Boris Pasternak. Novel "Doctor Zhivago"

Lugovskaya Elena Vladimirovna, MAOU Lyceum No. 8 named after N. N. Rukavishnikov, Tomsk, teacher of Russian language and literature Target: to give an idea of ​​the worldview of B. L. Pasternak, reflected in the novel “Doctor Zhivago”, of such concepts as history, man, nature, showing their humanism and value. Tasks:Educational: Activity: the formation of universal educational actions: Regulatory: - determine the goal of the work and ways to achieve it; Cognitive: - get an idea of ​​​​the image of Yuri Zhivago and his moral values;— consider the philosophical and moral problems raised by the author of the novel and determine his point of view on them;— determine what is the meaning of life for Yuri Zhivago;— improve analysis skills literary text;— select fragments of a literary text for analysis and summarize the result obtained, work with vocabulary, landscape; Communication:— develop oral monologue speech, the ability to convey one’s position, cooperate with other students;— improve the ability to explain one’s point of view and express one’s attitude towards universal human values ; Educational:- cultivate interest in literature through the example of a classical text; - increase interest in the art of recitation. Developmental:— Develop students' speech through a question-and-answer system; - develop the ability to conduct a discussion, the ability to express their own opinion. Basic concepts of the topic: image, character, landscape, episode. Methods: heuristic conversation, work in groups, ahead of individual tasks. Resources: text of B. L. Pasternak’s novel “Doctor Zhivago”, photographic portraits of B. L. Pasternak from different years. Lesson steps:1. Organizational moment. Motivation for learning activities(2 min.)— In the previous literature lesson, we began to get acquainted with the work of B. L. Pasternak and his novel “Doctor Zhivago”, we got acquainted with the biography of B. L. Pasternak, with the history of the creation of the novel. Today we will continue to talk about the novel and its main character. 2. Updating knowledge. (10 min) Conversation based on the materials from the previous lesson.1. What time period do the events of the novel cover? What era is this? (The teacher complements the students’ answers). The events of the novel develop from 1903 to 1929 and describe the era of revolutions and civil war in Russia.2. Tell us about the history of the creation of the novel (in the full version of the document)3. What caused the sharply negative reaction of the authorities to the novel? The plot of the novel is based on fictional characters and topographical names (except for Moscow) and reflects a subjective view of the history and life vicissitudes of a socially alien class - the intelligentsia.4. What was the original name of the novel? B. L. Pasternak changed the name of the novel several times. Initially it was called “Boys and Girls”, which evokes an association with A. Blok’s poem “Verbochki”, in which the main mood is inspiration from the holiday Palm Sunday. The image of A. Blok appears more than once in the mind of the main character. In addition, the novel opens with a description of a teenager's perception of life actors novel - boys: Yura Zhivago, Pasha Antipov, Nika Dudorov, Misha Gordon, Patuli Antipov and girls: Nadya Kologrivova, Tony Gromeko, Lara Guishar. There were other versions of the title: “There will be no death”, “The candle was burning”. 5. What prose works can the novel be compared with and why? With M. A. Bulgakov’s novel “The Master and Margarita” (they are united by the creative personality of the hero and Christian motives, the “text within text” technique: a novel in a novel, a cycle of poems in a novel), with novel by M. A. Bulgakov “ White Guard"(description of the destinies of the main characters from the intelligentsia in history, family chronicle) 3. Setting lesson goals (3 min)— What questions do you think we need to answer? Determining lesson objectives. 4. Analysis of episodes of the novel (17 min). Work in groups on pre-prepared questions and selected episodes of the novel (Expressive reading, commenting, discussion).— How would you define the main concepts of the novel (according to S. G. Vorkachev’s definition, a concept is “verbalized cultural meaning” [Vorkachev, 2005, pp. 76-77])? (“revolution”, “history”, “nature”). The hero’s understanding of philosophical concepts can be correlated with the main themes of the novel: “Zhivago and the Revolution”, “Zhivago and History”, “Zhivago and Nature”. Assignments for the 1st group on the topic “Zhivago and the Revolution” 1. What is the hero’s attitude towards the revolution?2. How does it change throughout the novel and why?3. By what means of language is the hero’s attitude to events expressed in the following passages?1. “The revolution broke out against the will, like a sigh held in too long...” (Part 5, Chapter 8, p. 174).2. “Loyalty to the revolution and admiration for it were also in this circle. It was a revolution in the sense in which the middle classes accepted it, and in the understanding that the student youth of 1905, who worshiped Blok, gave it...” (Part 5, Chapter 15, p. 189). Discussion: At first Zhivago does not separate himself from great historical events, but feels his involvement in what is happening, in the history being created, and, together with everyone else, expects changes in society.3. “The unheard of, the unprecedented is coming<…>the truly great is without beginning, like the Universe.<…>Russia is destined to become the first kingdom of socialism in the existence of the world...” (Part 6, Chapter 4, pp. 213-214).4. “What a magnificent surgery! Take it and artistically cut out old stinking ulcers! A simple, straightforward verdict on centuries-old injustice, accustomed to being bowed to, scraped before it, and curtseyed. There is something nationally close and long-familiar in the fact that this was brought to the end so without fear. Something from the unconditional luminosity of Pushkin, from Tolstoy’s unwavering fidelity to the facts” (Part 6, Chapter 8, p. 228). Discussion: Calling the revolution “a magnificent surgery,” the hero expresses the view of the thinking intelligentsia on the course of history, which initially enthusiastically accepted revolution. Suffice it to recall V. Mayakovsky: “My revolution. I went to Smolny. Worked. Everything that had to be done.” He is fascinated by the revolution with its spontaneity and unpredictability. At the same time, the inevitability of impending tragic events, on the one hand, and the price that the people of Russia paid for such radical artificial changes are emphasized. It is no coincidence that the medical word “surgery” was used. In the dictionary of S.I. Ozhegov: “Surgery is a branch of medicine dealing with surgical methods of treatment” [Ozhegov, 2005, p. 1129]. However, this is an outside view of an observer who is not able to change or prevent historical processes. As D.S. Likhachev notes, “Zhivago is a personality, as if created in order to perceive the era without interfering in it at all. In the novel, the main active force is the element of revolution. Himself main character does not influence or try to influence it in any way, does not interfere in the course of events, he serves those to whom he ends up...” [Likhachev, 1988, p. 4-5].5. “By this time, the brutality of the combatants had reached its limit. The prisoners were not brought alive to their destination, the enemy’s wounded were pinned on the field” (Part 11, Chapter 4, p. 389). Discussion: Zhivago’s attitude towards revolutionary changes changes when he realizes that these changes are associated with murder, death, violence, cruelty. The hero watches with horror the death during the battle between eighth-graders and partisans and reproaches himself for the White Guard he killed: “Why did I kill him?”6. “... first, the ideas of the general...” (part 11, chapter 5, pp. 391-392). Discussion: Rejection of revolutionary events, disappointment of Zhivago are expressed in a conversation with the commander of the partisan detachment Liveriy Averkievich Mikulitsyn. The hero’s words convey the idea of ​​the incomparability of the interests of the revolution and the existence of the Universe and the meaninglessness of this uncontrollable element, which destroys the most valuable thing - life. It is no coincidence that the result of Zhivago’s thoughts about the revolution is the phrase: “I was very revolutionary, but now I think that you can’t get anything by violence. One must attract goodness with goodness…” (Part 8, Chapter 5, p. 306). Assignments for the 2nd group on the topic “Zhivago and History” 1. How does the hero comprehend the story?2. Find examples of other ways of looking at history.3. By what means of language is the hero’s attitude to events expressed in the passages?1. “Yura understood how much he owed his uncle the general qualities of his character...” (Part 3, Chapter 2, p. 84). Yuri Zhivago for the first time tries to comprehend the course of history as a student, during the period of choosing a specialty, a career in life, sharing his uncle’s opinions - priest Nikolai Nikolaevich Vedenyapin.2. “...history, what is called the course of history,...” (Part 14, Chapter 14, p. 522). Discussion: The author emphasizes the idea that no one makes history, it is carried out against the desire of a person, a violent invasion of historical processes do not lead to an improvement in life, do not make a person happy, but bring suffering and unhappiness. A person cannot be made happy by imposing certain ideas about happiness, inscribed in an ideological scheme. History exists separately, regardless of a person’s wishes, but everyone can have their own view of historical processes. Assignments for the 3rd group on the topic “Zhivago and Nature” 1. Keep track of when descriptions of nature appear in the novel and what role they play? 2. What is the relationship between nature and man?3. By what means is the landscape described?4. What amazes and fascinates in the description of nature?1. “At the exit from the camp and from the forest, which was now bare in autumn and completely visible through and through...” (Part 12, Chapter 1, pp. 408-409). Discussion: The place of this passage in the novel: Zhivago in the partisan detachment where he accidentally ends up and is forcibly detained, he is forced to observe the cruelty, the violence of the civil war. The landscape precedes the inhumane scene of the execution of the conspirators. In the description of nature, the feminine principle is striking. She lives her own life, but on the other hand, her connection with the person is felt. Descriptions of nature appear in the novel not by chance, but in moments of severe mental turmoil of the hero and play the role of a protector, savior, higher power, healing the soul and helping to survive the shockingly cruel events of troubled times. “The dark crimson sun was still rounding the blue line of snowdrifts...” (h 14, chapter 13, p. 519).Discussion: The spiritual descriptions of nature in the novel are closely connected with the internal state of the hero: with the help of colorful epithets, unusual personifications, bright highlights and colors of nature, the feeling of surging loneliness after Lara’s departure is conveyed. Zhivago mentally says goodbye to love, and the picturesque, close to poetry (poems in prose, remember “Poems in Prose by I. S. Turgenev”) description of the landscape aggravates the hero’s grief. “A brown-speckled butterfly flew from the sunny side like a colorful folding and unfolding flap... "(Part 11, Chapter 8, p. 400). Discussion: Nature appears spiritualized and humanized, it is not a faceless creature, and Zhivago, who knows how to see its beauty and poetry, feels a spiritual kinship with it. As N.L. Leiderman writes, “Pasternak’s nature replenishes a person, bringing into his soul that meaning and harmony that people deprive themselves of in the turmoil of the century. And - which is very important - the narrator looks at the world around him through the eyes of an artist and listens to it with the ear of a musician" [Leiderman, Lipovetsky, 2003, p. 55].“Clear frosty night. Extraordinary brightness and integrity of the visible...” (Part 9, Chapter 6, pp. 330-331). Discussion: The descriptions of nature contained in the hero’s diary, which he begins to keep upon arriving in Varykino, are especially poetic and peaceful. So, in the novel there are quite a lot of pages devoted to the description of nature, which is not surprising, since Zhivago is trying to find spiritual harmony among the chaos and disorder of life.

