasternak are very rich and varied. However, like many of his predecessors, the author constantly returns to the theme of the role of the poet in modern society. True, unlike many other authors, Pasternak derives his own formula for the success of a writer, which includes not only a poetic gift and the ability to rhyme words, but also the ability to subtly feel the world around him.
In 1956, Boris Pasternak wrote the poem "In everything I want to get to the very essence ...", which can rightfully be considered the literary credo of the poet. In this work, he outlined his views on what poetry should be, and why he personally does not consider himself a talented writer, although he strives for perfection. From the first line of the poem, it becomes clear that through creativity, Pasternak learns to know the essence of things, using words in order to express his thoughts as accurately and fully as possible. The poet admits that his works are built on an in-depth analysis of phenomena and actions, since he sets himself the task of living, "all the time grasping the thread of fate, events." However, if the author manages to understand simple things without difficulty, then in matters human feelings he feels like an amateur. Not because he does not know how to interpret them correctly, but because he cannot express them simple and accessible to common understanding words. The poet writes that cherished dream- write "eight lines about the properties of passion." But so that everyone who reads them could not only understand, but also feel what the author had previously experienced. Pasternak complains that it is beyond his control. He does not give an answer to the question why, but notes that he would gladly “break poetry like a garden” in which fragrant lindens would grow. In addition, the poet would add to his poems "the breath of roses, the breath of mint, meadows, sedges, hayfields, thunderstorms."
Thus, Pasternak is convinced that being a real poet is, first of all, feeling like a part of nature, which for everyone without exception creative people is a source of inspiration. According to the author, only through the knowledge of the surrounding world can one achieve inner harmony, and then the cherished words required in order to express their feelings will be found by themselves. However, for this it is necessary not only to constantly comprehend the essence of things, but also to feel the slightest changes in the world around us, to be able to sincerely admire it, as many poets of the 19th century did.
Pasternak never considered himself unsurpassed landscape lyricist. Nevertheless, the poem “In everything I want to get to the very essence ...” indicates that the author is not averse to singing in his works such a changeable, unpredictable and complete unsolved mysteries nature. The author notes that he would like to become Chopin in poetry, who, with the help of music, was able to convey in his studies “a living miracle of manors, parks, groves, graves”. But at the same time, Boris Pasternak himself is well aware that such priceless gift only a select few have. Moreover, not everyone who is endowed with the ability to live in harmony with the outside world manages to tell others about it, creating truly exciting pictures, musical works or poems.
The author knows firsthand the torments of creativity, when emptiness is hidden behind rhymed phrases that are pleasant to the ear. To fill poetry with meaning, you need to get to the bottom of things, pass the knowledge gained through own soul and, in literally words, to suffer through your work, honing every word in it. Therefore, he compares his poems with a stretched string of a tight bow, which can break at any moment in mid-sentence only because there is not enough strength and ability to hold it.
The poem “In everything I want to get to the very essence” was written in 1956. It was included by Pasternak in the book “When it clears up”, published posthumously in “The Chosen” (1961).
It was a difficult time in the work of Pasternak. Immediately after the war, a gradual, increasingly intensifying persecution of the poet began. Pasternak was recognized as an author far from the Soviet ideology, unprincipled and apolitical. The campaign against cosmopolitanism carried out in 1948 also affected Pasternak. The already printed collection of "The Chosen Ones" of 1948 was destroyed, and they were not published either. selected translations. Only after Stalin's death did the Znamya magazine publish a selection of Pasternak's poems from the unpublished novel Doctor Zhivago.
The Khrushchev thaw, which began in 1956 with the hope of the publication of Doctor Zhivago, was brought to naught for Pasternak in the same year, publication in journals was prohibited, and the author’s view of socialist revolution and its consequences were considered unacceptable. At this time, only poetry becomes for the poet an example of "the free expression of his true thoughts." This is what the poem “In everything I want to get to the very essence” is about.
Literary direction and genre
The poem refers to philosophical lyrics, it explains the nature and problems of creativity.
Soviet literary critics attributed the poem to literary direction socialist realism, based on the optimism presented in it. The lyrical hero, from the point of view of Soviet literary criticism, is a real soviet man who wants to get to the bottom of it, to do their job well. Such a point of view, given the biography and views of the writer, is erroneous.
