Anna Akhmatova and Boris Pasternak are prominent representatives of the St. Petersburg and Moscow schools in Russian poetry. She has the severity and harmony of the classical form, he has an external heap of images in an attempt "within the limits of the poem to recreate the all-encompassing atmosphere of being":

As if out of your mind
Like children of disobedience,
Licking, day
Jokingly, we drained.
<...>
And the day rose, splashed,
In a garbage hot hole
In the circles of garbage stairs,
Bruised by wood.

This is an early Pasternak (1919). After 1940, his style would change decisively in the direction of simplicity and formally become close to Akhmatova's poems: the same outward simplicity and "transparency" combined with semantic depth. The technique of verse in the late Pasternak takes on such a quality that it is no longer perceived as a technique:

It's snowing, it's snowing
As if not flakes are falling,
And in the patched coat
The sky descends to the ground.

Like a weirdo
Sneak around playing hide and seek
The sky is coming down from the attic.
<...>
("It's snowing", 1956).

But for all the difference between the “early” (before 1940) and “late” (after 1940) Pasternak, the commonality, the integrity of his poetic world is undeniable. The very titles of the collections "Over the Barriers" (1916) and "My Sister Life" are indicative, because they characterize Pasternak's poetic manner. What are the features of the worldview and poetic style of Boris Pasternak? Here is an excerpt from his 1918 poem:

I understood the purpose of life and what
That goal is like a goal, and this goal is
Admit that I'm unbearable
To put up with the fact that there is April,
<...>
What is the church language in Berkovets,
That the bell ringer was taken to the weighers,
What from a drop, from a tear
And whiskey hurts from fasting.

Through this almost tongue-tied muttering of the early Pasternak (only the line “That goal, like a goal, and this goal ...” is worth it!) Still, his main thought and feeling break through - the poet’s amazement before the world (“I can’t bear / Put up with that that is April...”). Berkovets - an old Russian measure of weight, equal to ten pounds; the low sound of the bell is “palpable by weight”. Admiration for the miracle of life is what Pasternak brought to poetry.

“Kinship with everything that exists”, the desire to stop, delay, capture in the word every moment of the passing of life - this is the main feeling that owns the lyrical hero of Pasternak.

My sister is life and today in flood
I was hurt by the spring rain about everyone,
But people in key chains are highly squeamish
And they sting politely, like snakes in oats.

Seniors have their own reasons for this.
Undoubtedly, undoubtedly, your reason is ridiculous,
That in a thunderstorm purple eyes and lawns
And it smells of raw mignonette horizon.
("My sister is life...")

In these verses, everything is nearby and everything is confused: in the reflections of lightning of a raging thunderstorm, eyes and lawns are of the same lilac color; and the horizon is not distant, not dark, and not even ominous (as one might have supposed), but damp and smells of mignonette, a weed that has a particularly tart smell after rain. Reason, lawns, mignonette, horizon - these words are "full of ozone." Maybe that's why Pasternak's contemporary O.E. Mandelstam said about his poetry: "To read Pasternak's poems is to clear your throat, strengthen your breath, renew your lungs: such poems should be curative for tuberculosis."

The title of the collection “My Sister is Life” is the best epigraph to the entire work of the poet. In this appeal, there is at the same time tenderness, reverence, and insolence (“The Poetry of Eternal Masculinity,” said M.I. Tsvetaeva about Pasternak), and in general - extreme intimacy. Pasternak “on you” with the world: “It seemed that we were the alpha and omega with life on the same cut. She lived like an alter ego and I called her sister."

So, a distinctive feature of Pasternak's poetic style is the strength and intensity of the contact of the lyrical hero with the world. There is - and rightly - an opinion about the complexity, the difficulty of perceiving early Pasternak's poems. Firstly, in the poet's dictionary there are a lot of incomprehensible words from the most diverse layers of vocabulary: farmsteads, brizhy and tansy, centifolia, landing stage, hryvnia ...; secondly, perception is hindered by inconsistent, difficult syntax (how to find the end of a sentence, subject and predicate?) and, finally, thick metaphor, associative series of images. Such complexity in itself is neither an advantage nor a disadvantage. This is the originality of style, artistic manner. Style is not just a set of artistic techniques, it is something objective - an expression, an imprint of the artist's personality.

In a wonderful review of the book “My Sister is Life,” Marina Tsvetaeva formulates the main reason for Pasternak’s misunderstanding in this way: she is “in us ... Between us and the thing is our (or rather, someone else’s) idea of ​​it, our habit covering the thing ... all the common places of literature and experience. Between us and the thing is our blindness, our vicious eye. Between Pasternak and the subject - nothing ... "

Drops have the weight of cufflinks,
And the garden blinds like a pool,
Splattered, splashed
A million blue tears.
(“You are in the wind, trying with a branch ...”)

Pasternak leads the lyrical narrative "over the barriers" of the usual (habitual, stereotyped) perception of life. In his poetic universe - "people and things are on an equal footing." The boundaries are erased: high - low, poetic - prosaic, general - private. There is nothing petty, insignificant, everything is woven into a “through fabric of existence”. Things move from their “places of habitation” (those where we are used to seeing them) and come into a stormy, sometimes chaotic movement, designed to capture reality in its natural disorder. Hence the impressionism of Pasternak's poetic writing:

There is no time for inspiration. swamps,
Whether the earth or the sea, or a puddle, -
Here a dream appeared to me, and scores
I'll get it right with him right now.

These are lines about Peter I, who planned the new northern capital. But any lyrics are first of all about themselves: "... I'll settle accounts ... now and then." The same thought is in another poem: "And the more random, the more sure / The verses are composed sobbing."

"My variety", kefir, menado.
To burst into tears, me
It doesn't take much -
Pretty flies in the window.
("How lulling life is! ..")

Speech "excitedly" and "sobbing", overflowing with words heaping and climbing on top of each other; the ability to think and speak not in separate lines, but in whole stanzas, periods, turns are characteristic features of Pasternak's style.

Tearing bushes on itself like a snare,
Margaret's clenched lips are lilac,
Hotter than eyeball margaritin protein
The nightingale fought, clicked, reigned and shone.
("Margarita")

This is not a description of nightingale singing. This is his recording - a recording of the emotional impact of the nightingale's singing. The entire last line “the nightingale beat, clicked, reigned and shone” is a verbal drawing of a four-knuckled nightingale roulade. The nightingale comes around with the words snares - purple - squirrels, and squirrels - beat and shone. Sound associativity is superimposed on semantic and figurative associativity. Pasternak himself said this about it: "Poetry looks for the melody of nature among the noise of the dictionary."