5. Conclusions. (5 min)

LESSON OBJECTIVE: Reveal the images of Yuri and Larisa. Analysis of the work.

PROGRESS OF THE LESSON.

1. CLASS ORGANIZATION.

2. EXPLANATION OF NEW MATERIAL.

The core of the novel, its soul is love - the reverent love of Yuri Andreevich and Lara.

Yuri Andreevich Zhivago belonged to a very rich family, but his father went bankrupt in revelry and debauchery, throwing millions down the drain. After the death of his parents, Yuri Andreevich grew up in the family of Professor Gromeko, together with his daughter Tonya. He graduated from the medical faculty of Moscow University and became a doctor. Along with this, since his high school years he dreamed of writing prose that was large in volume and in meaning. Pasternak makes an important autobiographical confession: “But he was still too young for such a book, and so he got away with writing poetry instead, as a painter would spend his whole life writing sketches for a large planned painting.”

A doctor and a writer are a well-known combination in Russian literature. This combination is rare, predetermining an extraordinary personality, especially if you take into account that Yuri Andreevich is shown in the novel as a brilliant poet. Yuri Andreevich also has a third area of ​​activity, he is a religious philosopher. The image turns out to be greatly overloaded: the author gave his hero the spiritual experience of his entire life and, moreover, jeopardized the artistic unity of his personality. He remains true to himself in his marriage with Tonya Gromeko, in the war, then in attempts to save his family during the revolution and civil war in Moscow and the Urals, finally in his love affair with Lara and in his relationship with Marina.

And nearby the life of “a girl from another circle” Lara Guichard unfolds. The daughter of a Belgian engineer and a Russified Frenchwoman, the mistress of lawyer Komarovsky, left without a father at an early age, she sees the world from the inside out and is tormented by it. Against her will, she becomes a high school student, like her mother, Komarovsky’s mistress, tries to shoot him - and submits to him. A girl with a pure soul dreams of an orderly life and marries Pasha Antipov, first a high school mathematics teacher, then a cruel, straightforward revolutionary who adopted the pseudonym Strelnikov and was nicknamed Rastrelnikov.

Despite all the difference in social status, life from the very beginning seems to be pushing Yuri Andreevich and Lara towards each other. High school student Yura accidentally witnesses a suicide attempt. undertaken by Lara's mother. Here he sees Lara for the first time. Then she notices what absolute power Komarovsky has over her. And that same evening he learns that lawyer Komarovsky, who has taken possession of Lara’s soul and body, is the same person who contributed to the ruin, soldered and killed his father. Yuri and Lara suffered the same fate.

A few years later he connects them again. Lara comes to her fiancé Antipov, he lights a candle - she likes to talk in the twilight, with one single candle - and places the candlestick on the windowsill. And at this time, Yuri, already a student, rides past this house in a sleigh.

Here the author tells how one of the most piercing and famous poems by Yuri Zhivago - Pasternak, “Winter Night,” was born. Thus, he emphasizes the mysterious significance of this meeting between Yuri Andreevich and Lara, hidden from them.

And after that that same evening fate brings them together for the third time: Yuri Andreevich witnesses Lara's failed attempt on Komarovsky.

During the World War, Yuri Andreevich ends up as a doctor on the South-Eastern Front, is wounded and in the hospital nurse Lara comes to his room. In a letter, he informs his wife about this, and at first glance, in a fit of painful, causeless jealousy, but in reality, prophetically perceiving the future, in a reply letter, “in which sobs disrupted the construction of periods, and traces of tears and blots served as dots, Antonina Alexandrovna convinced her husband not return to Moscow, and follow straight to the Urals for this amazing sister, walking through life accompanied by such signs and coincidences of circumstances that her, Tonina’s, modest path in life cannot be compared.”

Shortly before Lara and Yuri left the hospital, the inevitable explanation took place between them. Outwardly nothing has changed. He is married, she is married. He has a son, Shurochka, and she has a daughter, Katenka. It’s just that the author once again - once again - carefully pushed them towards each other.

Immediately Lara reappears to gradually push aside, gently and powerfully, all the other characters. One day in Varykino, Yuri wakes up from a woman’s voice heard in a dream - chesty, quiet with heaviness, wet - and cannot remember who it belongs to. Soon he meets Larisa Fedorovna in the Yuryatin library and immediately remembers: it was her voice.

Yuri Andreevich is captured by the partisans, in captivity, in mortal fear for loved ones. But he is still overcome with happiness at the sight of the forest, permeated with the rays and reflections of the evening dawn. And his whole being is directed towards one thing: Lara. She is everything to him: his life, all of God’s earth, all the sun-lit space stretching out before him. He flees from the partisans to his Lara, in Yuryatin, and in the half-oblivion of a serious illness he finds happiness.

While Yuri was held captive by the partisans, his wife gave birth to a daughter, Masha, the whole family returned to Moscow, and from there, along with many figures of the old liberal intelligentsia - bearers of religious consciousness, they were expelled from Soviet Russia. Antipov-Strelnikov, as always happened, fell out of favor with the revolutionary authorities and, fleeing execution, hid somewhere. Yuri and Larisa were left alone. In the midst of general hunger and devastation, they feel themselves on earth, the last memory of all the thousand-year activity of mankind. In memory of many thousands of years of miracles generated by endless thousands of people and generations, Yuri Andreevich and Larisa breathe and love and cry and hold on to each other. That is why their love is so unique, so piercing.

In Yuryatin, mortal danger loomed over Yuri and Larisa: the new government was preparing to arrest them. And here the old tempter Komarovsky appears once again. The Far Eastern Republic arose in Primorye, designed to serve as a buffer between Soviet Russia and the outside world. Komarovsky goes there to take up the post of Minister of Justice, and calls Yuri Andreevich and Larisa Fedorovna with him. Both of them are wary and hostile towards Komarovsky and reject his offer. Instead, they decide to hide in Varykino, and here the last episode of the sorrowful journey of their love begins.

They were afraid to leave with Komarovsky, and now they are afraid in Varykino, in an abandoned, dilapidated house, covered with snow. Larisa is suffering, her thoughts are racing in search of a non-existent way out of the trap into which life has driven her, her little daughter, and her beloved.

Larisa finds the strength to ask Yuri to write down the poems that he had previously read to her as a souvenir. And on the verge of death, in the midst of the Eurasian snows, Yuri writes down old poems and creates new ones - “Fairy Tale”, “Christmas Star”, “Winter Night” and many others. He feels that at such moments he is told by something that is above him, is above him and controls him, the tradition of world poetry, a link of which he feels his poems, from which the poetry of tomorrow will in turn come. And he feels himself only as a point of application of the forces of the historical development of poetry.

Yuri's creativity is connected in a subtle way with his feelings for Lara and her daughter Katya, for nature and God. He works at night. Everything happens on the very edge of eternal separation, under the threat of death from wolves and people, and therefore becomes inextricably painful. Komarovsky appears. Lara's husband was captured and shot, he reports, Lara's arrest is a matter of days if she does not immediately leave with him for the Far East. A government train, half consisting of international steel carriages, arrived in Yuryatin from Moscow yesterday and departs further tomorrow.

And now Yuri, with a fur coat thrown over one shoulder, not remembering himself, stands on the porch, peers into the distance and whispers: “Farewell, my only beloved, forever lost!”

This farewell goes on and on, spills over the boundaries of the prose text of the novel and echoes in the heart-tearing poem “Separation.”

Strelnikov suddenly appeared in Varykino. Komarovsky once again lied and deceived Lara in order to intimidate her and take her away. The two men who loved her most in life talk about her and can’t stop talking about her. And then Strelnikov, disillusioned with the revolution and having lost his wife and daughter, commits suicide, which has become completely meaningless.

Yuri is sinking more and more, walking around in bandages, covered in many days of stubble and dirty. This is how he appears in Moscow and unexpectedly takes on a new face. He writes thin books of philosophical and religious content, they are distributed among experts. Yuri Andreevich somehow, by inertia, connects his life with the janitor’s daughter Marina, a kind and loving woman. They had 2 children. Yuri and Marina walked around wealthy houses, sawing and chopping wood. One day they were bringing firewood into the office of the owner, who insultingly seemed not to notice them, immersed in reading and studying some book. Walking around the desk with firewood, Yuri saw that it was his book lying in front of the owner of the house.

Lara gave birth to another daughter, Yuri's daughter, and under unclear circumstances she was separated from this daughter forever. When the Far Eastern Republic collapsed, Lara finally escaped from the power of Komarovsky. A few years later she returned to Moscow.

Yuri Andreevich and Lara were destined to meet again on earth. In 1929, Yuri Andreevich died suddenly right on a Moscow street. And on the day of his funeral, Larisa came to Moscow from distant Siberia. Fate brought her - or the author brought her, Pasternak loved such coincidences - to the very room in which the coffin with the body of Yuri Andreevich stood. Their passionate love deserved one more, very last, such tragic meeting.

Lara’s theme in Doctor Zhivago does not end on this lyrical, albeit tragic note. A tragedy of a different kind awaits the reader. In a detached, almost protocol manner, the author reports: “One day Larisa Fedorovna left home and never returned. Apparently, she was arrested on the street in those days, and she died or disappeared somewhere unknown, forgotten under some nameless number from subsequently lost lists, in one of the countless general or women’s concentration camps in the north.”

Literature lesson in 11th grade.

Goals and objectives: 1) through reading and analysis of poems from chapter 17 of the novel “Doctor Zhivago” to open knowledge of the entire text:
a) working with text; determine the place and meaning of “The Poems of Yuri Zhivago” in the composition and concept of the novel;
b) cultural aspect - analyze the symbols of the novel in the poem “Winter Night” and in the book of the first part of the third in chapters nine, ten “Christmas tree at the Sventitskys” - the image of a candle; in the poem “Miracle” and in the book of the third part of the eleventh, in the fourth chapter “Forest Army” - the image of a tree, a barren fig tree;
c) relationships between characters (etymology);
2) develop elements of logical thinking through heuristic conversation;
3) updating modern life, examples from the works of B. Pasternak’s contemporaries (A.A. Furmanov “Destruction” - the image of Mechik) and in works of the XIX century (F.M. Dostoevsky “Crime and Punishment”);
4) moral and ethical aspect, moral traditions - Christian motives in the novel, attitude towards God;
5) the meaning of the novel “Doctor Zhivago”; the significance of B.L.’s creativity Pasternak.
Epigraph to the lesson: “Parsnips - the presence of God in our lives. A presence given not postulate, but objectively, through the sensory sensation of Life - the best, inexplicable creation of the Universe.”
Andrey Voznesensky.
Methods and techniques: lecture with elements of conversation, analysis of poems.
Materials and equipment: Portrait of B.L. Pasternak, Novel “Doctor Zhivago”, multi video film, mp-3 song by A.B. Pugacheva “The Candle Was Burning”, a candlestick with a burning candle, David Lynn’s video film “Doctor Zhivago” in two parts.

