All the people and all the events of your life came into it because you attracted them. Now you have to choose how to deal with them.
As soon as you fully focus the power and energy of the mind on what you love, prosperity will fill your life and all desires will be fulfilled easily and simply.
If you stay in place and do not move forward, everything fades and loses its meaning. In work, in relationships, and in life.
When it gets really bad and you want to leave your life, leave ... But not from your own. There will be many more happy moments in yours ... Get out of the life of those people with whom you feel bad.
Since your mind has not comprehended the great truths -
It's funny to worry about petty intrigues.
Since God in heaven is unfailingly great -
Be calm and cheerful, appreciate this moment.
Fear is your best friend and your worst enemy. It's like fire. You control the fire - and you can cook on it. You lose control over him - and he will burn everything around and kill you.
If in the morning you don't hug a pillow,
And there is someone to wish for pleasant dreams at night.
And coffee two in the morning you brew mugs -
You have found everything in life, it remains to keep it !!!
One day someone will need you like air, and someone will become like you need air.
Love is a stimulus to life, its meaning, its content. Without love, you lose the taste of life, the taste of desires, the taste of passion. To love is both difficult and easy, both bitter and sweet. But so necessary!
You see, we fight all the time. We can't be together, can we?
- Do you like cherries?
- Yes.
- Do you spit out the bones when you eat it?
- Well, yes.
- So it is in life. Learn to spit out pits and love cherries at the same time!
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 twentieth 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 cycle 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 beginnings in the life of the village "huts in the robes of the image", "In 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
Surprisingly, the first two lines of this lyrical poem by Boris Pasternak have long become aphorisms. Moreover, they are quoted in different situations and with different emotional coloring: - with bitterness and a sense of doom, and sometimes sarcasm; "And you are beautiful without convolutions"- with humor or irony. Poetic lines in which there is a frank antithesis, took on a life of their own and ceased to be associated with people directly with Pasternak's poem. Well, this situation can be corrected by understanding what the author wrote about and what underlay his work.
The biography of the writer shows that the poem "To love others is a heavy cross", dated 1931, had its addressees and more than a specific life plot. The first line of the poem expresses the whole burden of life with the poet's first wife, the artist Evgenia Lurie, who was once passionately loved by him, who was engaged in creativity around the clock and did not touch everyday life at all. As a result, the poet was forced to master the skills of a housewife and completely lost interest in the prospect of indulging the whims of a “bohemian” wife.
The second line of the poem should be taken almost literally. It was dedicated to the new muse of the poet, which was fundamentally different from its predecessor. At the time of the meeting with Bris Pasternak, she was married to his friend pianist Heinrich Neuhaus, but, involuntarily breaking conventions, she completely fascinated the poet with her spontaneity and naivety. Apparently, in contrast to Evgenia, his wife, Zinaida Neuhaus significantly won with her earthiness and lack of "convolutions". Under this metaphor the poet implies both the simplicity of the nature of his new muse, and the lack of intelligence (a special case when this is perceived as a virtue).
Interest in Zinaida, with whom the poet married after the divorce, later justified itself, since Pasternak lived with his second wife for many more years in spiritual and domestic comfort. “Strange, a mystery,” someone will say. And he will be right. Even for the poet of "charm" himself, his wife's "secret" was "The solution of life is tantamount to". That is, it is incomprehensible, and therefore, probably, it is interesting.
The poet's heart is sweet and "Rustle of Dreams", and "rustle of news and truths", of which, thanks to his wife, his serene family life consists. Obviously, metaphor "rustle of news and truths" means talking about simple and understandable, and therefore real things that the poet accepts with all his heart. BUT "Rustle of Dreams" can mean both frequent discussion of dreams, and light and happy days, similar to a dream. This assumption is confirmed by the phrase: "Your meaning, like air, is disinterested", - in which there is a characteristic comparison - "like air". This is how the lyrical hero of the poem sees his beloved. But Pasternak also notices the sources of such an easy disposition and attitude to life: “You are from a family of such foundations,” and this causes him undeniable approval. Surprisingly, an intelligent and intelligent person, in whose head there is a constant creative process, is pleased ...
Easy to wake up and see
Shake verbal rubbish from the heart
And live without clogging in the future,
Without getting dirty? … What does the poet mean? Perhaps not just verbal rubbish, but the rubbish of long and painful showdowns. To them, he contrasts the families of other "bases" and sums up: "All this is not a big trick".