The late Pasternak will convey the same nightingale singing in one verb:

And in the conflagration of the sunset
In the distant blackening of the branches,
Like a booming alarm bell,
The nightingale raged.

The verb raged captures a huge sound space. The music of the coming spring is conveyed by a single line: “April speaks with a drop ...”

This feature of Pasternak's poems allowed researchers to talk about the sound color (color - the ratio of colors in tone and intensity in the pictorial canvas) of his poetry. “The world filled with a new ringing / In the space of a new reflected stanzas,” Akhmatova said about her fellow pen with her usual accuracy of definitions.

Often the image of Pasternak is not a static image, but a moving one, shown in development. “The poet seeks to express his thought, his impression, describing the subject from all sides at once. As if in a hurry to fix, to cover in a quick outline the flow of phenomena ... skips the insignificant, interrupting, breaking logical relationships, and cares primarily about conveying the atmosphere, mood or state in their authenticity ... ”writes the researcher of B. Pasternak’s work N. Bannikov.

Let's try to read from this point of view the poem "Girl" from "My Sister - Life":

From the garden, from the swing, from the floundering bay
A branch runs into the dressing table!
Huge, close, with a drop of emerald
Straight at the tip of the brush.

The garden is strewn, gone behind her mess
Behind the turmoil beating in the face.
Native, huge, with a garden, and character -
Sister! The second dressing table!

But this branch is brought in a glass
And they put a dressing table to the frame.

Prison human slumber?

The spatial position of the lyrical hero is inside the house, in the room where the garden outside the window is reflected in the mirror of the dressing table. Suddenly, unexpectedly (“from the bay-floundering”), a single branch, “ran into the dressing table” (a gust of wind?), Obscured the whole garden:

Huge, with a garden, but in character -
Sister! The second dressing table!

Attention is stopped by the last line. Sister to whom? garden? But the definition of "the second dressing table", in which one branch is equated to a whole garden (the garden is the "first dressing table") refers to the title of the collection - "My sister is life." The “huge, close, dear, huge” branch-girl in this poem is a way of life.

In the third stanza, the room is no longer a reflection of the branch, but itself - it is “brought in a glass and placed against the frame of the dressing table”. Now, as if not a lyrical hero, but a branch, unexpectedly found itself in the “prison of the room”, looks in surprise at what appeared to her eyes:

Who is this, - guesses, - my eyes are rumbling
Prison human slumber?

The word pier glass, phonetically repeated in sequence in a glass - to the frame of the pier glass - rumours with prison slumber - a sound portrait of a branch reflected in the mirror of the pier glass. The image is "molded" with the help of sound. In general, the poem gives the reader the feeling of a bright spring morning with the sun beating in the eyes and the hot rustle of leaves outside the window (despite the absence of “direct” details indicating “sunshine” and “morning”).

About this style of artistic writing, when it is important to convey not only what he saw, but also the impression from him, Pasternak himself wrote: "Art is a record of the displacement of reality produced by feelings."

Pasternak builds his images according to the associative principle.

And gardens, and ponds, and fences,
And seething with white screams
The universe is just passions discharges,
accumulated by the human heart.

Gardens - ponds - fences. - the universe - passions form a chain of associations, of which only the first three links are usually comparable in our minds; the universe added to them - passions violate the automatism of the perception of the text, make the reader's thought work. The rapprochement of the distant makes the image unusual, prompts us, following the poet, to discover new connections in the world. Here are Pasternak's Lilies of the Valley, which you come across in the cool shade of a birch forest on a hot May afternoon:

But you've already been warned
Someone is watching you from below:
Raw ravine with dry rain
Dewy lilies of the valley humiliated.

Rustle, inaudibly, like brocade,
Cling laika his cobs,

All the dusk of the grove together
Takes them apart for gloves.

Let's sort out the adjectives: "Damp ravine with dry rain / Dewy lilies of the valley humiliated." Compared to real rain, the rain of lilies of the valley, although not yet dry from dew, is, of course, dry. The definitions seem to negate each other: damp - dry - dewy. But through this negation unity is affirmed, an image is born. The visual image is enriched with sound (“rustling, inaudibly, like brocade” - sh-s-pch: the noise of young spring foliage) and tactile (“they cling to its ears with a husky”): the delicate, glossy leaves of young lilies of the valley resemble the touch of the skin of gloves on hands. As hands are hidden in gloves, so with the onset of darkness, wide palms-leaves of lilies of the valley are closed ("the whole dusk of the grove is together / they are disassembled into gloves"). This poem is an example of how distant rows of images shift, illuminating each other, entering into new, unusual combinations.

I don't know if it's solved
The mystery of the afterlife,
But life is like silence
Autumn - detailed.
("Let's drop the words...")

Autumnal transparency and silence are special: you can see and hear far away - “to all corners of the world” (in the word crystal, F.I. Tyutchev conveyed such a state of nature: “The whole day stands as if crystal ...”). Comparison of life and silence in Pasternak follows an unexpected associative feature - details. In our life, not only the main thing is significant, sometimes the little things are more important - the poet knew this well, whose patron is the "almighty god of details." Pasternak has a special, greedy, frantic taste for detail. Their finest, most accurate reproduction is his specialty. (“Art is the audacity of the eye, attraction, strength and capture.”) Pasternak is an artist for whom “nothing is small,” for only in details, particulars, the panorama of life comes to life.

Akhmatova, according to the memoirs of her contemporaries, was very indignant at Pasternak's line: "I entered with a chair." Of course, for her poetic system, where everything is strict and classical, like the flying lines of St. Petersburg buildings, such a line is impossible. But not for Pasternak, a Muscovite by birth and attitude. In his world, to say this is natural:

Oh sissy, in the name of the former
And this time yours
Outfit chirps like a snowdrop
April: Hello!

It's a sin to think - you're not from the vestals:
Came in with a chair
How I got my life off the shelf
And the dust blew.
("Out of superstition").

Literary critic Lev Ozerov explains the associative imagery of the poet in this way: “Pasternak himself is involved and carries the reader along with him into the labyrinths of images and thoughts, expressing the complexity of the human psyche, its diversity, to a certain extent its indivisibility, lack of contour. There are no partitions between objects and phenomena of the external and internal worlds ... "The thought of L. Ozerov is continued by A.D. Sinyavsky:" Pasternak is inclined to explain himself on the highest topics bluntly, at home, in the tone of familiar everyday conversation. His originality lies in the fact that he poetizes the world with the help of prosaisms*. This is how the late Pasternak saw spring:

It's her, it's her
This is her magic and wonder.
This is her quilted jacket behind the willow,
Shoulders, scarf, camp and back.