Lesson plan and course.
Org. moment.
Teacher's opening speech.

***
I want to reach everything
To the very essence
At work, looking for a way,
In heartbreak.
To the essence of the past days,
Until their reason,
To the foundations, to the roots,
To the core.

The thread keeps getting caught
Fates, events,

Complete the opening

In this excerpt from a poem from 1956, Boris Leonidovich Pasternak talks about the essence and meaning of his work, about the desire not to remain on the surface of phenomena, but to penetrate into their essence.
III. - Today in class you and I will be working on the pinnacle work of prose by B.L. Pasternak - the novel "Doctor Zhivago". About the characteristics of the book’s plan, given in a letter to O. Freidenberg in the fall of 1946, B. Pasternak reports: “I began to write a novel in prose “Boys and Girls,” which in ten chapters should cover the fortieth anniversary of 1902-1946, and with great enthusiasm wrote a quarter of the entire conceived or a fifth of it. I’m already old, I’ll probably die soon, and you can’t put off indefinitely the free expression of your real thoughts.” And a little later, in a letter to O. Freidenberg, he wrote: “In it I want to give a historical image of Russia over the last forty-five years, and at the same time, with all sides of its plot, heavy, sad and detailed - this thing will be an expression of my views on art, on The Gospel, the life of man in history and much more.”
By the end of 1947, 10 poems had already been written for the future novel.
The novel was initially called “Boys and Girls,” then “Rynva” (a navigable river mentioned in the second part of the novel), “The Candle Was Burning,” and only much later the novel began to be called “Doctor Zhivago.”
In February 1956, Pasternak offered the manuscript of his novel to two magazines at once - Znamya and Novy Mir. Only in September did an official refusal come, signed by A. Agapov, B. Lavrenev, K. Fedin, K. Simonov and A. Krivitsky: “The spirit of your novel is the spirit of rejection of the socialist revolution. The pathos of your novel is the pathos of the assertion that the October Revolution, Civil war and the subsequent changes associated with them brought nothing but suffering to the people, and the Russian intelligentsia was destroyed either physically or morally. Your novel is deeply unfair. Historically biased and alien to any understanding of the interests of the people.” Although at that time Europe and America were reading the novel “Doctor Zhivago” - in 1957 the novel was published in Milan, and in 1958 - in England, the USA, Germany and Sweden.
On October 23, 1958, the secretary of the Nobel Foundation, Anders Estreling, informed Pasternak by telegram that he had been awarded the prize and invited him to come to Stockholm on December 10 for the official award ceremony. Pasternak responded by sending a telegram of gratitude: “Endlessly grateful, touched, proud, surprised, embarrassed.” Soon, at a meeting of the board of the Writers' Union, the question “On the actions of a member of the USSR Writers' Union B.L. Pasternak, incompatible with the title of Soviet writer."
The newspapers began openly defaming the author of Doctor Zhivago. And under the pressure of everything that was happening, Pasternak was forced to publicly refuse the Nobel Prize. But the scandal did not subside. Pasternak in the poem “ Nobel Prize"Wrote about it like this:
I disappeared like an animal in a pen.
Somewhere there are people, will, light,
And behind me there is the sound of a chase.
I can't go outside.
In the spring of 1960, a fatal illness confined Pasternak to bed - a heart attack, and further examination confirmed another diagnosis - lung cancer. On May 30, 1960, Boris Leonidovich passed away.
- Today in class we will try to understand why the novel was so received by the Soviet public, although we can say with confidence that many of Pasternak’s contemporaries who participated in his persecution did not even read the novel, and many were not familiar with Pasternak’s work at all.
Poetry and prose in the novel by B.L. Pasternak's Doctor Zhivago form a living, indivisible unity, which is, in fact, a new genre form. Therefore, in the lesson, you and I will be interested in the poetic-functional meaning that the “notebook of Yuryev’s writings” has in the general context of Pasternak’s novel - a poetic cycle, which is the seventeenth, final part of it, consisting of 25 poems.
The Zhivagov cycle includes poems written between 1946 and 1953, extremely diverse in genre and lyrical themes. Poem-
The works of Yuri Zhivago must be considered only from the point of view of the unity of the prose text and the poetic parts of the novel, from the point of view of the unity of the cycle itself and its correlation with the prose text.
And in this context, the poems of the cycle perform two main functions. The essence of the first is determined by the fact that many “end-to-end” images find their aesthetic completion and symbolic re-interpretation in one or another poem of the cycle, that is, being an element of the compositional structure of the text. The second function is to identify value judgments, conceptual ideas, and deep layers of content hidden in a prose text.
The novel about Yuri Zhivago's earthly journey begins with the death of his mother and ends with his death and funeral. Yuri Andreevich Zhivago - a doctor, thinking, searching, creative and artistic, dies in 1929, after him there are notes and, among other papers, written in his younger years, finished poems, some of which make up the last, final part of the novel.
Yuri Zhivago is a doctor, but we do not see his direct medical activity in the novel. Pasternak’s hero is a spiritual doctor, like the Gospel Jesus, he heals the souls of people; his poems are the gospel, and healing, and insight, and liberation, and repentance, and faith in the resurrection. The entire novel is permeated with Christian ideas. The hero’s surname itself is associated with the image of Christ (“You are the son of the living god”: “zhivago” is the form of the genitive and accusative cases in the Old Russian language). The name Yuri is also symbolic - a variant of the name George (St. George the Victorious).
In fact, the main action of the novel begins with a burning candle, the plot dynamics of which, according to critic A. Lavrov, “are based on plot nodes formed by chance encounters and coincidences.”
Let's read the poem "Winter Night".

Winter night(15)
Chalk, chalk all over the earth
To all limits.
The candle was burning on the table.
The candle was burning.

Like a swarm of midges in summer
Flies into the flames
Flakes flew from the yard
To the window frame.

A snowstorm sculpted on the glass
Circles and arrows.
The candle was burning on the table,
The candle was burning.

On the illuminated ceiling
The shadows were falling
Crossing of arms, crossing of legs.
Crossing of fates.

And two shoes fell
With a thud to the floor.
And wax with tears from the night light
It was dripping on my dress.

And everything was lost in the snowy darkness.
Gray and white.
The candle was burning on the table,
The candle was burning.

There was a blow on the candle from the corner,
And the heat of temptation
Raised two wings like an angel
Crosswise.

It was snowy all month in February,
Every now and then
The candle was burning on the table,
The candle was burning.

What does the candle symbolize? (The image of a candle has a special meaning in Christian symbolism. Addressing his disciples in the Sermon on the Mount, Christ says: “You are the light of the world. A city standing on the top of a mountain cannot be hidden. And having lit a candle, they do not place it under a bushel, but on a candlestick , and shines for everyone in the house. So let your light shine before people, so that they may see your good deeds and glorify your Father in heaven."
- When does the image of a candle appear in the novel? (The image of a candle appears twice in the novel. The first time - in a snowstorm, on a frosty Christmas night, on the eve of which dying Anna Ivanovna blesses Yura and Tonya, night before the Christmas tree at the Sventitskys. Yura sees from the street a circle thawed from a candle in a frosty window. Lara, intending to irrevocably determine her destiny by resolving a whole bunch of problems associated with her deep dependence on Komarovsky, the debt of her brother Rodion and the uncertainty of her relationship with Pasha Antipov, comes to Pasha’s room with a proposal to get married as soon as possible. Pasha, at Lara’s request, put a candle on the windowsill, and Yuri Zhivago sees this candle while driving with Tonya on a cab sleigh along Kamergersky. The close flame of a candle creates a circle, reminiscent of a conscious, outward gaze. The image of a candle gives birth to the first poem in his mind - “The candle was burning on the table.”)
-This moment in the novel is deeply symbolic; it is impossible to give an unambiguous interpretation. One thing is clear: this episode is one of the semantic centers of the work, connecting together not only the prose and poetic parts of the novel, but also a number of aspects of its problems. The poem “Winter Night” is the first poem by Yuri Zhivago, which means that the image of a candle contributes to the birth of the poet.
- Candlelight connects Yura with Tonya and Lara with Pasha at a turning point in their fate: two new families are born, and a ray of light shows that this connection is not accidental.
The next intersection of the destinies of Yuri and Lara is marked by the first arrival of inspiration to him. From now on, Lara will become, secretly or openly for Zhivago, his Muse; with this candle, Zhivago’s path as a poet will begin.
- Let's remember in which episode of the novel by F.M. Dostoevsky's “Crime and Punishment” also mentions the image of a candle as an image of God. (In part 4, chapter 4 of the novel “Crime and Punishment,” the image of a candle is also mentioned. When Raskolnikov comes to Sonya Marmeladova to tell about the crime, he goes up to the Capernaum house where Sonya lives. And fumbles for a long time in the dark before he finds the right door And the first thing he sees in Sonya’s room is a lit candle on a dented chair. This means that in this darkness, only Sonya has light, only God lives in her apartment).
Let's turn to another poem by Yuri Zhivago - “Hamlet”.
Poem "Hamlet" (1)
The hum died down. I went on stage.
Leaning against the door frame,
I catch in a distant echo,
What will happen in my lifetime.

The darkness of the night is pointed at me
A thousand binoculars on the axis.
If possible, Abba Father,
Carry this cup past.

I love your stubborn plan
And I agree to play this role.
But now there is another drama,
And this time fire me.