A simple but melodic poem, consisting of 3 stanzas, is easily remembered by the reader thanks to the iambic tetrameter(disyllabic foot with stress on the second syllable) and cross rhyme.
Pasternak, having discovered in his new lover a noticeable confusion and misunderstanding of his poems, made a promise that he would write poetry especially for Zinaida in a simpler and more understandable language. The work “To love others is a heavy cross” may well be a confirmation that the poet sought to be understood by his wife and, most likely, achieved his goal.
Morozova Irina
- "Doctor Zhivago", an analysis of the novel by Pasternak
- "Winter Night" (Snow, snow all over the earth...), analysis of Pasternak's poem
- "July", analysis of Pasternak's poem
In memory of Evgeny Borisovich Pasternak
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.
1931
Addressed to the new lover and future second wife of the poet, Zinaida Nikolaevna ( Eremeeva-Neuhaus-Pasternak), this poem (hereinafter - LI) largely bears the imprint of her image. As you know, Zinaida Nikolaevna immediately told Pasternak that she did not really understand his early poems; he replied that he was "ready for [her] to write easier." one
Pasternakovskayathe lyrics of the early 1930s really showed a new manner, aimed at unheard of simplicity, and LI, written fundamentally "simple", develops the idea that truth lies in an ingenuous liberation from painful and unnecessary complexity. But, updating, voicing the rustle of the news, the manner remains recognizable Pasternak, initially “difficult”, and, perhaps, the main secret of LI is the combination of two opposite techniques.
1. Dictionary and grammar. Simplicity is implemented in LI primarily at the lexical level. There are no foreign words here (such as vin gai, vin triste, homo sapiens), nor barbarisms á la Northerner (such as dressing table, cocoa, blinds; the only borrowing secret, - has long been part of the everyday vocabulary), nor the terminological rarities, archaisms and dialectisms (such as bring, strong darkness, highway, shoulder blades [pea]), requiring subpage author's explanations. Even words from spiritual semantics ( cross, secret, solution, fundamentals, truths, equal to, see the light) are emphatically elementary, and deliberately simple vocabulary ( rubbish, shake) does not go beyond the colloquial norm.
Extremely simple, especially in comparison with early poems, and syntax. All sentences are simple or compound, but not compound. The peaks of "subordination" are the comparative turnover like air and adverbial turnover without clogging, relating to the repertoire of a simple sentence and expressing precisely the rejection of everything superfluous. Another complication, but again within the boundaries of simple syntax, is the use of infinitives, once in the 1st line, and then four times in the III stanza. This is also an example of combining extremes, not only simplicity and complexity, but also statics and dynamics. 2
The point is that the LI text is constructed as a system of static identities. All predicates are nominal: each consists of an omitted copula [ there is], expressing the fact of predication, and the nominal part - a noun or an adjective ( cross, beautiful, secret, equivalent, audible, easy, cunning) that carries the semantic predicate itself. Infinitive construction L jubilee [there is]cross immediately sets a compromise between the dynamic verbal beginning and the static nominal. The main lyrical verb of the poem plays the role of the subject, but it also appears in an imperfect form and in the form of an indefinite mood, functionally close to the verbal name and meaning not an action or event, but the state of the subject.
In the subsequent lines of stanza I, static and generalization are fixed, and in stanza II, a dynamizing revival begins - spring comes, everything rustles, rustles, and is renewed. However, this coming into motion is packaged in the format of a nominal predicate with a passive, imperfect participial form ( heard), and into fixed, although originally predicate nouns ( rustle, rustle, news). In the second half of the stanza the movement stops and the panchronic ones return truth.
In stanza III, the awakening motif is picked up again. The text is saturated with verbs, which, while remaining infinitives and subjects, are decisively activated. Firstly, they now appear mainly in the forms of the perfect form, denoting processes directed towards the goal and even one action ( wake up and wake up;shake out). Second, the infinitives are moved from their initial position (which be in love occupied in I) in the final - under a logical accent and rhyme.
But after this surge of activity, which the indefinite inclination simultaneously restrains and hypostasizes, proclaiming a new program of life 3 , calmness sets in. It is first introduced by two non-personal forms of an imperfect kind, projecting into the again panchronic future that true state, which, having been achieved ( live), will only require maintaining ( without clogging). Complete panchronic calm is marked (in the last line of the poem) by the return of an elementary simple sentence with an omitted connective.