This is Snegurka at the edge of the cliff.
It's about her from the ravine from the bottom
Pours incessantly delirium hurried
A half-mad talker.
("Spring again")

Sorcery and wonder echo with the quilted jacket behind the willow - this is the whole of Pasternak. So, once again briefly summarize the main features of the poetic style of Boris Pasternak:

- an emotional, ecstatic approach to life and to the world: poetry is "communion of delight with everyday life", hence the impressionism of style;

- lyrical "pressure": the rapid and stormy movement of the verse, capturing in its stream everything that comes in its way;

- condensed metaphor, associative series of images;

- displacement of the usual meanings of objects and concepts (expressionism of style).

The talent of Boris Pasternak organically combined, synthesized in himself the gifts that the poet received from his parents: his father, an artist, “the genius of the moment,” as his contemporaries called him, and his mother, a virtuoso pianist. Painting and music merged in the poetic word. Pasternak spoke about this innermost unity in the poem “Winter is Coming”:

October silver walnut,
Frost luster pewter.
Chekhov's autumn twilight,
Tchaikovsky and Levitan.

In one stanza - and the Russian "quiet" autumn with its aching sadness, and the evening dawn of Russian classical culture.

Thematically, in Pasternak's lyrics one can single out poems about nature, about creativity and about love, although, of course, any classification of poetry is conditional. “Nature has been his only full-fledged Muse all his life, his secret interlocutor, his bride and Beloved, his Wife and Widow - she was to him the same as Russia was to Blok. He remained faithful to her to the end, and she royally rewarded him. "Nature" in the quoted words of Akhmatova about Pasternak is a synonym for the same "my sister - life." Man and the universe in Pasternak are given in one dimension and scale; both man and nature are equally animated and inspired. In this regard, his poetry is a harmonious development of the dramatic and tense Tyutchev line in Russian literature.

Spring, I'm from the street where the poplar is surprised
Where the distance is afraid, where the house is afraid to fall,
Where the air is blue, like a bundle with linen
Discharged from hospital...

This peculiarity of Pasternak was well explained by M.I. We did not expect rain from the page, we were waiting for poems about rain. [Before Pasternak] no matter how amazingly they wrote nature, but everything about it, no one of it: the very thing: point-blank... He allows himself to be pierced by a leaf, a ray, that it is no longer he, but: a leaf, a ray. Of course, from the reader such a manner of writing requires the work of the mind and heart, the work of the soul. Pasternak is all about the reader's creativity.

Poetry! Greek sponge in suction cups
Be you, and between the sticky greens
I would put you on a wet board
Green garden bench.

Grow yourself lush bellies and figs,
Take in the clouds and ravines,
And at night, poetry, I'll squeeze you out
To the health of greedy paper.
(“What kidneys, what sticky swollen cinders ...”)

Poetry is a part of life itself, nature, whose life-giving moisture feeds the poet's soul - "a Greek sponge in suckers." The motive of the unity of life and creativity is one of the leading ones in Pasternak's lyrics. In his mature poems, admiration for the beauty of the "general molding of the world" is combined with an awareness of the artist's responsibility to life and time. It is creativity (including the creativity of one's own life, as the novel Doctor Zhivago is about) that justifies the existence of man on this earth:

Why is the distance crying in the fog
And humus smells bitter?
That's what my vocation is for,
So that distances do not get bored,
To beyond the city limits
The earth does not grieve alone.

For this early spring
Friends come with me
And our evenings are goodbyes
Our feasts are testaments,
So that the secret stream of suffering
Warmed the cold of being.

The artist is the empowered eternity, the herald of the highest principles, and his activity is an unceasing, tirelessly accomplished feat:

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

Creativity for Pasternak is a way to go beyond the limits of earthly existence; escaping from the shackles of space and time, to approach the highest, divine beginning in oneself.

Art is interpreted in Pasternak's poetry as a feat, love is also a feat: "To be a woman is a great step, to drive one crazy is heroism." Admiration for a woman for the lyrical hero Pasternak is akin to admiration for life:

Pity rules the world
inspired by love

the universe is unprecedented
And life is new.

In a woman's palm
The girl in the handful
Births and agony
Beginnings and paths.
("Open air").

The leading motive of Pasternak's love lyrics is gratitude and admiration, even in the situation of a "break" and farewell of lovers. Boris Pasternak saw the meaning of art in "expressing the greatness of life and the immeasurable value of human existence."

Oh if only I could
Although in part
I would write eight lines
About the properties of passion.
<...>
I would break poetry like a garden,
With all the trembling of the veins,
Limes would bloom in them in a row,
Goose in the back of the head ...

The writing

Perhaps "flakes of white snow" are the most vivid and accurate description of B. Pasternak's poetry. He, like no one else, knew how to create light, airy images in his poems. Falling on a warm heart, they will melt, leaving a gentle trace of chill and freshness, and, falling on a cobblestone soul, they will cover it with a snowy blanket of beautiful words. For each person there is something to take from the work of Pasternak.

The poet himself never treated his work lightly, he carefully worked out every thought, trying to express a lot in a few words. Pasternak was constantly improving.

And he improved not only in the expression of thoughts, but also in the “thoughts” themselves, trying to impress the reader with a new outlook on life, with a completely different shade of reality. Therefore, the bright, energetic and extraordinary image of the poet Pasternak remains in the mind of the reader, which leads to his foggy and bewitching distances.

And there is, in my opinion, in the work of this poet one poem that can be called the poet's manifesto. I mean the poem "In everything I want to reach ...". In each of his lines, a lyrical hero is revealed, which can conditionally be equated with Pasternak himself. Everywhere we feel a desire for life, for the knowledge of its secrets and mysteries, a thirst for activity and feelings:

In everything I want to reach

To the very essence.

At work, in search of a way,

In heartbreak.

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 the hero 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. Isn't this the task and goal of poetry in general and of each poet in particular? Pasternak always believed that what is meaningful 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:

Live, think, feel, love,

Complete opening.

So, this poem is a manifesto of Pasternak's creative and human position. But what is the image of the poet himself in poetry, how does he appear to us, the readers?

The theme of the poet and his destiny is one of the most important themes in Pasternak's work. According to the poet, the artist should not depend on the opinion of the crowd: “Being famous is ugly. It's not what lifts you up." Pasternak condemns attention to "hype", "success", external well-being, because all this only interferes.