But the order of actions has been thought out,
And the end of the road is inevitable.
I am alone, everything is drowning in pharisaism.
Living life is not a field to cross.
- Guys, before we work with this poem, let's find out what the word pharisaism means or who the Pharisees are?
Pharisees (other - Heb.) 1. Members of a religious and political sect, representing the interests of the wealthy strata of the urban population, distinguished by fanaticism and hypocritical execution of pious rules.
2. Currently, it is a common noun for hypocrites and bigots. (Encyclopedia of the Russian language. Dictionary of foreign words. - Moscow. - World of Books. - 2003. - pp. 381-382.)
This poem can be considered the key poem for the entire book; it is not for nothing that it opens the seventeenth poetic chapter of the novel. Key in the sense that understanding how this poem is structured provides the key to understanding the entire novel. The poem allows for the following readings:
- the very title of the poem, as well as the situation given in it of the inevitability of the path destined for the hero and the attempt to comprehend this inevitability, indicate that this is the internal monologue of Hamlet, the Danish prince from the tragedy of the same name by W. Shakespeare;
- mention of Pharisaism and the loneliness of the hero: thus, the theme of life as an atoning sacrifice and the theme of the beginning with the birth of Christ are introduced new era– started modern history, AD;
- this poem is included in the ideological structure of “Doctor Zhivago”, it allows us to comprehend the life path of the hero in relation to the paths of Hamlet, the artist-actor, who, by his position, must complete his role in the drama of life, and, finally, Christ, who spoke a new word to the world about life and his life confirming his rightness (the possibility of such a reading is supported by the hero’s surname - the seal of God Zhivago (Rev. 7:2); by the way, Yuri’s mother’s name was Maria).
- but if we remember that in reality the poem belongs to the pen of B. Pasternak, then the features of the novel’s biography will become clearer: how, in the almost complete absence of external coincidences, do the life paths the author of the hero of the novel and its main character. The words said about this work by D.S. will become clearer. Likhachev: “Doctor Zhivago” is “Pasternak’s spiritual autobiography.” The point here is not the commonality of biographical facts, but the commonality of the spiritual path, once chosen by Christ and at all times since then chosen by the best representatives of humanity - the sacrificial path.
The uniqueness of both the poem and the novel is that Pasternak does not directly transfer the circumstances of two thousand years ago into the present: these circumstances seem to shine through the veil of time, do not replace each other, but merge into an indissoluble whole, “as an image enters an image, / And as an object cuts an object” (“I want to go home, to the enormity”). This overcomes time itself: what happened centuries ago is happening here and now, and will never pass, it will be forever.
-Now we will look at another poem from Zhivag’s cycle - the poem “Miracle”. We will consider the problem raised in this work - the problem of the revolution and the intelligentsia.
Poem "Miracle" (20)
He walked from Bethany to Jerusalem,
We are tormented in advance by the sadness of forebodings.

The thorny bushes on the steep slope were burned out,
Smoke did not move above the neighbor's hut,
The air was hot and the reeds were motionless,
And the peace of the Dead Sea is unmoving.

And in bitterness that rivaled the bitterness of the sea,
He walked with a small crowd of clouds
Along a dusty road to someone's farmstead,
I was going to the city for a gathering of students.

And so He went deep into His thoughts,
That the field in despondency smelled of wormwood.
Everything was quiet. He alone stood in the middle,
And the area lay in oblivion.
Everything is mixed up: warmth and desert,
And lizards, and springs, and streams.

There was a fig tree not far away,
No fruit at all, just branches and leaves.
And He said to her: “For what gain are you?
What joy do I have in your tetanus?

I thirst and hunger, and you are a barren flower,
And meeting you is more bleak than granite.
Oh, how offensive and untalented you are!
Stay like this until the end of your life."

A shiver of condemnation ran through the tree,
Like a lightning spark on a lightning rod.
The fig tree was burned to ashes.

Find yourself a moment of freedom at this time
At the leaves, branches, and roots, and trunk,
If only the laws of nature could intervene.
But a miracle is a miracle, and a miracle is God.
When we are in confusion, then in the midst of confusion
It hits you instantly, by surprise.
During one of the skirmishes of the partisan detachment with the White Guards, the doctor, contrary to the international convention prohibiting doctors from participating in hostilities, took the rifle of the killed telephone operator and, in order not to shoot at the advancing, mostly very young guys, began to aim at a dead charred tree.
-Why did he do this? And what happened next?
(This tree was a real salvation for the attackers, but they all did not allow themselves to hide behind its trunk and moved on. But no matter how careful the doctor was, he still wounded two White Guards, and his shot cost another one his life).
- This episode contains a number of the most significant problems of the novel. Good-
The free participation in the battle of Doctor Zhivago, who was forcibly captured by the partisans, sets the theme of the intelligentsia and revolution. The author shows that in an era of revolutionary upheavals it is impossible to remain in a position “above the fray”: even a forced position in a hostile camp, “passive” cooperation with one of the warring parties is already participation in the struggle. Zhivago, who is aware of this, for all his “non-belligerence,” is aware of the illusory, and even deceitful, posture of “non-intervention”: he submits to the logic of the fight, which does not allow anyone to remain on the sidelines.
- Guys, let's remember in which work that you have recently studied, the issue of the intelligentsia and revolution is very acutely raised?
(The novel “Destruction” by Alexander Fadeev. In this novel, as well as in the novel by B. Pasternak, the problem of the intelligentsia and revolution is raised).
- Using the example of these two novels, one can identify author's position each writer, comparing the descriptions of Mechik and Zhivago (chapters 11-12).
- How did Mechik get into the partisan detachment?
(Mechik ended up in the partisan detachment on a ticket from the maximalist party).
- How did Zhivago end up in the partisan detachment?
(Yuri Zhivago was captured into the partisan detachment as a “useful” person).
- What is the self-perception of Pavel Mechik and Yuri Zhivago in the environment of a partisan detachment?
(Both heroes “did not take root” in the detachment. If Mechik gradually comes to despair as he moves away from the detachment life and from the standard he created in his imagination, then Zhivago is not compatible with this life, since initially he does not accept the laws of the folk drama that is playing out.)
- Both writers convince us that the wavering part of the intelligentsia in the 20s could only “waver” towards rejection of the “era of revolutionary battles.” Both heroes run away from the squad. Mechik runs away, throwing off the unbearable burden of the revolutionary fighter from his shoulders. His thoughts are thoughts, this is the beginning of the end that leads to crime, betrayal. From this follows the author’s verdict on “clean” intellectuals who are afraid of blood and only prevent others from fulfilling their revolutionary duty.
For Mechik, leaving the detachment means betraying the banner under which he joined. For Zhivago, this means surrendering to the elements of beauty and spirituality, without which life is unthinkable for him. Fadeev pronounces the following verdict on Mechik: “Everything that is not capable of a real revolutionary struggle, which accidentally ends up in the camp of the revolution, is eliminated.” A completely different tendency emerges in Pasternak’s position: this is the view of a writer of a different pole, of other dimensions, placing the artist “above the fray” in recreating the appearance of historical Time.
Let's turn to the text of the poem "Miracle". The poem mentions a barren fig tree burned to ashes by Christ.
Reading the parable “The Withered Fig Tree.”
Returning to the city early in the morning, Jesus felt very hungry. On the way, He saw a fig tree. He approached it, but found nothing on the tree except leaves. Then Jesus said to the tree:
- May you never bear fruit again!
The tree immediately withered. When the students saw this, they were surprised:
- How could this tree dry out so quickly?
Jesus answered:
“I tell you the truth: if you believe without a doubt, you will be able to do not only what was done with the tree, you will even be able to say to this mountain: “Go and throw yourself into the sea,” and it will obey you. If you believe, then whatever you ask for in prayer you will receive. (Word of Life / New Testament in modern translation. - M. “Protestant”. - 1992. - p. 30.)
In the novel, Zhivago shoots at a tree that “has been charred by lightning or the flame of a fire, or split and scorched by previous battles,” has symbolic meaning and in general the novel echoes the poem “Miracle”. This tree is a temptation for the advancing White Guards as an opportunity to protect themselves from bullets and escape death. However, they understand the futility of such behavior and prefer the path of sacrifice - the authentic path. Their only mistake is excessive theatricality, flaunting their prowess, which would be forgivable in their youth if it did not lead to meaningless victims.
IV. Lesson summary.
We limited ourselves analysis of three poems, but even this serves as a clear example and proof of how closely poetry and prose interact in Pasternak’s novel.
“Doctor Zhivago” is a unique work in all respects: philosophical, poetic and genre, in terms of continuity and in terms of innovation. Poetic word a hero in a novel is not a subject of depiction, but a full-fledged, living depicting word, complementing and deepening the prosaic, author’s word. The organic unity of the prose and poetic parts of the novel is ultimately perceived not just as an original compositional device, but, above all, as a symbol true art- art that can only exist in fusion with the life that generates it and is transformed by it.
And at the end of the lesson, let us once again turn to the epigraph, to the words of Andrei Voznesensky about Boris Pasternak: “Pasternak is the presence of God in our lives. A presence given not postulate, but objectively, through the sensory sensation of Life - the best, inexplicable creation of the Universe.”
In my opinion, these words best characterize the personality and work of B.L. Pasternak. Every century gives birth to its own genius: in the 19th century it was A.S. Pushkin, and in the 20th century - this is, of course, B.L. Parsnip. And I would like to end the lesson with a poem
***
I want to reach everything
To the very essence
At work, looking for a way,
In heartbreak.
To the essence of the past days,
Until their reason,
To the foundations, to the roots,
To the core.

The thread keeps getting caught
Fates, events,
Live, think, feel, love,
Complete the opening.

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

About lawlessness. About sins
Running, chasing.
Accidents in a hurry,
Elbows, palms,

I would derive her law.
Its beginning
And repeated her name
Initials.

I would plant poems like a garden.
With all the trembling of my veins
Linden trees would bloom in them in a row.
Single file, to the back of the head.

I would bring the breath of roses into poetry,
Breath of mint
Meadows, sedge, hayfields,
Thunderstorms rumble.

So Chopin once invested
Living miracle
Farms, parks, groves, graves
In your sketches.
Achieved triumph
Game and torment -
Bowstring taut
Tight bow.

Design on the board:
Lesson topic: “Poems by Yuri Zhivago.” The meaning of the poetic cycle in the general context of the novel by B.L. Pasternak.

“Parsnips are the presence of God in our lives. A presence given not postulate, but objectively, through the sensory sensation of Life - the best, inexplicable creation of the Universe.”
Andrey Voznesensky.

Yuri Andreevich Zhivago candle Lara Guichard
Zhivago = Jesus Christ Guichard = prison window
Yuri = St. George the Victorious Larisa = seagull Tonya Gromeko - son of Shura Pavel Antipov - trip to see daughter Katya Ural, teach, daughter
Kate
war
hospital – February Revolution
daughter Tanka Bezocheredova

Death of Yuri Zhivago, fate of Lara Guichard unknown
Death of Yuri Zhivago's mother

3. The image of the main character

1. Author's intention and creative history

Boris Pasternak's novel "Doctor Zhivago" (1946-1955) represents the development of a new artistic strategy in Russian literature associated with the revival of traditions philosophical novel and literature of the "Silver Age".