The interweaving of simplicity and complexity is also shown in the way syntactic expansion is dispensed with independent sentences, without resorting to hypotaxis - the use of clauses. 4
I stanza contains a three-term allied composition (with unions BUT and And), and the third sentence is equal in length to the sum of the first and second, giving the classical summation (1+1+2).
The II stanza again consists of three independent sentences, but with a mirror inversion of the length of the parts (2 + 1 + 1), and the first is formed by one predicate ( heard) with two homogeneous subjects.
In stanza III, the first sentence already captures three lines: all four infinitives are homogeneous subjects in it, and the nominal predicate is easily(contrasting in meaning to heavy from the initial string LI). This is followed by a one-line summarizing sentence (3 + 1 scheme), with its brevity echoing the simplification of syntax - the rejection of infinitive constructions.
All these expansions and contractions are carried out strictly within the framework of entire stanzas and lines - without enjambmans, which are actually frequent in Pasternak. A special "modest virtuosity" consists precisely in saturating the text with a variety of rhetorical moves, but without rhythmic-syntactic meanders and tricks. We have already considered some of its aspects: work with simple and compound sentences of different lengths, with homogeneous subjects to one predicate, with nominal predicates and infinitive subjects, with comparative and adverbial phrases. Others, in particular, the hidden complexity/dynamics of a number of predicates, we touched only briefly and now we will dwell on them in more detail.
2. Logic, semantics. As it was said, the nominal part of the nominal predicate is a predicate, that is, some correlation of concepts. If the subject is a verb (for example, be in love), two predicates turn out to be related.
Loving others is a heavy cross which means, translated into the language of logical prose, something like this:
When someone loves a person (woman) of a certain type, this is tantamount to the fact that the lover undertakes to suffer hard (from this person / such love).
The first predicate is expressed quite directly - by a verb, albeit in a difficult, infinitive form, the second - by the construction Adjective + Noun, that is, syntactically simple, semantically and more difficult - due to the internal complexity of the phrase heavy cross, and more compact due to its idiomatic nature.
In the 2nd line, the situation seems to be simplified - the role of the subject is taken over by the personal pronoun you. But at the same time, it becomes more complicated, because to a simple nominal predicate beautiful joins definition without convolutions, which is not simple in form (a noun with a preposition) and non-standard in meaning. The formula "to be beautiful without convolutions" links two very heterogeneous predicates with each other and forms a phrase that is much more complex than the usual one. heavy cross from the 1st line . However, this bold turn is partly prepared: the pretext without explicates the negation implied in the semantics of the word other and announced by the opposing alliance BUT. 5
The next sentence is both transparent in structure and marks a new level of logical complexity. Transparency is provided by lexical synonymy ( secret - clue) and syntactic symmetry (which is slightly violated only by the "extra" pronoun your in the subject group):
Subject: charms... secret(noun + inconsistent def. in gen. n hell.) - Nominal Predicate: [ there is] is tantamount to(brief adj.) - Supplement: unraveling life(noun + inconsistent def. in gen. n hell.).
The fact that the link [ there is], still omitted, is spoken out loud here in the form of a full-fledged adjective is tantamount to- a compound word that divides into two roots exactly in the middle.
And thanks to its internal form, built on the idea of equality, logical equivalence, this word not only verbalizes the link, but also literally embodies it. Without such verbalization, the equation would have looked shorter, but it would have sounded heavier, more tongue-tied, in the spirit of the early Pasternak, something like *AND
charms of your secret - the key to life without effort.
All this simplifying technique does not obscure the fact that we are talking about high philosophical matters, about the essence of beauty and the meaning of life, that a predicate from the logico-mathematical dictionary is introduced into the text ( be equivalent) and that a two-story equation is built, a kind of syllogism:
If the secret Ha (your beauty) is equal to the clue Y-a ( life), then therefore X ( your charm) = Y-y ( life), i.e You = life, which was required to be proved (and in one form or another is affirmed in LI and other verses of the "Second Birth").