Speaking about creativity, the author deduces its main, most important task: “The goal of creativity is self-giving ...” Pasternak believes that a poet should completely devote himself to creativity, live and breathe poetry alone. The lyrical hero condemns pseudo-creativity for the sake of fame, fame. A true creator must be humble and industrious:

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.

Self-giving must be so complete that a true poet lives his life precisely in his poems. To be a creator, according to Pasternak, is not so much a blessing as a heavy cross. The reward for this is the recognition of posterity. It is the descendants, because fame among contemporaries can be largely based on scandalousness and outrageousness. But time puts everything in its place, and it is for future generations to judge the greatness of the poet's work.

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".

At the end of the poem, Pasternak notes that there is no place for the artificial in poetry. The basic law that every person, and especially an artist, should be guided by is to be “alive” in every sense of the word.

In his work, B. L. Pasternak followed the “formulas” he derived. In his poems one can see the living soul of the poet, each line was lived and felt by the artist. Therefore, Pasternak cannot be trusted, empathized, or admired...

The date:

Subject: B. Pasternak. Review of life and work. Lyrical hero in Pasternak's poetry. The novel Doctor Zhivago. (Review).

Lesson type: combined

Target: (formation, mastery, development) and the tasks of the lesson (teach, develop, educate)

1). to acquaint with the main stages of the life and work of B. Pasternak;

2). determine the themes and main motives of his lyrics;

3). give an idea about the features of the novel "Doctor Zhivago";

4). to teach to determine the meaning of image-symbols and the sound of cross-cutting motives of the work.

Lesson objectives:

Help students move from the level of the content of the story to the level of meaning.

Continue to work on the formation of emotional sensitivity to the word.

Determine the role of the writer's artistic means in the story.

Skills (S): analysis of production, nah-be cf. express

Knowledge (K): content

Equipment: books, notebooks, reports, projector

Teaching methods: practical

Lesson structure

During the classes

1.Org. moment. Motivation for studying the topic.

2. Actualization of basic knowledge and methods of action. Identification of the problem. (Homework check).

(Speech by students: reports, poetic five-ka)

vocabulary work

Vaudeville - a cheerful theatrical play, usually of comedic content, including separate vocal and dance numbers.

Furiant - impetuous temperamental Czech folk dance.

Diptych - two paintings connected by a single idea.

duplication- strengthening a damaged or dilapidated base of a painting by gluing it onto another base. Usually duplication is used in the field of oil painting.

AROMATIC-AROMATIC

AROMATIC.Contains odorous substances. (Used in phrases of a terminological nature.)

Aromatic:~ th vinegar, powder; ~th means, substances, oil products, hydrocarbons.

AROMATIC.Contains a strong pleasant smell.Synonyms: fragrant, fragrant, fragrant.Antonyms: fetid, smelly (colloquial).Aromatic:~honey, mushroom; ~ oatmeal; ~th jam, seed, hay.

Using these words, come up with sentences. (orally)

Epigraph of the lesson

B.Pasternak

3. Assimilation of new knowledge.

Teacher's word.

The idea of ​​life is the idea of ​​Russian literature. The deepest, sharpest sense of life permeates all the great works of Russian literature. No matter how different artists Gogol and Lermontov, Tolstoy and Dostoevsky, Chekhov and Bunin may be, it is always felt in their images as a comprehensive cardinal idea. Let's remember Natasha Rostova, Ivan Karamazov's sticky notes. That's right: "To love life more than its meaning." This fascinated Russian literature the whole world. Andre Maurois wrote: "...no one will give you such a magical feeling of life as Russian writers."

Perhaps that was the main testament of Russian classics to the future - loving attention and respect for living life, for man, nature, and the world as a whole. Now, it seems, we can finally understand that it was not only a testament, but also a prophetic foreboding of the cataclysms of the 20th century, a foreboding of the coming trials to which man and nature will be subjected. World wars, social revolutions, civil strife, military dictatorships and despotic regimes have drastically devalued life, depleted its resources, bled it dry and soulless it, putting it on the last line, beyond which - the abyss! That is why the novels of A. Platonov, E. Zamyatin, V. Grossman and B. Pasternak are united by the most acute experience of living life. The idea of ​​life is especially pronounced in B. Pasternak's novel "Doctor Zhivago", which will be discussed today.

Boris Pasternak also became the embodiment of the spirit of his time. He managed to convey its atmosphere, unfulfilled historical hopes and the fate of his contemporaries in his poems and prose. His works, lyrical for the most part, have become the embodiment of the tragic happiness of the existence of a person gifted with a reasonable word, the ability to fruitfully, joyfully and independently use the time given to him.

And to be alive, alive and only,

Alive and only until the end.

"Being famous is ugly..."

The Artistic World of Boris Pasternak (Student presentation).

The history of the life and work of the poet .

Boris Leonidovich Pasternak was born on January 29 (February 10), 1890. The house in which his parents rented an apartment was located in the area of ​​​​Tversky-Yamsky and Arms Lane. It was a lively suburb where cabbies, artisans, and railroad workers lived.

In the impoverished family of the young painter Leonid Pasternak and pianist Rosalia Pasternak-Kaufman, art merged with everyday household chores, and the surrounding lanes, courtyards and gardens in the vicinity of Karetny Ryad were a place for daily walks, where life burst into consciousness with all the brightness of its moral and plastic extremes.

The creative atmosphere of the Pasternak family, where many famous artists, musicians, writers were frequent guests, from childhood developed the boy's attitude to art as an everyday, familiar part of life.

Boris Pasternak considered the atmosphere of the parental home to be the most significant in the artistic development. “I am the son of an artist, I have seen art and great people from the first days.

Galina Neuhaus testifies how “Pasternak once remarked: “God gives talent only to the elect, and the person who has received it does not have the right to live for his own pleasure, but is obliged to subordinate himself to work, even hard labor. On this occasion, I have poems. He called me to his office and read the poem “Don’t sleep, don’t sleep, artist…” This important thought in the last two stanzas of the 1956 poem “Night” sounds like a call:

Don't sleep, don't sleep, work

Don't stop working

Do not sleep, fight drowsiness

Like a pilot, like a star.

Don't sleep, don't sleep, artist

Don't give in to sleep.

You are a hostage of eternity

Time is a prisoner.

He was a man of extraordinary capacity for work. Simultaneously with the gymnasium, he practically completed the course of the conservatory. However, the demands that he made on himself were impossible, and he painfully refused to complete his musical education and the profession of a composer.