Theme, main idea and composition
The theme of the poem is the secret, the formula of creativity, poetry. Pasternak reflects on the themes of his work and how to achieve perfection. The main idea is that the height of poetry that he reached is not the limit, because there is no limit to perfection in poetry, as in life, as in passion. This is a kind of final poem of the poet, a milestone, a conclusion from the whole life lived and readiness for the next stage.
The poem consists of 10 stanzas and begins the final book of the poet "When it clears up." AT first three stanzas lyrical hero opens the soul, explaining what he considers important in life and work. The next three stanzas are devoted to the theme of passion in the poet's work. Stanzas 7 to 9 implement Voltaire's metaphor from the story "Candide": you need to cultivate your garden. A garden for a lyrical hero is creativity. The hero describes the creation of the poem as cultivating a garden.
The last stanza is a summary. Already born poems are, on the one hand, achievements that enable the author to feel like a winner, and on the other hand, they only tighten the bowstring of creativity, from which new poems, new results are ready to break.
Paths and images
In the first three stanzas, Pasternak seems to renounce the metaphorical nature inherent in his poems, using only general language metaphors: to reach the very essence, to the foundations, roots, core, heart turmoil, grasp the thread. These stanzas are an attempt to reason logically about the goals of one's life ( to reach the very essence, that is, to realize the essence, causes, foundations, roots, the core of everything that happens to him) and the scope of these goals ( work, pathfinding, reflection, feelings, love, discovery).
But the lyrical hero is first of all a poet, not a philosopher. Of all the unrealized or not fully realized themes, he chooses the theme of love as the most important in poetry. His reflection begins with an admission of defeat: "Oh, if only I could." The lyrical hero believes that he has not reached perfection in the description of passion, because he himself does not fully understand its nature.
Eight lines, from the point of view of the poet - the ideal size love lyrics. Poets of the 19th century could well fit all the properties of passion in 8 lines. This is the ideal of a lyrical hero. Further, he lists the subject of the lyrical poem, not using a single verb, but only a part of speech that has the meaning of objectivity - nouns: iniquity, sins, run, chase, accident in a hurry, elbows, palms. From the nouns, the hand of the master completes the picture of passion in its development. In the sixth stanza, the lyrical hero encroaches on deriving the “law” of passion, that is, something similar to the formula of love, which will include the beginning of passion, patterns and initials of the names of lovers.
Stanzas seven to nine are finally filled with Pasternak's famous metaphor. If poetry is like a garden, then its cultivation must be given completely, "with all the trembling of the veins." Linden alleys are personified, the trees become single file, in the back of the head. Unlike the argument about passion, Pasternak lists not the subject of poetry, poetry, but their essence, compared with the natural world: breath of roses and mint, meadows, sedge, haymaking, thunderstorms. The lyrical hero compares good poetry with Chopin's etudes, believing that the life of nature should be felt in poetry, as Chopin's music reflects miracle of farms (small Polish estates), parks, groves, graves.
The last, final stanza returns philosophical thought to the beginning of the poem. The hero wants to get to the very essence, and he achieved a lot, succeeded in many ways, which was associated with torment, with a game that is a metaphor for life. The achievements themselves are metaphorically compared with the stretched string of the bow, with the tension due to which they were born.
Size and rhyme
The poem is written in iambic with the correct alternation of four- and two-foot lines. cross rhyme, masculine rhyme alternates with female.
Pasternak does not finish a thought in a single unpaired line, which gives the impression that the poem consists of couplets with a repeating internal rhyme. The poem is all filled with air - pauses, which in prose speech would not be in these sentences. It seems that the lyrical hero is thinking aloud, constantly thinking about what was said.
“In everything I want to get to the very essence ...” Boris Pasternak
In everything I want to reach
To the very essence.
At work, in search of a way,
In heartbreak.To the essence of past days,
Until their reason
Down to the roots, down to the roots
To the core.Grasping the thread all the time
destinies, events,
Live, think, feel, love,
Complete opening.Oh if only I could
Although in part
I would write eight lines
About the properties of passion.About iniquities, about sins,
Run, chase,
Accidents in a hurry,
Elbows, palms.I would deduce her law
her beginning,
And repeated her names
Initials.I would break poetry like a garden.
With all the trembling of the veins
Limes would bloom in them in a row,
Guskom, in the back of the head.In verses I would bring the breath of roses,
mint breath,
Meadows, sedge, haymaking,
Thunderstorms.So once Chopin invested
living miracle
Farms, parks, groves, graves
In your studies.Achieved triumph
Game and flour -
Strung string
Hard bow.