Not indifferent to the semantics of the poem and the second root of the compound word is tantamount to: an indication of the strength exuded by the heroine and guaranteeing a saving transition from heaviness at the beginning of stanza I to lightness at the beginning of III. 6
The variation of simple identities continues in the second half of stanza II with a more verbose turn: be from a family disagree . def. in the genus n hell. pl. h. ( fundamentals). philosophical basics(and Pasternak was engaged in philosophy in his youth) are simplified by transferring to the domestic plan (it comes to marriage, and the poet is generally partial to kinship names), and instead of abstract synonyms (such as number, class, set, category, not uncommon in Pasternak) appears family of foundations, and exactly such, as it should, - unlike those other who were given a waiver.
The last line of stanza II, comparing meaning beloved with vital, but as if devoid of properties air, continues to develop the apophatic theme of negative virtues without convolutions and closes with an adjective disinterested, which incorporated the preposition without in the form of an attachment . 7 Structurally, the two final lines of stanza II are relatively simple - there is some syntactic lull before the take-off coming in stanza III, followed by a final calm.The final line is completely freed from predicate complexities as part of the subject - it becomes a generalized indefinite AT this is, pronoun summing up a series of homogeneous infinitives. And the simplest combination Adjective + Noun (such as the initial heavy cross), sounding unpretentious in meaning and colloquial in style.
3. Connotations.The leitmotif theme of simplicity appears in the characteristic turn of "lightness, non-heaviness, non-difficulty", sounding mutely in a series of "negative" motives, cf .:
rejection of the heavy cross;
redundancy of convolutions;
light-hearted equating the secret of feminine beauty with the solution of life;
the ephemerality of the rustle of dreams and other spring rustles;
incorporeality/disinterestedness of air;
involuntary morning awakening;
impliedproblem-free transition from physical awakening to existential insight;
purely mechanical ejection of litter and subsequent preventive protection against it;
insignificant scale of an already effort-saving cunning.
"Lightness" breathes both the deliberate simplicity of the text and some of its ambiguity. clumsy turnover without convolutions echo:
ambiguous joint easy to wake up, conceived by some readers as a Verb + Circumstance (such as wake up early, instantly, without difficulty), and not as Subject + Predicate (such as P to grow up at dawn is not difficult);
ambiguous sequence not a big trick, which can be interpreted as little trick, that is, the approval of some little tricks, while the idea is meant - and even the language formula itself Little wisdom...;
contradiction between failure from convolutions and acceptance tricks even on a purely verbal level.
However, all these roughnesses organically correspond to the defiantly improvisational style that Pasternak first practiced in complicated tongue-tied forms, and since the 1930s - in the spirit of colloquial freedom from the conventions of written speech. eight
4. Genre.The poem begins with a rhetorical rejection of certain other, which is contrasted with the traditional addressee of the poem in the 2nd person singular. h. It you and its possessive forms your, your will dominate in the first two stanzas, but will completely disappear in the generalizing third.The attitude towards generalization and going beyond narrow personal limits makes itself known already in stanza II: in its first half you is absent, and only typical spring changes appear, and in the second, although you and your meaning return, but you dissolves in a multitude of correct basics. Identity blurring you contributes to the fundamentally negative way of characterizing it: without, demon-, you-, not, not. 9 And in the III stanza there is no you in general, there are no more, just as there are no references to love, which is echoed by the predominance of the indefinite mood of verbs. The poem, as it were, enters the expanse of general truths about life, leaving behind declarations of love for a particular woman.
In this light, of particular interest is the meaning of the word other in the 1st line. I never thought about it before referential sense, and thinking now, I would attribute it to the first wife of the poet Evgenia Vladimirovna Lurie-Pasternak. 10 If this is true, then the expression other sounds, on the one hand, as a euphemism softening the awkwardness (say, it’s not about her alone), and on the other, like a rude, Soviet-type dismissive gesture ( Others are unaware...). But in the light of the generalizing rhetoric of LI as a whole, leaving in the finale from mentioning the addressee of the poem, my first reaction seems to be more adequate: it is not only about Evgenia Vladimirovna at the beginning, not only about Zinaida Nikolaevna in the middle, and not even about love at all at the end .