In the spring of 1913, Pasternak brilliantly graduated from the university. At the same time, the Lyrika publishing house, founded by several young people, published an almanac on the basis of a clubbing, in which five of his poems were printed. The first of them, Pasternak invariably then opened his collections:

Write about February sobbing,

While the rumbling slush

In the spring it burns black.

Over the summer, he wrote poems for his first book, and by the new year 1914 it was published by the same publishing house under the name "Twin in the Clouds." The young poet resolutely sought an independent path in literature.

In his lyrical works, the poet addresses both historical figures (the poem "Lieutenant Schmidt"), and people whose fate then touched and touched him (Bryusov, Akhmatova, Tsvetaeva, Meyerhold). In the 1920s, the poet expressed in his works a courageous determination to write, overcoming difficulties, to live, despite the dangers and tragic changes:

Oh, I wish I knew that it happens

When he made his debut

That lines with blood - kill,

They will gush in their throats and kill! ..

But old age is Rome, which

Instead of turuses and wheels

Does not require reading from the actor,

A complete death in earnest.

When the feeling dictates the line

It sends a slave to the stage,

And this is where the art ends.

And the soil and fate breathe.

May 30, 1960 Boris Pasternak died. The words spoken by the poet two years before his death became prophetic: “Most likely, many years after I die, it will become clear what broad, broad bases guided my activity in recent years, what it breathed and ate, what it served.”

Artistic features poetry of Pasternak.

– Listen to the message and list the features of the poet's lyrics in plan form.

Pasternak's poems are distinguished by their picturesqueness, his paintings are recognizable:

The flagstone was heated, and the streets forehead

He was swarthy, and looked at the sky frowningly

Cobblestone, and the wind, like a boatman rowed

By limes. And all these were likenesses.

Visual impressions are transformed into philosophical reflections.

Symbolic images are deep and tangible.

A candle as a symbol of creative burning first appeared in Boris Pasternak’s prose: “And in the room, on the desk, there was a bronze blacksmith, and next to him, a candle withered in the darkness, smelled a whole corner with shadows, and then the dawn could not resist, deserted people died, the candle stirred oven, like a dark hollow. It's easy with a candle."

In the poem of 1912, “Like a brazier with bronze ash ...”, “the candle of human life” is part of the universe: “With me, with my candle, the flourished worlds hang on a par.”

The poet especially cherishes his father's joyful worldview and admiration for the greatness of nature and its creator. True art always brings joy to a person. In the poems and lyrical sketches of the poet, a sensual sensation of life is conveyed:

Nature, the world, the secret of the universe,

I serve your long

Embraced by the secret trembling,

I'm in tears of happiness.

"When it clears up", 1956

Or:

And the white dead kingdom

Throwing mentally trembling,

I whisper softly: "Thank you,

You give more than they ask."

"Hoarfrost", 1941

Nature, like all the phenomena surrounding him, Boris Pasternak perceived surprisingly vividly and in relief, filling landscape poems with extraordinary joy. From the unexpected and at the same time very simple, obvious signs of the life surrounding the poet, he naturally rose to the heights of the universe, to philosophical reflections on eternity.

V. F. Asmus wrote about Boris Pasternak: “Music, poetry, painting were for him not a Babylonian mixture of language, not different languages, but a single language of art, in which all words are equally accessible to him and equally understandable.” Subordinating his talent to the elements of the word, B. L. Pasternak retained in his work the sharpness of artistic vision, the sensitivity of the musical perception of the world.

4. Fixing.

Work with text .

– Now try to identify these features in Pasternak's poem.

The teacher distributes the texts of the poem to the students. It is possible to work in pairs.

February. Get ink and cry!

Write about February sobbing,

While the rumbling slush

In the spring it burns black.

Where, like charred pears,

Thousands of rooks from the trees

Break into puddles and bring down

Dry sadness at the bottom of the eyes.

Get a span. For six hryvnias,

Through the blessing, through the click of the wheels

Move to where it's raining

Noisier than ink and tears.

Under it, the thawed patches turn black,

And the wind is pierced by cries,

And the more random, the more true

Poems are folded up.

Pasternak's novel Doctor Zhivago.

You can start with students reporting about the unusual plot and composition of the work.

We will address only a few pages of this unusual work.

The whole novel is Pasternak's revelation, his message to us, who are living today, a message that makes us see what we did not notice before. This is a kind of writing, captivating with openness, love of life, the ability to see poetry in prose. It contains notes, and diary notes, and poems, and letters as such.

We will turn to such a letter - Tony's farewell letter.

Analysis of the pages of the novel (chapter 13, part 18).

– Do you think this letter was written according to the rules?

It has no address, no appeal, no beginning, no words of farewell. Tony's thoughts jump: either she talks about herself, then about the events around, then she again turns to her feelings ... It seems that she has already said goodbye, but the letter continues.

– What genre is this letter written in?(This is the cry of the soul, which makes our souls tremble.)

– What was in this letter that made Yuri Andreevich forget what city he was in and in whose house? Forget where he is and what is around him? What is the power of writing?

This is a letter about love that has no future. Tonya never told her husband: “But I love you ... I love everything special about you, everything profitable and disadvantageous, all your ordinary sides, dear in their unusual combination ... All this is dear to me, and I don’t know a person better than you.” But "all the grief is that I love you, but you do not love me."

No, he loved Tonya, but he was too late to say it ...

The letter in question is not the first one Yury Zhivago received from his wife. But how different it is from others! It is farewell. And in it all the wonderful soul of Antonina Alexandrovna is highlighted: huge, able to love, sacrificial. We seem to see this woman in a new way, who before this letter seemed different.

– Recall other examples of women's writing in literature.

Students can give presentations on examples of women's writing, which will summarize knowledge.

Pasternak loved and knew how to write. His epistolary romance with Marina Tsvetaeva is widely known: “We were music on ice ...” So this letter, which we are talking about today, is music that shakes to the core with its sincerity, abundance of feelings and - complete self-denial.

Finishing work on the novel, Pasternak admitted in one of his letters: “You cannot imagine what has been achieved! Names were found and given to all that witchcraft that tormented ... Everything is unraveled, everything is named, simply, transparently, sadly. Once again, in a new way, definitions are given to the dearest and most important, earth and sky, a great and ardent feeling, the spirit of creativity, life and death ... "

Two people - he and she - can find each other only in letters, and the more tragic is the situation when the letter remains unanswered, like a naked soul in the cold and wind, a soul that there is no one to warm and save.