✓ show the history of the country's development and its historical image over the 45 years that have passed since October Revolution;

✓ express your own views through the difficult, sad and detailed plot of the novel:

For art;

Gospel;

Human life within the framework of a historical era;

✓ use the traditions of Dickens and Dostoevsky.

One of the features of the novel "Doctor Zhivago" is the correlation historical plot with a biographical However, despite the widely presented panorama of Russian reality in the first third of the 20th century, the work reveals not so much historical issues and problems as personal relationships and value guidelines, which have a much greater impact on human destinies.

Creative history of the novel:

✓ was originally called "Boys and Girls" by the author;

✓ was rejected by publishers and published thirty years late;

✓ received a mixed response from contemporary readers and fellow writers (enthusiastic assessment by E. Gerstein and derogatory assessment by V. Nabokov).

2. Contents and features of the novel

Contents and problems of the novel "Doctor Zhivago":

✓ tells about the life of one generation, which went through a series of historical and political events and formed a certain life strategy and worldview;

✓ the novel is structured as follows:

First, the theme of teenage worldview and associated maximalism is developed through a description of the heroes’ childhood;

Then the topic of an artificial approach to life is raised, creating it according to certain patterns based on the highest noble goals;

Through the coverage of various political and historical events (the First World War, three revolutions, the civil war), the development of “boys and girls” in “ Soviet people";

✓ the problem of experimenting with the destinies of people, with life in the name of noble goals and ideals is raised, and the author associates this with games through which everything is interpreted and understood historical events that occurred in the first half of the 20th century. in Russia.

The artistic originality of the novel "Doctor Zhivago" constitute images, symbols and motifs that reveal author's intention:

✓ the motive of “playing people”, the study of which by the author can be characterized as follows:

. “playing people” provokes a devaluation of personal opinion, a disregard for human originality and uniqueness in the name of a straightforwardly understood equality and unity;

The projects of such a game turn out to be opposed and hostile not only to spiritual life, but also to the entire human existence;

✓ an image of nature acting as a poetic symbol, the originality of which lies in the following:

Expression of landscapes;

The vitality of nature, very similar to human existence;

Endowing nature with the properties of a miracle, magic, but not in a fantastic, but in a metaphorical sense;

Implementation of the replenishment function human soul the meaning that it is deprived of in the turmoil and chaos of the era;

Beauty and indestructibility as a moral justification for life.

Questions raised and addressed in the novel:

✓ the significance of social history and its characteristic transpersonal scales and criteria is demystified;

✓ the everyday existence of a person with his small everyday affairs is endowed with a high epic meaning;

✓ “playing people” - the artificial element - is opposed to simple human life, acting as a natural organic principle;

✓ problems that concern the author:

Is it possible to remake the world even on the basis of the most ideal and well-intentioned projects;

Is it possible to allow violence against the natural course of life in order to “improve” it;

Does it make sense to consider the current, present moment of life not in its immediate meaning, but as correlated with a “bright future” and acting as a prerequisite for this future;

✓ historical events in Russia in the first third of the 20th century are covered in the novel as natural disasters with enormous consequences;

✓ the question is raised about how a person can withstand the chaos of this reality and save his soul from disaster; This, according to Pasternak, is the essence of history.

3. The image of the main character of the novel "Doctor Zhivago"

Many critics note the parallelism of the image of the main character of the novel - Yuri Zhivago - with Jesus Christ, expressed as follows:

✓ the similarity, first of all, not of the images, but of the entire life story of the main character with the biblical story of Jesus Christ and with the plot of the New Testament;

✓ the vagueness rather than the literalness of the connection between these images;

✓ chronological marking of the plot - correlation of all events not with the secular, but with the Orthodox calendar;

✓ an abundance of elements of Church Slavonic vocabulary, book-archaic and literary-book speeches and forms;

✓ orientation to the traditions of sacred books in the poetics of the image and plot of the fate of the main character, in particular the initial predetermination of fate;

✓ the paradoxical nature of Yuri Zhivago’s parallelism with Jesus, since the “divinity” of the hero of the novel is not separated from the earthly, but rather embodied in him.

4. Connection with L. Leonov’s novel “Russian Forest”

The connection between the novel "Doctor Zhivago" and L. Leonov's novel "Russian Forest" (1950-1953) is clearly revealed:

✓ polemics with the same enemy - the official ideology of revolutionary extremism;

✓ the general basis for the rejection of revolutionary ideology, which is the rejection of violence;

✓ echo between motifs and images:

Images of “boys and girls” who were infected with the romance of the revolutionary destruction of the old and the creation of a new world;

Pairs of antagonists in the novels (Zhivago - Strelnikov, Vikhrov - Gratsiansky), diverging in their understanding of the eternal laws of life;

The moral epidemic brought by revolutionary extremism;

Contrasting revolutionary doctrines with their violence against man and life with the concept of the “miracle of life,” which both authors understand as the unshakable basis of human existence and his entire hierarchy of spiritual values;

The embodiment of the concept of “miracle of life” in images and pictures of nature.

Disagreements between Pasternak and Leonov as authors:

✓ in Leonov - the naturalness of all concepts, including people and nation, their basis on the law of nature;

✓ in Pasternak - the hero’s co-naturalness with other people, he does not exhaust himself with the structure of nature;

✓ in Leonov, the concepts of people and nation play the role of an absolute, connecting individual representatives into a single whole;

✓ For Pasternak, this role is played by the natural principle, and it can unite not only representatives of one nation, but also all of humanity, and if this principle does not develop into a personal principle among people, then such a society loses its unity.

5. The place of the novel “Doctor Zhivago” in Russian literature

The novel "Doctor Zhivago" is closely related to many works of Russian literature such as XX and XIX centuries:

✓ with M. Bulgakov’s novel “The Master and Margarita”, which is expressed primarily in the use of biblical motifs;

✓ with the traditions of expressionist prose of the 1920s and the post-symbolic novel of the 1910s;

✓ with a long tradition of Christian aesthetics and artistic and religious literature, which developed in Russian literature as follows:

Its roots lie in the gospel tales and lives of saints;

It was later expressed in secular literature in the works of L.N. Tolstoy and F.M. Dostoevsky;

It appeared most clearly as an artistic system in the works of writers of the late 19th century. (N. Leskova, P. Melnikov-Pechersky), and 20th century. (A. Remizova, B. Zaitseva, I. Shmeleva);

✓ discrepancy with the typical features and elements of a realistic novel of the 19th-20th centuries, which is manifested in the following features of the novel “Doctor Zhivago” by Pasternak:

Neglecting the development of cause-and-effect motivations in the movement of the plot;

Antipsychologism in the depiction of the characters' characters;

Refusal of the manner of objectified narration;

Creating your own realism in literature, the main artistic principle of which is the perception of the chaotic state characteristic of the modern era as an indisputable reality, which cannot be denied, but also should not be apologized, but it is necessary in its artistic expression to preserve the feeling of living contact of this chaos with a person, and for this the author turns to the search for archetypes, in which he strives to see something common to all humanity.

How are historical events refracted in the perception of Yuri Zhivago?

(Initially, the hero enthusiastically accepts the October events of 1917. He is fascinated by the “magnificent surgery” of the revolution; it seems to him to be an expression of life itself, its unpredictability, spontaneity.

Soon the hero realizes that instead of the emancipation of man promised by the first revolutionary actions, the new government has placed man in a rigid framework, while imposing his own understanding of freedom and happiness. You cannot force people to be happy; there is no single recipe for everyone. Such interference in human nature, the desire to reshape life according to one’s own understanding, to forcibly change the course of history artificially, is absurd and criminal. No one makes history; it is not visible, just as one cannot see grass growing.”

A person participates in history in spite of his desire, and the wisest thing in this case is to submit to the action of these forces. But to submit does not mean for Pasternak to lose his sense of the value of human life, the human personality. The unity of the world, man and the universe is the basis of Pasternak’s worldview. According to Yuri Zhivoy, “all the time the same immensely identical life fills the universe and is renewed hourly in innumerable combinations and transformations.” This is how the novel affirms the humanistic idea of ​​life as the triumph of the eternal spirit of the living; it is not without reason that the author endowed the main character with the surname Zhivago.)

What happens to Zhivago after returning from the partisan detachment?

(During the Civil War, Zhivago ends up in a partisan detachment, after the war he returns to Moscow and ends up not at court new government. His creative life goes on as usual, but his external, “social” life is impossible for him. He is not able to adapt, to change himself. This emphasizes the artificiality and unnaturalness of the imposed way of life, which contradicts the spiritual life of a thinking, creative person.)

Remember, have you encountered the perception of revolution as a force of nature?

(In A. A. Blok: “Intellectuals and Revolution”, “The Twelve”, etc.)

What do A. A. Blok and B. L. Pasternak’s point of view on the revolution have in common and where do you see the difference?

What is in the novel contrasted with the artificial, far-fetched?

(Pasternak’s historical events are often shown through natural phenomena. The feeling of the approaching “historical whirlwind”, the perception of the revolution as an element suggests that Pasternak understood all the phenomena of life as its different incarnations, manifestations of its natural, natural essence. Nature, naturalness are opposed to artificiality , the futility of human attempts to influence life, nature, to force it to exist according to far-fetched laws, according to the will of “new people”.)

What role does landscape play in the novel? What is special about descriptions of nature?

(Descriptions of nature, scattered throughout many pages of the novel, are unusually poetic. The landscapes in the novel are spiritual, full of life, full of amazement at its miracle. Nature responds to the subtlest spiritual movements of man, or rather, man and nature are fused together.)

Find descriptions of nature in the text of the novel and give your commentary on them.

(For example: The picturesque play of colors, shadows, light exacerbates the grief of Yuri Andreevich when he mentally says goodbye to Lara, his love (part 14, chapter 13): “dark crimson sun”, “blue line of snowdrifts”, “pineapple sweetness” of the sun in the snow, “crimson-bronze spots of dawn,” the ashen softness of the spaces quickly plunged into a lilac twilight, increasingly lilac, merging with their gray haze was the lacy, hand-written subtlety of the birches on the road, tenderly drawn against the pale pink, as if suddenly shallowed sky. "

^ Let us note the picturesqueness, poetry, visibility of the images, closeness to prose poems, visual and expressive means.)

What, from Pasternak’s point of view, are the relations between man and nature?