Analysis of Pasternak's poem "In everything I want to get to the very essence ..."
The philosophical lyrics of Boris Pasternak are very rich and varied. However, like many of his predecessors, the author constantly returns to the theme of the poet's role in modern society. True, unlike many other authors, Pasternak derives his own formula for the success of a writer, which includes not only a poetic gift and the ability to rhyme words, but also the ability to subtly feel the world around him.
In 1956, Boris Pasternak wrote the poem "In everything I want to get to the very essence ...", which can rightfully be considered the literary credo of the poet. In this work, he outlined his views on what poetry should be, and why he personally does not consider himself a talented writer, although he strives for perfection. From the first line of the poem, it becomes clear that through creativity, Pasternak learns to know the essence of things, using words in order to express his thoughts as accurately and fully as possible. The poet admits that his works are built on an in-depth analysis of phenomena and actions, since he sets himself the task of living, "all the time grasping the thread of fate, events." However, if the author manages to understand simple things without difficulty, then in matters of human feelings he feels like an amateur. Not because he does not know how to interpret them correctly, but because he cannot express them in simple and understandable words. The poet writes that his cherished dream is to write "eight lines about the properties of passion." But so that everyone who reads them could not only understand, but also feel what the author had previously experienced. Pasternak complains that it is beyond his control. He does not give an answer to the question why, but notes that he would gladly “break poetry like a garden” in which fragrant lindens would grow. In addition, the poet would add to his poems "the breath of roses, the breath of mint, meadows, sedges, hayfields, thunderstorms."
Thus, Pasternak is convinced that being a real poet is, first of all, feeling like a part of nature, which for all creative people without exception is a source of inspiration. According to the author, only through the knowledge of the surrounding world can one achieve inner harmony, and then the cherished words required in order to express one's feelings will be found by themselves. However, for this it is necessary not only to constantly comprehend the essence of things, but also to feel the slightest changes in the world around us, to be able to sincerely admire it, as many poets of the 19th century did.
Pasternak never considered himself an unsurpassed landscape lyricist. Nevertheless, the poem “In everything I want to get to the very essence ...” indicates that the author is not averse to singing in his works such a changeable, unpredictable and full of unsolved secrets of nature. The author notes that he would like to become Chopin in poetry, who, with the help of music, was able to convey in his studies “a living miracle of manors, parks, groves, graves”. But at the same time, Boris Pasternak himself is well aware that only the elite have such an invaluable gift. Moreover, not everyone who is endowed with the ability to live in harmony with the outside world manages to tell others about it, creating truly exciting pictures, musical works or poems.
The author knows firsthand the torments of creativity, when emptiness is hidden behind rhymed phrases that are pleasant to the ear. In order to fill poetry with meaning, it is necessary to get to the bottom of things, to pass the knowledge gained through your own soul and, in the truest sense of the word, to suffer your work, having perfected every word in it. Therefore, he compares his poems with a stretched string of a tight bow, which can break at any moment in mid-sentence only because there is not enough strength and ability to hold it.
The theme of poetic inspiration, the purpose of the poet and poetry, the theme of vocation worried Pasternak throughout his life. This is reflected in the poems. different years: “Definition of poetry” (1919), “Oh, I wish I knew that it happens ...” (1932), “Hamlet” (1946), “In everything I want to get to the very essence ...” (1956), “Be famous ugly…” (1956), etc.
Let us turn to Pasternak’s poem “In everything I want to reach ...”, which, undoubtedly, can be considered as a comprehension of life and creative way. At the same time, this is a philosophical reflection on life in general, on the fate that has developed, and the one that could be; about the possibility of a different path in poetry.
The surprise of having the "mysterious gift of speech"! never left Pasternak. Over the years, his poetry is increasingly filled with that deep philosophical wisdom, for the expression of which simple, clear and completely ordinary words. But a shadow of doubt nevertheless sometimes slips in his poems: did he dispose of that priceless gift that was prepared for him? And is it not for this reason that the torment of the “achieved triumph” does not give the poet peace?
Let's listen expressive reading poems.
In everything I want to reach
To the very essence.
At work, in search of a way,
In heartbreak.
To the essence of past days,
Until their reason
Down to the roots, down to the roots
To the core.
Grasping the thread all the time
destinies, events,
Complete opening.
Oh if only I could
Although in part
I would write eight lines
About the properties of passion.