5. Reflection of educational activity (personal, meta-subject, subject results).

- Today I found out...

It was interesting…

It was difficult…

I realized that...

Now I can…

I felt that...

I purchased...

I learned…

I managed …

I was able...

6. Summing up the lesson.

Is it by chance that this idea became the main one in the novel?

Not by chance. The poetic manifesto of the poet's consanguinity with life was the book of poems "My sister is life", which we have already spoken about. This means that Pasternak strove for this idea consistently and consciously. Everything in the slightest degree claiming to be essential, to play some role in the human world, is verified in the novel by the idea of ​​life. Only what is marked by a kind of naturalness, breadth and unpredictability has the right to be called life and is accepted by the author.

What is the main idea of ​​life in the novel?

Already in the title itself - "Doctor Zhivago", in the profession and the name of the hero.

The surname Zhivago is etymologically connected with the wordalive . Zhivago - the form of the genitive and accusative cases of the wordalive in the Old Russian language, it evokes associations with the name of "Christ, the son of the living God." According to the writer V. Shalamov, B. Pasternak explained the choice of a surname for his hero in this way: “The surname of my hero? This is not an easy story. Even as a child, I was amazed, excited by the lines from the prayer of the Church Orthodox Church: "You are truly the Christ, the son of the living God." I repeated this line and childishly put a comma after the word "God." It turned out the mysterious name of Christ "Zhivago". But I did not think about the living God, but about his new name, “Zhivago”, accessible only to me. It took my whole life to make this childish feeling a reality - to name the hero of my novel after the hero.

Teacher. Yes, in the very name of Zhivago life sounds and the Old Slavonic definition of “the Living God” is literally repeated. Zhivago is a doctor, a keeper of life, a guardian of it. In this regard, we can say that the life of the hero becomes a life, more precisely, a being, overshadowed by a sign of eternity (it is no coincidence that at first in the manuscript in place of the name it was: “there will be no death ...”).

Life is felt by the hero with all senses and with physical pleasure even in childhood. Find evidence for this idea in the text.

- “Life is delicious”, “everything around is a feast for the eyes, delicious”. “Oh, how delicious it was then to live in the world, what a feast for the eyes and deliciousness all around” (part 7, ch. 15, p. 238; part 1, ch. 3, p. 21).

In what way does life manifest itself most vividly, fully?

- In love.

How is love shown?

- Antiromantic: in everyday, ordinary terms. Love, beauty are depicted by the writer in a purely everyday form, with the help of everyday details, sketches. Here, for example, how we see the appearance of Lara through the eyes of Yuri Andreevich:

1) “How well she does everything. She reads as if this is not the highest human activity, but something simple... It is as if she is carrying water or peeling potatoes” (part 9, ch. 12, p. 302).

2) “And vice versa, she carries water, accurately reads, easily, without difficulty” (part 9, ch. 13, p. 305).

3) “He returned from all these positions by night, exhausted and hungry, and found Larisa Feodorovna in the midst of household chores, at the stove or in front of the trough. In this prosaic form ... she was almost frightening with her regal, breathtaking appeal, more than if he suddenly found her before leaving for the ball, grown taller and seemed to have grown up in high heels, in an open dress with a neckline and wide, noisy skirts ” (part 13, ch. 16, p. 411).

4) Yura and Tonya at the Christmas tree at the Sventitskys (part 3, ch. 4, p. 97).

What is love for Yuri Zhivago connected with?

- With life at home, family, marriage (both with Tonya and Lara).

What is Zhivago's attitude towards home?

- Tremulous, careful. As a rebirth to life: “The first true event after a long break was this dizzying train approach to the house, which is intact and still exists in the world and where every pebble is precious. That's what life was, that's what was an experience, that's what adventurers were chasing, that's what art had in mind - coming to relatives, returning to oneself, resuming existence ”(part 5, ch. 16, p. 174).

What does love for a woman mean in the understanding of Pasternak?

- Reverence for the other person. From a poem (No. 11) by Y. Zhivago "Wedding":

Life is also just a moment
Only dissolution
ourselves in all others,
As if they were a gift .

Interestingly, Yuri Andreevich equally loves Tonya and Lara. Why? Is it possible?

- Tonya personifies a family hearth, a family, a circle of life native to a person. With the advent of Lara, this circle of life moves apart, this includes reflections on the fate of Russia, about the revolution, about nature. Tonya herself writes to Yuri in a letter: “Antonina Alexandrovna urged her husband not to return to Moscow, but to follow this amazing sister straight to the Urals, walking through life accompanied by such signs and coincidences that her, Tonin’s, modest life path cannot be compared with” (part 5, ch. 2, p. 142).

The chapters dedicated to Lara are warmed with special lyrical warmth. What did this woman mean for Yuri Andreevich?

1) From a letter from B.L. Pasternak to the writer R. Schweitzer: “After the Second World War, I met a young woman, Olga Vsevolodovna Ivinskaya, and soon, unable to endure the split and the quiet, full of sadness, reproach of my life, I sacrificed a barely beginning intimacy and broke with pain with Olga Vsevolodovna . Soon she was arrested and spent five years in prison, in a concentration camp. She was taken because of me, and since, in the eyes of the secret agents, she is closest to me, apparently, they hoped, through cruel interrogations and threats, to obtain evidence from her sufficient to ruin me at the trial. I owe her heroism and stamina to the fact that I was not touched in those years. She is the Lara of that novel that I had just begun to write at that time... She is the personification of the joy of life and self-giving.”

After the return of O. Ivinskaya from the camp in 1954, her personal and business relations with Pasternak were resumed. She became his assistant, took over the publishing chores, supported him during the persecution that unfolded after the publication of Doctor Zhivago abroad.

2) The symbolism of the name. Larisa Fyodorovna Guichard: Larisa - “The Seagull” (association with Chekhov's seagull), Fedor - “God's gift”, Guichard - “lattice” (French). The name supports the metaphor “Lara - Russia”: Russia spiritualized, humiliated, dying behind bars.

3) Likhachev D.S. Reflections on the novel by B.L. Pasternak “Doctor Zhivago”: “And what about Lara herself? .. In the traditions of the Russian classical novel, there are several images that, as it were, personify Russia.”

4) V. Shalamov: “... The purest, like crystal, sparkling like the stones of her wedding necklace, - Lara Guichard. You succeeded very well in her portrait, a portrait of purity, which no dirt "will blacken or stain." She is alive in the novel. She knows something higher than all the other characters in the novel, including Zhivago, something more real and important.”