(Man and his invasion of nature do not interfere with it: “the grove was cut through by two roads, an iron road and a country road, and it equally covered both with its scattering, downward-sloping branches, like the ends of wide, flowing sleeves to the floor” (book two, part 8, chapter 7). Nature appears not as a meaningless element, but as a spiritual basis of life. “Perhaps the secrets of transformation and the mysteries of life that we struggle with are concentrated in it.” Nature “does not alienate man from itself, but, on the contrary, enters into a mysterious connection with itself.” human soul, embraces her with himself, relieves her of the melancholy of loneliness, reunites her with being” (N. L. Leiderman).

The harmony of man and nature of the Urals, the protector, the savior, who hid the Zhivago family “in the wilderness, in the unknown,” “the bear’s corner,” “Robinson’s life” is destroyed by the invasion of the brutal force of the civil war. Varykin’s world, in which Yuri Andreevich felt happy (“How often in the summer I wanted to say with Tyutchev: “What a summer, what a summer! After all, this is really magic”), is sharply dissonant with the tragedy that Doctor Zhivago and those close to him are experiencing People. And therefore, in the dispute about history that takes place on the pages of the novel, about whether it is possible to remake the world even for the best purposes, the image of living nature acts as a refutation of artificial schemes and projects.)

Reread the first sentence of the novel Doctor Zhivago. Can you agree that it is evidence of the inextricability of the unity of nature and memory, affirms the unity of nature and culture? Give reasons for your answer.

What events in the novel are most memorable to the reader? Why?

What is the role female images in the novel? Compare Pasternak’s depiction of love in Doctor Zhivago and Sholokhov’s in Quiet Don.

Can we say that the love of Larisa and Zhivago is permeated with harmony? If so, where did you see this harmony?
^ IV. Test on the lyrics of B. Pasternak (see Appendix at the end of the book)
Homework

Find Christian images, symbols, Christian vocabulary in the novel “Doctor Zhivago”; think about what role they play.
^ Information for teachers

Boris Pasternak thought least of all about journalism and political controversy. He set himself completely different - artistic - tasks. This is the reason that, having first become the subject of a political scandal and an unprecedented sensation, the book then gradually turned into an object of quiet reading, recognition and study. The artist paints from life. His goal: to undistortly convey his perception of events in the outside world. Plastically embody, transform them into phenomena of the spiritual world, the world of human perception, give events a new, long-lasting life in the memory of people and the way of their existence.

In his youth, Pasternak wrote: “Recently they thought that the scenes in the book were dramatizations. This is a misconception. Why does she need them? They forgot that the only thing in our power is to be able not to distort the voice of life that sounds within us. The inability to find and tell the truth is a shortcoming that cannot be covered by any ability to tell a lie. A book is a living being. She is in memory and in full sanity: pictures and scenes are what she took out from the past, remembered and does not agree to forget.”

Expressing the atmosphere of being, life in words is one of the most ancient, urgent tasks of human creation. It has been repeated for thousands of years that man does not live by bread alone, but by every word of God. We are talking about a living word that expresses and brings life. In Russian literature, this position has acquired a new burning interest, mainly thanks to the artistic genius of Leo Tolstoy. Dostoevsky repeatedly argued that if the world is destined to be saved, then beauty will save it. In the words of one of the heroes of Doctor Zhivago. Pasternak brings this position to the form of a socio-historical pattern. “I think,” says N. N. Vedenyapin, “that if the beast dormant in a person could be stopped by the threat, all the same, of imprisonment or afterlife retribution, the highest emblem of humanity would be a circus tamer with a whip, and not a self-sacrificing preacher . But the fact of the matter is that for centuries it was not the stick that lifted man above the animal and carried him upward, but music: the irresistibility of unarmed truth, the attractiveness of its example.

Until now, it was believed that the most important thing in the Gospel is the moral sayings and rules contained in the commandments, but for me the most important thing is that Christ speaks in parables from everyday life, explaining the truth with the light of everyday life. The underlying idea is that communication between mortals is immortal and that life is symbolic and therefore significant.” This statement, easy to read and simple in style, contains many significant observations that are far from immediately understandable. In particular, it follows from it that beauty, without which even the highest moral statement is dead, is the light of everyday life, that is, the truth of life that the artist seeks and strives to express.

Doctor Zhivago was the result of many years of work by Boris Pasternak, the fulfillment of a lifelong dream. Since 1918, he repeatedly began to write great prose about the destinies of his generation, but for various reasons he was forced to leave the work unfinished. During this time, all over the world, especially in Russia, everything has changed beyond recognition. In response, the plan, the heroes and their destinies, the author’s style and his language, in which he considered it possible to speak with his contemporaries, changed. The tragic events in the history of the country: collectivization, the impending terror - required a turning point in our attitude towards ourselves and our work. “And I, although late, came to my senses. Nothing I wrote exists. That world has ceased, and this new one has nothing to show me. It would be bad if I didn't understand this. But, fortunately, I am alive, my eyes are open, and so I hastily remake myself into a prose writer of the Dickensian kind, and then, if I have enough strength, into a poet - Pushkin. Don't imagine that I think of comparing myself to them. I name them to let you know about the internal change. I could say the same thing in a different way. I became a part of my time and the state, and its interests became mine,” Pasternak wrote in a letter to his father on December 25, 1934.

After a forced trip to Paris to the Congress of Writers in Defense of Culture in the summer of 1935, Pasternak fell ill and went to a sanatorium. By the fall of 1935, Pasternak returned home and could resume work on the novel, which, judging by the surviving cover, was called “Notes of Zhivoult.”

The war that broke out after the years of terror united everyone by participating in common hardships, the bitterness of losses, and the joy of those saved and gained. Pasternak wrote: “The tragic, difficult period of the war was a living period and in this respect a free, joyful return of a sense of community with everyone.” The voice of life sounded in numerous letters from the front that Pasternak received from people he barely knew and did not know. This is about their authors - trench soldiers and officers - said in the epilogue of Doctor Zhivago: “Strengthening of characters extracted from disasters, unspoiledness, heroism, readiness for the big, desperate, unprecedented. These qualities are fabulous, stunning, and they constitute the moral color of the generation.”

In September 1943, Pasternak visited the front at the location of the Third Army, which liberated Oryol. The feeling of a “historical whirlwind” as a harbinger of the coming renewal is expressed in the introduction to the essay “A Trip to the Army,” written based on impressions from the front. “The whole people won, with all their layers and joys and sorrows, and dreams, and thoughts. He has conquered everything, and in these very days a new, higher era of our historical existence is being opened before our eyes. The spirit of breadth and universality begins to permeate the activities of everyone. Its effect also affects our humble activities.”

In the light of the sense of universality born in the war, Pasternak now saw the idea of ​​the novel in a new way. It was necessary to talk about the most important thing, about the atmosphere of European history, in which, as in his own home, his generation was formed.

Having completed several large translation works, he has been writing prose since the end of 1945. Having changed several titles: “Boys and Girls”, “The Candle Was Burning”, by the autumn of 1946 the novel began to be called “Doctor Zhivago”.

Surrounding events did not contribute to the implementation of plans. The ideological pogrom that began in August 1946 was accompanied by new waves of repression. Pasternak understood that he could be arrested at any moment. He wasn't hiding. “Of course, I’m always ready for anything. Why could it be with everyone, but not with me,” he repeated more than once in conversations and in letters.

Streaks of fatigue, grief and darkness were not uncommon, but he overcame them, proud of the fruitfulness of his hard labor. “But I will be writing my novel at twenty-five hours of the day,” he said. He never made a secret of what he wrote. Readings of the first chapters of the novel in familiar houses began in the fall of 1946. In the summer of 1948, the four parts that originally made up the first book were typewritten and circulated wide circle acquaintances, were sent by mail to different addresses: in Frunze, Ryazan, Donbass and Leningrad - and were gradually read out to the point of indistinguishability. The author received a wide variety of responses - from praise to censure, from detailed reviews to cursory notifications of receipt. Such an atmosphere, creating the impression of a reader's echo, was necessary for him to continue his work.

In the April 1954 issue of the Znamya magazine, 10 poems by Yuri Zhivago appeared with the introductory note: “The novel is expected to be completed in the summer. It covers the time from 1903 to 1929, with an epilogue relating to the Great Patriotic War.

The hero - Yuri Andreevich Zhivago, a doctor, thinking, searching, creative and artistic, dies in 1929. After him, there remain notes and, among other papers, individual poems written in his youth, some of which are offered here and which, in their entirety, make up the last, the final chapter of the novel. Author". It is significant that Pasternak dates the death of the main character to 1929, the time of the breakdown of the country’s life, the eve of Mayakovsky’s suicide, the year which in his “Safety Certificate” he calls “the last year of the poet.”

The novel about Doctor Zhivago and the poems written on his behalf became an expression of joy overcoming the fear of death. “By the fulfillment, by the clarity, by the absorption in one’s favorite work, life recent years- almost a complete holiday of the soul for me. I'm more than happy with it. I am happy with her, and the novel is a way out and expression of this happiness,” Pasternak wrote in 1955.

Post-war lonely and independent life was a daily overcoming of mortal gravity, a bright feeling of immortality, and loyalty to it. From his own experience, he believed that immortality was another name for life, slightly enhanced. Pasternak considered the spiritual overcoming of death to be the basis of his understanding of the new Christian history humanity. “Centuries and generations breathed freely only after Christ. Only after him did life begin in the offspring, and a person dies not on the street under a fence, but in his own history, in the midst of work devoted to overcoming death, himself dedicated to this topic,” Vedenyapin says in the novel. In the light of this historical tradition, the life of an individual person, not socially distinguished, not claiming privileges, not being considered more than others, moreover, being socially superfluous, becomes God's story. Eternal theme art. The creatively gifted hero of the novel strives to do his job, and his view, by the force of circumstances, becomes a measure and tragic assessment of the events of the century, and the poem becomes support and confirmation of hopes and faith in the long-awaited enlightenment and liberation, the harbinger of which constitutes the historical content of all post-war years.

Reading and re-reading the novel, you come to the conclusion that the main thing in it is rather shown to the reader than stated in an urgent form. Love for life, sensitivity to its voice, trust in its undistorted manifestations are the author’s primary concern. This is most clearly manifested in the speech and actions of the main lyrical character, Yuri Zhivago. He values ​​a sense of proportion and knows the disastrous consequences of human intervention in nature and history. Since childhood, he has hated those who selfishly bring temptation, vulgarity, debauchery into life, who do not abhor the power of the strong over the weak, the humiliation of human dignity. These disgusting traits are embodied for Yuri in the lawyer Komarovsky, who played a tragic role in his fate.