It can be said that LI oscillates between two genres of lyrical discourse beloved by the poet: poems about "You" - declarations of love, whether to a woman or a Christmas tree, in the format: * You - [are] so-and-so... 11, and poems about "It" - definitions of some more abstract entities in the format: *This is [is] such and such. 12 In comparison with both groups of texts, LI is extremely balanced, free from exclamations, cumbersome enumerations and anjambmans, very reasonable and axiomatic in presenting its system of equations. And connecting to this in the final infinitive series, it also gravitates towards the third typical Pasternak format: program of action in infinitives. thirteen
5. Phonetics.In developing Pasternak the theme of the unity of the universe, varied by diverse manifestations of contact, the most important place is occupied by alliterations and paronomasias, clearly demonstrating the phonetic similarity, almost the identity of different words, and hence the corresponding objects. It is only natural that in a poem, the leitmotif of which is the equating of various entities according to the principle “this is the same as that” 14, such a technique has found rich application. And indeed, the LI dictionary as a whole, and often individual lines, form a kind of sound continuum, where individual words come around in a variety of ways and, as it were, overflow into each other. But at the same time, the poem retains an aura of transparent clarity, so different from the improvisational chaos of the poet's early poems (cf. the characteristic line And the chaos of thickets will splatter).
For example, let's sketch a picture of alliterations of the 1st stanza:
1st line: three t, two percussion and 15 ;
2nd: two and, two R , two h ;
3rd: three t, all three percussion e, including two after R ;
4th: two ra at the beginning of words , two h, three and, of which two are drums, three n.
In the future, this trend continues, only orchestration focuses on other leading sounds: on the consonant with and vowel about in stanza II and on consonants with, R and be and vowel e in III.
But the obvious repetitions of individual sounds do not give an idea of the resulting powerful system of alliterative connections between words throughout the entire space of the text. Here are some impressive chains:
ST: cross - charms - rustle - news - truths - disinterested - you-shake - cunning;
CH: beautiful - in the spring - dreams - news - basics - wake up - verbal;
RE: cross - beautiful - charms - secret - to see clearly - henceforth.
The chains, as is easy to see, intersect and even overlap, sometimes forming powerful clusters, for example, CRST: cross - secret - disinterested. The main network of roll calls is made up of more sparse overdubs, with one or two common sounds, sometimes in a different order, and sometimes with voicing / deafening, so that a feeling is created not of a catchy equalization, but of some kind of blurred unity.
An example is a series of combinations h followed by a variable consonant ( c, d, n, d, r , s): and sv ilin - ra zg adke - zhi zn and - in zd wow - about sp et - and h s hearts, after which for the first and only time in the poem h finally appears separately, without an accompanying consonant: n e for quarreling.
And the previous combination h with the nearest sound with(in from the heart) sounds like summing up the rich system of parallels between these combinations h+ consonant and numerous combinations with+ consonant.
This overflow h in with begins in rhyme I stanza, where and h viline rhymes with equals with ilene, despite the two preceding the rhyming word h-the words : ra h nasty life h neither, but based on perfect with on the and prele with ti with secret; it is effectively served at the beginning of stanza III: a pair of wake up - wake up, where in a similar morphological and phonetic context with(n ) as it goes into h (R ).
A special layer of “weaving of words” forms a pull through the entire text of sound n , interesting in terms of semantic interpretation. An abundance of references consonant n due to a number of factors:
its role as an adjective suffix ( beautiful, verbal, equal- 16 ) , which in short forms puts it in the outcome of the word ( heard) and therefore sometimes to the rhyme ( is tantamount to, disinterested);
its role as the main consonant of the negative particle ( without clogging, not big) and the adversative pronoun ( other);
its presence in a considerable number of full-valued words ( convolutions, life, spring, news, truths, dreams, basics, wake up).
Together, this contributes to the crystallization around n semantic halo associated with "equating adjective» (= function of nominal predicates) with negativity and with cluster « without convolutions - life - spring - news - dreams / awakening - basics - truths - cleanliness».
It is worth emphasizing that against the background of Pasternak's early poems, this paronomastics looks rather modest. It has been carried out rather cautiously and is largely extinguished by the simplicity and transparency of other aspects of the structure.
6. Rhyme.At first glance, the rhyme structure of LI is more or less simple. Before us are three quatrains of 4 st. iambic with cross rhyming MF. Rhymes are sometimes exact ( dreams/basics;to see / henceforth), sometimes not quite ( cross/secret), often deep and rich ([ Shoro ]X dreams/[still]X fundamentals; shake out /cunning).
Deviations from this simplicity are also largely traditional for Pasternak and consist in making different rhyme pairs similar to each other, which increases the unity of the rhyme repertoire.
The rhymes of stanza I are weakly affected by this (except perhaps s/z submitted in all four): they establish an almost complete initial difference between pairs, but will be retroactively involved in the process of mutual fertilization.