5) “And this distance is Russia, its incomparable, sensational across the seas, famous parent, martyr, stubborn, crazy, naughty, idolized, with eternally majestic and disastrous antics that can never be foreseen! Oh, how sweet it is to exist! How sweet it is to live in the world and love life! Oh, how always it is tempting to say thank you to life itself, to existence itself, to say it to their own faces! This is what Lara is” (part 13, ch. 7, p. 397).

What is Russia for Zhivago?

- The world around, nature, history of Russia.

What historical events does the hero witness?

- Russo-Japanese war, unrest of 1905, World War I, revolution of 1917, Civil War, red terror, first five-year plans, Great Patriotic War.

Remember that the heroes of L.N. Tolstoy's "War and Peace" passed through historical events as through purification, renewal. Almost all the heroes of Pasternak's novel are also involved in the turbulent life of the century in their own way and take his life as their own. Everyone decides his fate, correlating with the requirements of the time: wars, revolutions, famines, and so on.

Can we talk about the same influence of the course of history on the formation of the character of Yuri Zhivago?

- No. He lives in his own space, in his own dimension, where the main things are not worldly values, but the laws of culture.

What is the main thing for him in life?

1) Noble culture. Yuri Andreevich about Uncle Nikolai Nikolaevich: “Like her (mother), he was a free person, devoid of prejudice against anything unusual. Like her, he hadnobility equality with all living things” (part 1, ch. 4, p. 23).

2) Ideas of Christianity. His uncle N.N. Vedenyapin said that “a person does not live in nature, but in history” and that “the Gospel is its justification”: “This is, firstly, love for one’s neighbor, this highest form of living energy that overflows a person’s heart ... an idea a free personality and the idea of ​​life as a sacrifice” (part 1, ch. 5, pp. 25–26).

This idea of ​​individual freedom and life as a sacrifice is the space of Yuri Zhivago himself. He and Lara do not learn from life, they were born into it. "Man is born to live, not to prepare for life. And life itself, the manifestation of life, the gift of life are so excitingly serious!” - Yuri Andreevich says to Larisa Fedorovna at their first meeting in Yuriatin (part 9, ch. 14, p. 307). The flow of life, as it were, picks up the hero, who obeys him and perceives much as inevitable. (It is no coincidence that Zhivago's lack of will does not look like a shortcoming, something negative in the author's coverage.) Such is the attitude towards the revolution.

What is the initial attitude towards the revolution of Yuri Andreevich?

1) He sees something “evangelical” in the revolution (part 5, ch. 8, p. 156).

2) Revolution is freedom. “Just think what time it is now! The roof was torn off from all over Russia, and we, with all the people, found ourselves under the open sky. And there is no one to watch over us. Freedom! Real, not in words and in requirements, but fallen from the sky beyond expectation. Freedom by accident, by misunderstanding.

3) Doctor Zhivago saw in the revolutionthe current course of history and rejoices at this work of art: “The revolution broke out against the will, like a sigh held for too long. Everyone came to life, was reborn, everyone has transformations, upheavals. We can say: two revolutions have happened to each, one of his own, personal, and the other general” (part 5, ch. 8, p. 156).

4) “What a great surgery!” (part 6, ch. 8, p. 202). He reacts unmistakably only to the true, the eternal. While the revolution seemed to him the manifestation and realization of life, while socialism appears as a “sea of ​​life, a sea of ​​originality,” he admired and accepted her bold and decisive “surgery”.

But over time, Zhivago's attitude to the revolution changes. How? Why?

- Because the revolution is entering a new phase, obviously unacceptable for the heroes.

1) “Alteration of life” (part 11, ch. 5, p. 346) -opposition to all living things.

2) “... Each installation of this power goes through several stages. In the beginning, this is the triumph of reason, the critical spirit, the fight against prejudices. Then comes the second period. The dark forces of those who "adhere" and pretend to sympathize gain the upper hand. Suspicion, denunciations, intrigues, hatred are growing ... we are at the beginning of the second phase” (part 13, ch. 5, p. 413).

3) Fratricidal war (the case of Seryozha Rantsev - part 11, ch. 4, p. 343). “The crowd surrounded a bloodied human stump lying on the ground” (part 12, ch. 8, p. 375).

4) History of Palykh. "It was a clear insane, irrevocably finished existence." The revolution cripples people, depriving them of the human (part 12, ch. 8, p. 377). Antipov becomes Rasstrelnikov (part 13, ch. 15, p. 344).

5) “... Man to man wolf . The traveler, at the sight of the traveler, turned aside, the oncoming one killed the oncoming one, so as not to be killed. The human laws of civilization are over. Beasts were in power” (Part 13, Ch. 2, p. 384).

6) “ brutalization belligerents by this time reached the limit. The prisoners were not brought alive to their destination, the enemy wounded were pinned on the field” (part 11, ch. 4, p. 204).

7) Violence. “In all places they began to appoint commissars with unlimited powers, people of iron will, armed with measures of intimidation and revolvers” (part 6, ch. 9, p. 204).

8) A revolution in life, when everything collapses. Lara: “What is happening now with life in general... Everything derivative, adjusted, everything related to everyday life, human nest and order, all this went to dust along with the upheaval of the whole society and its reorganization. Everything domestic is overturned and destroyed” (part 13, ch. 13, p. 408).

9) “The dominion of the phrase, the dead letter of the law. The main misfortune, the root of future evil was the loss of faith in the value of one's own opinion ... now you have to sing from a common voice and live by other people's ideas imposed on you. The dominance of the phrase began to grow, first monarchical - then revolutionary” (part 11, ch. 4, p. 204).

Conclusion. So, the idea of ​​life is opposed to the idea of ​​the inanimate, dead, unnatural, artificial. That is why Zhivago avoids the violence of history. In his opinion, the events of the revolution cannot be avoided, they can be interfered with, but they cannot be reversed. He participates in the revolution rather as a particle of nature.

What is the role of the description of nature in the novel?

- The heroes of Pasternak are revealed through communication with nature.

“ Nature in the coverage of Pasternak, - as V.N. Alfonsov, -one of the synonyms of life ”.

A. Akhmatova: “All his life, nature was his only full-fledged muse, his secret interlocutor, his bride and lover, his wife and widow - she was to him the same as Russia was to Blok. He remained faithful to her to the end, and she royally rewarded him.

In the novel, nature is not only enlivened by the gift of a living spirit, but promises the presence of higher goals in the world.