Zhivago is inclined to sympathize with the moral ideals of the revolution, to admire its heroes, people of direct action, like Antipov-Strelnikov. But he clearly sees what these actions invariably lead to. Violence, according to his observations, cannot lead to anything other than violence. The general productive course of history and life is disrupted, giving way to devastation and meaningless, repeating previous calls and orders. He sees how the power of an ideological scheme destroys everyone, turning into a tragedy for those who profess and apply it. There is reason to believe that it is precisely this conviction that distinguishes Doctor Zhivago from the prose on which Pasternak worked before the war.

The very idea of ​​remaking life seems wild to Yuri Andreevich, since life is not material, but an active principle, whose activity far exceeds human capabilities. The result of his actions only corresponds to his good intentions to the extent of attention and submission to her. Fanaticism is destructive.

In one of the draft versions of the novel, Pasternak gave the following explanation for Zhivago’s attitude towards Strelnikov: “How he always loved these people of conviction and action, fanatics of revolution and religion! How he worshiped them... how unmanly he always seemed to himself in the face of them. And more than ever, I never set out to become like them and follow them. His work on himself went in a completely different direction. He did not like naked rightness, naked truth, naked holiness of heaven. And the voices of the evangelists and prophets would not have captivated him with their ever-repressing depth if he had not recognized in them the voices of the earth, the voices of the street, the voices of modernity, which in all centuries was expressed by the heirs of teachers - artists. This is who, in his conscience, he revered, and not the heroes, and he revered the perfection of creation, which came from imperfect hands, above the fruitless self-improvement of man.”

While working on the novel, Pasternak understood that he was writing about the past. In order for his text to transform half-forgotten events into a word necessary for his contemporaries and designed for participation in the spiritual life of subsequent generations, he had to think about the language, free it from outdated details, the sharpness and expressiveness of which, according to experience and in foresight, were not durable. He said that he deliberately simplified the style, trying “in a modern translation in the current language, more common, ordinary and calm,” to convey at least some part of that undivided world, at least the most dear from afar, because of the centuries, marked by the gospel theme “thermal, light, organic perception of life."

At the beginning of 1956, Pasternak gave the finished manuscript of the novel to the editors of the magazine " New world", "Znamya", negotiations were underway with the publishing house " Fiction" In the summer, communist Sergio D’Angelo, an employee of Italian radio broadcasting in Moscow, came to his dacha in Peredelkino, accompanied by a representative of a foreign commission.

He asked for the manuscript to review and received it in this official setting. The manuscript was not returned to the author. Angelo handed it over to the Italian communist publisher G. Feltrinelli, who, due to the fact that the international copyright convention at that time was not recognized by the USSR, could print the novel without the author’s permission. Nevertheless, he notified Pasternak that he wanted to publish the novel in Italian on June 30, 1956. Pasternak replied that he would be glad if the novel appeared in translation, but warned: “If its publication here, promised by many magazines, is delayed, you will get ahead of her, the situation will be tragically difficult for me.”

Publishing the novel in the Soviet Union became impossible due to the position taken by the leadership of the Writers' Union. It was reflected in a collective letter from members of the editorial board of the New World, signed by K. Simonov, K. Fedin, B. Lavrenev, A. Agapov and A. Krivitsky, and determined the domestic fate of the book for 32 years to come. In Italy, meanwhile, the translation was successfully completed, and, despite the fact that A. Surkov specially went to Milan to pick up the manuscript for revision on behalf of Pasternak, Feltrinelli published the book on November 15, 1957. By the end of 1958, the novel was published in all European languages.

Since 1946, the Nobel Committee has considered Pasternak's candidacy for the prize six times. For the seventh time, in the fall of 1958, it was awarded to him “for outstanding achievements of modern lyric poetry and the continuation of the traditions of great Russian prose.” In political commentary, the award of the prize was arbitrarily and unambiguously connected with the release of the novel “Doctor Zhivago,” which was not published in the USSR and was allegedly anti-Soviet. A monstrous scandal erupted, dubbed the “Pasternak affair” in the press.

The fact that the honorary award was turned into shame and dishonor became a deep grief for Pasternak. He, who at first joyfully thanked the Nobel Committee and the Swedish Academy for awarding the prize, was now forced to refuse it “due to the meaning given to it in the society to which he belongs.”

On February 10, 1960, Pasternak turned 70 years old. There was a stream of congratulatory letters and telegrams from all over the world. At the festive dinner there were acquaintances from the artistic circle. During the winter, Pasternak was bothered by periodic back pain. He tried not to pay attention to them, but by the end of April they became so strong that, having completely rewritten the prologue and the first act of the play, he allowed himself to go to bed. He was getting worse. X-ray showed lung cancer. The day before the end, Pasternak called us to tell us how tormented him was the duality of his confession, which turned into complete obscurity in his homeland. “All life was just a single combat with the reigning and triumphant vulgarity for free and playing human talent. It took a lifetime,” he said.

^ Lesson 39 (100). Christian motives

in the novel "Doctor Zhivago"

Objective of the lesson: try to understand the meaning of Christian motifs in Pasternak’s creative plan.

Methodical techniques: discussion of issues homework, commented reading of episodes.
Lesson progress

^ I. The teacher's word

Pasternak's hero, Yuri Zhivago, attracts with his openness, ability to love and appreciate life, insecurity, which is not a sign of lack of will, but the ability to think and doubt. Hero - expression moral ideal author: he is talented, smart, kind, he maintains freedom of spirit, he sees the world in his own way and does not adapt to anyone, he is an individual. The idea of ​​the novel is the Christian idea of ​​a free individual.
^ II. Discussion of homework issues.

The entire novel is permeated with Christian ideas both directly (through speech) and indirectly (through symbols). The hero’s surname itself is associated with the image of Christ (“You are the son of the living God”: “zhivago” is a form of the genitive and accusative cases in the Old Russian language). The name Yuri is also symbolic - a variant of the name George (George the Victorious). Yuri Zhivago takes almost no direct part in events, but his understanding of life and everything that happens is based on Christian values. The plot is based on the gospel drama of spiritual choice and sacrifice on the cross. The triad “life - death - resurrection” is constantly at the center of the hero’s thoughts, and creativity is understood as “the Word of God about life.”

The novel begins and ends with a funeral scene. “They walked and walked and sang” Eternal memory..." of Yura's mother at the beginning of the novel. At the end of it, Lara, saying goodbye to Yuri, speaks to him as if he were alive: “Your departure is my end. Again something big, irrevocable. The mystery of life, the mystery of death, the beauty of genius, the beauty of nakedness, this is welcome, we understood this. And small world squabbles like reshaping the globe, excuse me, excuse me, this is not our part.” All events of “world significance” are “squabbles”, nothing compared to human life, which is realized every minute, now, in everyday life, in small and seemingly insignificant matters. But the last lines of the novel are poetic lines: the novel ends with the poem “Garden of Gethsemane”, the resurrection of the Son of God, immortality, life in other people.
^ III. Working on assignments

Task 1. We read and comment on the “sermon” of N. N. Vedenyapin (part 1, chapter 5).

(Nikolai Nikolayevich Vedenyapin, who renounced the priesthood, defines history as “the establishment of centuries-old works on the consistent solution to death and its future overcoming.” Vedenyapin remains true to his preaching confession. He believes that you can be an atheist, you can not know whether God exists and why he, and at the same time, to know that man does not live in nature, but in history, and that in the current understanding it is founded by Christ, that the Gospel is its foundation.” In this “sermon” of Vedenyapin, an understanding of meaning and value is very important for Pasternak. life. The basis for creativity in any field of human activity is spiritual equipment: “love for one’s neighbor, ... the idea of ​​a free personality and the idea of ​​life as a sacrifice.” The mention of Jesus Christ in Father Nikolai’s sermon is not accidental. , in the system of value guidelines of the novel, the Son of God and the Son of Man acts both as a symbol of the personal principle in man, his moral essence, and as the one who was the first in the history of mankind to realize the idea of ​​immortality. This understanding of God is somewhat different from the traditional one, which is why the Orthodox Church gives ambiguous assessments of the novel “Doctor Zhivago”, as well as other works that use biblical motifs (for example, “The Master and Margarita” by Bulgakov, “The Scaffold” by Aitmatov). IN art world Pasternak’s spiritual and earthly are closely connected, fused, and the author correlates his heroes with the ideal of the Personality, with Christ.)
Task 2. Let us pay attention to the features of the chronology of events in the novel.

(The action of the novel is tied to the Orthodox calendar: Yura’s mother died on the eve of the Intercession; in the summer of 1903, Yura and his uncle go to Voskoboinikov - It was Kazan, the height of the harvest during the Civil War - “It was winter at the end, Passion, the end of Lent.” Pasternak as as if he were building a plot on the scale of eternity, so the meaning of even minor events deepens and expands.)
Task 3. We will find elements of Church Slavonic vocabulary, references to the Holy Scriptures, to the Gospel texts, and determine their role.

(There are a lot of such elements and references in the novel. Here are just a few of them: Anna Ivanovna’s funeral scene (part three, chapters 15-17); Zhivago’s conversation with Gordon (part four, chapter 12); mention of biblical images in the rally scene (part fifth, chapter 7); the scene of the return to Moscow, when Doctor Zhivago sees first the Cathedral of Christ the Savior, and then the domes, roofs, houses of the entire city (part five, chapter 16); the scene of Zhivago’s typhoid delirium, ending with the words “You need to wake up and get up. We must be resurrected" (part six, chapter 15); conversation between Lara and Yuri and Lara’s comparison with Adam and Eve (part thirteen, chapter 13); conversation between Lara and Sima - interpretation of the gospel texts (part thirteen, chapter 17).
^ Homework

What is the role of poetry in the composition of a novel?

What are the main themes and ideas of these poems?

Analyze the figurative structure of the poems.

^ Lesson 40 (101). Poems by Yuri Zhivago

Objective of the lesson: determine the places and meaning of “The Poems of Yuri Zhivago” in the composition and concept of the novel.

Methodical techniques: lecture with elements of conversation, analysis of poems.
Lesson progress

^ I. The teacher's word

The novel about life on earth by Yuri Andreevich Zhivago begins with the death of his mother and ends with his death. Larisa simply disappears from the face of the earth (“one day... she left home and never returned”), “disappeared somewhere unknown, forgotten under some nameless number from the subsequently lost lists, in one of the countless general or women’s concentration camps in the north.” We learn about the terrible fate of their daughter, who received the “barbaric, ugly nickname” Tanka Bezchereva from the conversation between Gordon and Dudorov in the epilogue of the novel. Blok’s line that friends remember (“We are children terrible years Russia"), acquires new symbolic meaning: “When Blok said this, it had to be understood in a figurative sense, figuratively. And the children were not children, sons, brainchildren, intelligentsia, and the fears were not terrible, but providential, apocalyptic, and these are different things. And now everything figurative has become literal, and children are children, and fears are terrible, that’s the difference.”