Rhymes of stanza II are united by common sounds with and n, and with inherited from most of the rhymes of stanza I, and n- from her even rhymes; in addition, even rhymes ( true/disinterested) inherit t from odd rhymes of stanza I ( cross/secret); inherited from stanza I and grammatical relationships within even rhymes convolutions / equivalent and true/disinterested(n. femin. r. in genus. pad. pl. / briefly adj. husband. R. units hours in them. pad .), which works on the overall symmetry of the structures and maintains the proportion the secret of charm \u003d the clue to life.
In stanza III, the common part of all rhyming words forms a cluster h /with, R, t , which picks up the rhyming material of certain rhymes from previous stanzas (cf. to see / henceforth with cross/secret, a shake out /cunning with true/disinterested).
The only block on which these rhyming roll calls are put on is the rhyme on and in even - and, therefore, final - lines of all stanzas and on e in the odd lines of stanzas I and II. Rhymes on about in odd lines, II stanzas are thus a compositional turn to the side, with the return of the original scheme in the finale e-i-e-i, according to the principle thesis - antithesis - synthesis . The synthesis consists in the enrichment of the final rhymes outlined above, especially the even ones, with the sound material of the previous stanzas. Another detail that draws attention to the rhymes of the last stanza is the gradual softening t, inherited from the previous stanzas: the poem ends with a chord of four rhymes with [- be ]. 17
Long, unsettled chains of imprecise rhymes are a well-known trait Pasternak versification. 18 They can form continuous sequences or alternate with other rhymes. There are numerous cases when the same vowel (or consonant) is included in several rhyme series, forming a series of different, but “consonant”, rhymes, for example:
play - tear - epigraph - love ;
reasons - reason - lawns - horizon ;
choral - Molokan - picked up - to the clouds ;
in the face - slashing - towards the end - kissing ;
paschenkom - saving - boiling - (to) thicker .
In LI, such a free, sometimes to the point of disorderly, impulse is disciplined by the framework of a correct three-stanza composition, but the effect of free flow increases from stanza to stanza. Rhymes on and form a single imprecise chain: convolutions - equivalent - truths - disinterested - shake out - cunning; the first pair is connected with the second and andn , and the second and third i, s, t. Moreover, this chain also accumulates some elements from the first rhymes on e and thus partly crosses, at the level of consonants, with a parallel chain: cross - secret - see clearly - henceforth.
1. Anagrams?Anagrammatic interpretations of Pasternak's poems were offered repeatedly: in some lines the surname was read Bryusov, in others - Bach, third - Scriabin, fourth - the name Elena(Grapes), especially since Pasternak also has an acrostic MARINA TSETAEVOY. I paid tribute to this in the analysis of the Neuhausian "Ballad", trying to see in the text an anagram of the name Harry. In the same place, I briefly pointed out the likelihood of a similar encryption in the “Second Ballad” (dedicated, in conjunction with the first, by Z. N. Neuhaus) to the name Zina- in lines with appropriate rhymes and alliterations ( birches and aspens - back - canvas - two sons - life is long at night...). 19
“I liked both poems terribly,” Zinaida Nikolaevna admitted. 20 It is possible that in a slightly later LI addressed to her, Pasternak used partly the same allusive rhyme (in and) and placed it in the strongest structural position. Some arguments in favor of this were, in fact, already stated above - when considering alliterative games with h , with and n and their combinations with other consonants. I will add that in the line And live without being clogged in the future, next to the verb live(referring to unraveling life) and the sequence of syllables NO FOR, that is, with a permutation, ZINA.
Unfortunately, these fascinating conjectures contradict the apparent shift of attention in the final stanza of LI from personalities to general truths, and are generally unprovable. Now, if we could find real evidence - let's say that in the home circle the poem was called nothing more than "Zina"! .. This would be the key to all the keys.
LITERATURE
Broitman S. N. 2007.Poetics of Boris Pasternak's book "My sister is life". Moscow: Progress-Tradition.
Gasparov M. L. 1997.Verse by B. Pasternak // He . Selected works. T. 3. About the verse. M.: Languages of Russian culture. pp. 502-523.
Zholkovsky A. K. 2011.Poetics of Pasternak. Invariants, structures, intertexts. M.: UFO.
Pasternak B. L. 2004. Full composition of writings. In 11 volumes / Comp. and
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 beautiful 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 significant.
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”.