About iniquities, about sins,
Run, chase,
Accidents in a hurry,
Elbows, palms.
I would deduce her law
her beginning,
And repeated her names
Initials.
I would break poetry like a garden.
With all the trembling of the veins
Limes would bloom in them in a row,
Guskom, in the back of the head.
In verses I would bring the breath of roses,
mint breath,
Meadows, sedge, haymaking,
Thunderstorms.
So once Chopin invested
living miracle
In your studies.
Achieved triumph
Game and flour -
Strung string
Hard bow.
Let us turn to the theme of the poem, It does not cause doubt among the children - the purpose of poetry, the meaning of the poet's life.
- And what is his main idea? Where does the poet see the meaning of his life?
Everything is subject to the desire to express with the greatest force the most intimate, to open the soul - the life of the poet on the verge and beyond the limits of the possible, at the limit of feelings, thoughts, breath. And these are not just words, not only a poetic credo, but life itself, reflected in poetry, confirmed by every step, every line:
In everything I want to reach
To the very essence.
At work, in search of a way,
In heartbreak.
The goal of the poet is not only to penetrate into the essence of life phenomena and events, to understand them, to convey to the reader, but also to understand himself, in his soul, to know himself, the eternal search for the meaning of life, the search for truth.
To reach the main, the most important, to find the truth in everything: "in work" - creativity; "in search of a path" - a path to the world and to oneself; "in the turmoil of the heart" - the world own feelings and constantly changing state of mind.
It is hard not to agree with N.Ya. Mandelstam: “The work of a poet is self-knowledge, he is always looking for a clue to his life”
- How does the poet appear before us? What is this person? What is his peculiarity, dissimilarity to ordinary people?
The poet can't help but worry eternal questions being. What is the truth? What's the point human life? Why does a poet create? the phrase “In everything I want to reach / To the very essence ... "" perfectly conveys Pasternak's attitude to poetry, to its essence ...
Poetry for him is an organ of perception of the world and a way of expressing the integrity of life ... The poet’s desire to penetrate
To the essence of past days,
Until their reason
Down to the roots, down to the roots.
To the core.
- Can we say that we are talking about the past? Why?
Let's pay attention to the date of writing the poem - 1956. Boris Pasternak is over sixty. Is it because the poet is so partial to himself that the time has come to sum up?
Note that the anaphora enhances the feeling of depth, penetration deep into and inside oneself, time, space.
The metaphorical row hidden in the quatrain is not immediately visible: time - water - earth. “Time flows,” we say, without thinking about the usual metaphor. Time is water (“of past days”) that has gone into the earth, into the depths, into the roots, into the core.
Let's pay attention to stylistic coloring metaphors. "Days gone by" sounds solemn, even majestic. So they say about the smoothly flowing time, unfortunately, irreversible. There is also a feeling of a lived (not in vain!) life.
- It is easy to notice that the tempo of the poem with each stanza somewhat accelerates, increases. Why do you think? What feature of Pasternak's poetic manner
can you see it here?
We feel that the word can hardly keep up with the thought. The delightful stream of poetic consciousness overwhelms, covers with a wave, does not give a respite. This is reflected in the syntax - the abundance of sentences with homogeneous members, not connected by unions.
Sometimes Pasternak's sentence consists only of homogeneous members. Ask students to provide examples to support what they have said.
What lines can be called an expression of the poet's life credo? Why?
The answer is obvious. Interest in life, the desire to comprehend everything, deeply experience, experience love, achieve high goals - all this is in the third stanza, expressing life credo poet:
Grasping the thread all the time
destinies, events,
Live, think, feel, love,
Complete opening.
- Think about why verbs carry the main semantic load. The swiftness of verbs ("live", "think", "feel", "love", "accomplish")
conveys Pasternak's sense of life, emphasizes the desire to live fully, richly.
The word "live" being semantic center stanzas, contains all subsequent concepts: to live means to act in your own time, not postponing life for later, “grasping the thread” of events and destinies. On this metaphorical thread are strung (like pearls) all the stanzas of the poem.
The word in Pasternak contains much more than it lies on the surface, it sometimes evokes associations unknown to the reader. The desire to cover as much as possible, not to miss the main, significant, makes the poet very accurately select the words with which we can see his world, smell, see colors, hear sounds, love music, people:
I would break poetry like a garden.
With all the trembling of the veins
Limes would bloom in them in a row,
Guskom, In the back of the head.