V. Shalamov in a letter to Pasternak: “In what the novel is truly remarkable and unique ... is in the extraordinary subtlety of the image of nature and not just the image of nature, but that unity of the moral and physical world ... the only ability to connect both into one , and not to connect, but to grow together so that nature lives together and in tune with the spiritual movements of the characters ... Nature itself is part of the plot.

Prove this with examples from the text.

- Zhivago's whole life is an intense desire to dissolve in nature, not to resist it.

1) “The doctor lay down on the silky rustling foliage, putting his hand under his head on the moss ... The variegation of sunspots, which lulled him to sleep, covered his body stretched out on the ground with a checkered pattern and made him undetectable ... as if he had put on an invisibility cap” ( part 11, chapter 8, p. 353).

2) “The doctor ... followed her (butterfly) flight. She sat down on what most closely resembled her coloration, the brown-mottled bark of a pine tree, with which she merged completely indistinguishably. The butterfly imperceptibly faded on it, just as Yuri Andreevich was lost without a trace to an outsider's eye under the grid of sunlight and shadows that played on him” (part 11, ch. 8, p. 354).

3) The doctor is interested in everything around him, he alwaysin tune with nature . “Everything around wandered, grew and sprouted on the magical yeast of existence. Admiration for life, like a quiet wind, went in a wide wave, not making out where, on the ground and around the city, through walls and fences, through wood and body, trembling all along the way” (part 5, ch. 6, p. 151) .

4) Naturelives, feels like a person : “The first portents of spring, a thaw. The air smells of pancakes and vodka, as if on oily... Sleepily, with oily eyes, the sun squints in the forest; Nature yawns, stretches, turns over on the other side and falls asleep again” (Part 9, Ch. 8, p. 295).

5) Nature is feminine in the novel: “Some kind of living affinity started up between the birds and the tree. It was as if the mountain ash saw all this, stubbornly for a long time, and then gave up and, taking pity on the birds, yielded, unfastened and gave them a breast, like a mother to a baby ”(part 12, ch. 1, p. 361).

6) Having departed from God, and thereby from nature, at the time of his youth, Zhivago during the Civil War, when “the laws of human civilization ended” and the pressure of reason weakened, returned to nature through love for Lara. For Zhivago, Lara is the embodiment of nature itself: “From childhood, Yuri Andreevich loved the evening forest through the fire of dawn. At such moments, for sure, he passed these pillars of light through himself. It was as if the gift of the living spirit entered his chest in a stream, crossed his entire being and, like a pair of wings, came out from under the shoulder blades...” “Lara! - closing his eyes, he half-whispered or mentally turned to his whole life, to all of God's earth, to everything spread out before him, illuminated by the sun” (part 11, ch. 7, p. 351).

7) In the novel, the “naturalness” of love is constantly emphasized: “They loved because they wanted everything around them: the earth under them, the sky above their heads, clouds and trees” (part 15, ch. 15, p. 501).

8) Yes, and Lara herself appears now in the form of a swan, then a mountain ash: “She was half in the snow, half in frozen leaves and berries, and stretched out two snow-covered branches forward towards him. He remembered Lara's big white hands, round, generous, and, grabbing the branches, pulled the tree to him” (part 12, ch. 1, p. 361).

- Yes, the hero feels that Lara is a continuation of nature, feels that the desire for her is the desire for life.

What is the antithesis of life in nature?

- Railroad, rails.

In this, Pasternak is traditional. Let us recall the poem "Sorokoust" by S. Yesenin, "The Lost Tram" by N. Gumilyov. Indeed, the symbol of the inanimate, the dead in the novel is the railway.

Does the novel end with the death of Doctor Zhivago?

- No, it ends with verses.

Why do you think?

- Poetry is something that cannot die.

We said that Zhivago is a doctor, but he is also a poet. Many pages of the novel are autobiographical, especially those devoted to poetry. D.S. Likhachev says in his “Reflections on B.L. Pasternak "Doctor Zhivago"": "These poems are written from one person - the poems have one author and one common lyrical hero. Yu.A. Zhivago is the lyrical hero of Pasternak, who remains a lyricist even in prose. And it's hard to disagree with that.

So, the novel "Doctor Zhivago" is also a novel about creativity. How does the writer himself speak through the lyrical hero Yuri Zhivago about the purpose of art? (4th group)

“It relentlessly meditates on death and relentlessly makes it life ” (part 3, ch. 17, p. 102). For Zhivago, creativity is life.

What is art, according to Zhivago?

“And to me, art never seemed to be an object or a side of form, but rather a mysterious and hidden part of the content.

The author, being extremely sincere, shows the moment of inspiration when the pen cannot keep up with the thought. Read this moment.

“... And he experienced the approach of what is called inspiration ... ”(part 14, ch. 8, p. 441).

The author also makes the reader a witness and accomplice of the most difficult work on the word. Confirm this idea.

“But he was even more tormented by the expectation of the evening and the desire to cry out this longing in such an expression that everyone would cry ... ”(part 14, ch. 9, pp. 444-445).

Why did the author need to expose Zhivago's creative process? As D.S. Likhachev?

- The lyrical hero is the clearest expression of the poet. “There are no differences between the poetic figurativeness of speeches and thoughts of the protagonist of the novel. Zhivago is the spokesman for the secret Pasternak.”

What is the life credo of Yu. Zhivago?

- In freedom from dogmas, any parties, in complete freedom from reason, life and creativity by inspiration, and not by compulsion (part 13, ch. 17, p. 417–418 - Sima's conversation with Lara about the Christian understanding of life) .

“She wanted to break free with his help, into the fresh air, from the abyss of suffering that entangled her, to experience, as it used to be, the happiness of liberation.

So, we came to the conclusion that the novel is a lyrical confession. But why did Pasternak still need a “different” person to express himself?

“Before us is not a novel at all, but a kind of autobiography of Pasternak himself. This is the spiritual autobiography of Pasternak,” says L.S. Likhachev.

- There are no pages in the novel where the author openly expresses his thoughts, calls for something. This is the creative method of Pasternak. Continuing the traditions of Chekhov, he does not seek to assure the reader of the impeccability of his convictions. It only shows the world, but does not explain it. The reader himself must explain the world, thereby becoming, as it were, a co-author of the novel. In general, Pasternak accepts life and history as they are.

7. Homework.

-Prepare reports (operational task)

-Life and work of M.A. Bulgakov. The novel The Master and Margarita. The idea of ​​the author, the history of creation, the ideological and artistic originality of the novel. (Review). History of the Master and Margarita. The problem of love and life. Eternal and transient values.

-Prepare for the poetic five-ke.