In verses I would bring the breath of roses,
mint breath,
Meadows, sedge, haymaking,
Thunderstorms.
So once Chopin invested
living miracle
Farms, parks, groves, graves
In your studies.
How many nouns in this poem are needed to designate objects and concepts important to the poet! What epithets: "in the turmoil of the heart", "living miracle", "achieved triumph"!
The poem is filled with favorite smells, smells of inspiration: “garden”, “lindens would bloom”, “breath of roses”, “breath of mint”, “meadows”, “sedge”, “haymaking”. It contains the sounds of nature (thunderstorms) and the sounds of Chopin's music, which spoke so much to the poet's soul.
The comparison with Chopin's music is not accidental. Poetry is like music. It is almost impossible to define its essence in words. Boris Pasternak - the poet of sensations and "beautiful eloquence" - once managed to express this in a delightful verbal formula:
This is a cool pouring whistle
This is the clicking of “squeezed ice floes.
This is the night chilling the leaf
This is a duel between two nightingales.
Pasternak, calling Chopin a realist in music, who, creating musical composition, introduced objects of the surrounding world into it, spoke about himself - a realist in poetry, who made everyday life its subject. Boris Pasternak wrote about Chopin: "His work is original through and through." And further: “... Chopin looked at his life
as a tool for the knowledge of all life in the world ... ".
It seems that this can also be attributed to Pasternak, who also made his life an instrument of knowledge of the world around him and in every subject Everyday life I saw its soft charm and originality and opened it to us, the readers.
Several stanzas are united by the theme of love, passion. This topic is so exciting that the poet does not have enough breath, the lines are written excitedly, becoming shorter. Sometimes they consist of one or two words. The passion that overtakes a person is reflected in the vocabulary (“running”, “chasing”, “in a hurry”) and in grammatical structure suggestions:
Oh if only I could
Although in part
I would write eight lines
About the properties of passion.
About iniquities, about sins,
Run, chase,
Accidents in a hurry,
Elbows, palms,
I would deduce her law
Its beginning
And repeated her names
Initials.
Let's take a look at these lines. The poet uses conditional mood. Why do you think?
Another way to live? Self-doubt - the most talented poet? A poet fully aware of his own significance? Or a deep-seated sense of dissatisfaction?
An inner conviction at the subconscious level: there are poets undeniably higher, poets are unattainable ideals. And why exactly eight lines? Maybe eight lines, similar to A.S. Pushkin? Modesty or regret about the unwritten, imperfect, unachieved?
Helplessness before the power of feeling, the inability to describe in words all the shades and nuances of passion, what suddenly becomes clearer with age, the advent of skill and life wisdom?
5 (100%) 2 votesIn everything I want to reach
To the very essence.
At work, in search of a way,
In heartbreak.
To the essence of past days,
Until their reason
Down to the roots, down to the roots
To the core.
All the time grasping the thread
destinies, events,
Live, think, feel, love,
Complete opening.
Oh if only I could
Although in part
I would write eight lines
About the properties of passion.
About iniquities, about sins,
Run, chase,
Accidents in a hurry,
Elbows, palms.
I would deduce her law
her beginning,
And repeated her names
Initials.
I would break poetry like a garden.
With all the trembling of the veins
Limes would bloom in them in a row,
Guskom, in the back of the head.
In verses I would bring the breath of roses,
mint breath,
Meadows, sedge, haymaking,
Thunderstorms.
So once Chopin invested
living miracle
Farms, parks, groves, graves
In your studies.
Achieved triumph
Game and flour
Strung string
Hard bow.
1. Theme - the purpose of the poet in this world, his vocation.
2. Idea - the lyrical hero is trying to comprehend the purpose of the poet, namely: to reflect in poetry not only outside events, but also to be able to "get to the very essence", comprehend the meaning, and convey it to the people in their poems.
3. Rhyme - cross (1 line rhymes with 3, 2 with 4).
Size - disyllabic, iambic (stress falls on the second syllable).
5. Visual means:
comparison: "I would break poetry like a garden", "I would bring the breath of roses into poetry ... there once Chopin put a living miracle"
epithets: "living miracle", "heart trouble"
personification: "breath of a dream", "passed days"
metaphor: "I want to get to the very essence", "all the time grasping the thread of fate", "I brought in the breath of roses", "Chopin put in a living miracle".
Effective preparation for the exam (all subjects) -