The novel ends with a feeling of freedom that runs through the work like a red thread. The aged Gordon and Dudorov leaf through the notebook of Zhivago’s writings, which have become his eternal incarnation, his resurrection: “Death can be overcome // Through the effort of Resurrection” - these are the last lines of the poem “On Strastnaya”. The poems of Yuri Zhivago are the immortality of the hero, his otherness, eternal life his soul and the soul of the author himself, who understood his creation as a fulfilled mission: “I finished the novel,” Pasternak wrote to Varlam Shalamov, “I fulfilled the duty bequeathed by God.”
^ II. Analysis of poems

Exercise. Let's read the poem that opens the cycle, with the Shakespearean title "Hamlet" and try to understand its figurative structure.

Hamlet's theme is consonant with the theme of the novel. The tragedy of Hamlet, according to Pasternak, is not a drama of duty and self-denial, and this brings this image closer to the image of Christ. “If only you can, Anna Father, // carry this cup past” these are the words of Christ. The poem “Hamlet” is about Shakespeare’s hero, and about Christ, and about the hero of the novel, Yuri Zhivago, and about the author of the novel himself, who tragically feels his existence, and in general about a person in Hamlet’s position. Man's duty is to pay with torment for the miracle of life. Gospel images, a high biblical syllable are combined with a folk proverb containing a simple but very deep thought: “Living life is not a field to cross.” Life is symbolic because it is significant in all its manifestations. And the subject of poetry is life itself. It is not for nothing that the next poem in the cycle is “March,” the month of awakening the life of nature.

By what means is life affirmed in the poem “March”?

(The poem “March,” like Hamlet, is written in trochee pentameter and contains four stanzas. But the tragic sound of “Hamlet” in the last line (“To live life is not a field to cross”) is replaced by the optimistic mood of “March.” Every natural phenomenon is spiritualized, personified, filled with the highest meaning: “The sun warms to the point of sweat, // And the ravine rages, stupefied”; “the life in the cow barn is smoking”; “the teeth of the forks are full of health.” before the next miracle of life:
These nights, these days and nights!

A fraction of drops by the middle of the day,

Roofing icicles are thin,

Streams of sleepless chatter!)
Only in Pasternak do we find a comparison of spring with a “hefty cowgirl” in whom “things... are boiling in her hands.” The beautiful is life. Therefore, “dung smells like fresh air,” it is “the life-giving and culprit of everything.” There is no low and no high, there is work, there is an eternal thirst for life and its endless renewal.

How are the poems “Hamlet”, “March” and “On Strastnaya” connected?

(The poem “March” holds together the first and third poems of the cycle with its imaginary simplicity, everyday life, affirmation of simple life values. “...March scatters snow / On the porch of a crowd of cripples.” Nature itself participates in the events of Holy Week: “Water drills the shores // And creates whirlpools”; “The trees look naked // At the church bars... // Gardens come out of the fences, // The way of the earth wavers: // They bury God.” The renewal of life, the spring of nature causes the Resurrection of Christ:
But at midnight creation and flesh will fall silent,

Hearing the spring rumor,

It's just clearing weather,

Death can be overcome

With the effort of Sunday.)
- What other connections do you see in the poems of the cycle?

(The cycle “Poems of Yuri Zhivago” also includes the annual natural cycle: spring, summer, autumn, winter. “March”, “ White night" and "Spring thaw" are associated with the awakening of nature, the awakening of human life, in which "shares // Of madness, pain, happiness, torment" are mixed. Summer - “Explanation” - the return of life, its new round:
Life returned just as without reason,

As it once strangely interrupted.

I'm on the same old street,

Like then, on that summer day and hour.)
- What is the role of the words “the same”, “the same”, “again”, repeating images?

(These words and repeated images and phrases reinforce the impression of harmony, cyclicality, constant renewal.)

“Summer in the City”, “Wind”, “Hops”, “Indian Summer” - the time of mature love, the riot of life - end with “Wedding”:
Life is also only a moment,

Only dissolution

Ourselves in all others

As if as a gift to them.
In the poem “Autumn,” the taste of “yesterday’s bitterness” and “today’s melancholy” is added to the overall gamut. And in “The Fairy Tale” there is again an appeal to eternal images, already mythological. The result of the duel between the rider and the serpent is the “dragon’s corpse” and eternal sleep: “the soul is in the grip of sleep and oblivion.” A minted, frozen symbol: a horseman piercing a snake with a spear, and the fabulous impossibility of throwing off the shackles of sleep. Nominal sentences denote eternity:
Closed eyelids.

Heights. Clouds.

Water. Brody. Rivers.

Years and centuries.

The unity of fluidity and immobility.
In “August”, which follows the “Fairy Tale”, there are tragic notes of death and parting, associated with the Transfiguration of the Lord:
Goodbye, wingspan spread,

Flight of free perseverance,

And the image of the world, revealed in words,

Both creativity and miracles.
Let us pay attention to the etymological and semantic (notional) similarity of the words “creativity” and “miracle-working” and to the rapprochement of the “creators” of the artist and God.

“Winter Night” is structured as a memory of love: all verbs are in the past tense. The symmetrically located refrain “The candle was burning on the table, // The candle was burning” is captivating, enhancing the impression of a whirling snowstorm, the return of memories. The pain of these memories is in the following poems - “Separation” and “Date”:
But who are we and where are we from?

When from all those years

There are rumors left

Are we not in the world?
And again the gospel symbol is the “Christmas Star”, after which - “Dawn”, a new appeal to God:
And after many, many years

All night I read your testament

And as if he had fainted, he came to life.
Note that “You”, “Your” are written with a capital letter, because these words begin poetic lines; “your”, “about you” should also begin with capital letters, because we are talking about Christ. The point is the censorship considerations that guided the author in order for the poem to be published (it was published in the anthology “Poetry Day. 1956”).

And - spring again (poem “Earth”):
And the same mixture of fire and horror

In freedom and in the comfort of living,

And everywhere the air is not itself.

And the same willows have through twigs,

And the same white kidneys swelling

And at the window, and at the crossroads,

On the street and in the workshop.
A mixture of “fire and horror”, “human grief”, and again the motif of “calling” and “duty” sounds:
Why is the distance crying in the fog,

And does humus smell bitter?

That's what my calling is,

So that distances don't get boring,

To beyond the city limits

The earth does not grieve alone.
The last four poems: “Bad Days”, “Magdalene” (I and II “Garden of Gethsemane” already fully speak about the eternal existence of the lyrical hero. Hamlet’s sufferings, doubts” (“If only possible, Abba Father, // Carry this cup past” ) the cycle opens, and in the “Garden of Gethsemane”, that is, in the same place, at the same hour, it ends, thus completing one of the endless life cycles. Everything is already written in the “book of life”:
“Now what is written must come true,

Let it come true. Amen".
And yet, every time they go to torment in the name of life:
“You see, the passage of centuries is like a parable

And it can catch fire while driving.

In the name of her terrible greatness

I will go to the grave in voluntary torment.

I will go down to the grave and on the third day I will rise,

And, as rafts are floated down the river,

To my court, like the barges of a caravan,

Centuries will float out of the darkness.”
- What do you think is the role of Yuri Zhivago’s poems included by Pasternak in the text of the novel?

Do you think the level of mastery reflected in the poems of Yuri Zhivago, the figurative system characteristic of them, give grounds to assert that their father is the great and profound poet Boris Pasternak?
^ III. Teacher's word

The life of a person in Pasternak’s novel is given not within the framework of his socio-historical concrete existence, but in the system of values ​​of humanity, and this allows one to see character in all its complexity and depth, in retrospect and the perspective of eternity. This creates confidence in the infinity of life renewal, in the possibility of eternal life.
^ Homework

Preparation for an essay on the works of B. L. Pasternak.
Additional material for lessons - workshop

1. Literary critics S. Piskunova and V. Piskunov write about the impression of Pasternak’s novel: “...The most striking, most dazzling reading impression turns out to be (for us, in any case) a feeling of happiness and liberation. It appears from the very first pages of “Doctor Zhivago” next to horrors that are not yet terrible - just the childhood fears of a child peering into the raging blizzard outside the night window - it grows stronger and intensifies towards the end of the book, in parallel and as the real horrors grow.”

How do you understand the expression “with not yet terrible horrors”?

How is the process of “increasing real-life horrors” presented in Pasternak’s novel? Are they really growing and not being listed?
2. Literary critic D. S. Likhachev writes: “... Doctor Zhivago is not even a novel. Before us is a kind of autobiography - an autobiography in which, surprisingly, there are no external facts that coincide with real life author... And yet the author (Pasternak) writes about himself, but writes as an outsider, he invents a destiny for himself in which he could most fully reveal his inner life to the reader.”

What are the most expressive, memorable “external facts” of the life of the main character of the novel?

What is characteristic of the “inner life” of Yuri Andreevich Zhivago in the first place? How is this inner life close to the “inner life” of Pasternak himself, manifested in his lyrics?
3. Critic P. Gorelov notes: “D. S. Likhachev proposes to see in Pasternak’s work not a novel, but a novel - a lyric poem; not prosaic, but “the poet’s attitude to reality”; “a kind of autobiography”... No, one cannot agree with D. S. Likhachev’s considerations: “prosaic” and “poetic” for him are simply euphemisms for “unsuccessful” and “successful” in Pasternak’s novel...”

What is your assessment of the critic’s objection to D. S. Likhachev?

Is “unsuccessful” in a novel really “prosaic”, and “successful” - “poetic”?
4. “Yuri Andreevich Zhivago is Pasternak’s lyrical hero, who remains a lyricist even in prose... Zhivago is a personality, as if created in order to perceive the era without interfering in it at all. In the novel, the main active force is the element of revolution. The main character himself does not influence or try to influence her in any way, the input of events does not interfere, he serves those to whom he ends up” (D. S. Likhachev).

Was Yuri Zhivago really created “in order to perceive the era without interfering in it at all”?

How does the position of “does not interfere in the course of events” characterize the main character of the novel?

How would you explain the ambiguities associated with understanding the hero's position in the world?
5. Critic S. Elkina writes “...It is difficult to agree with Academician D. Likhachev that one should not “find behind the descriptions of disasters a condemnation of something that gave rise to them.” Moreover, it seems that the author’s very idea of ​​the novel arose in close connection with the search for the causes of these disasters (it is no coincidence that in the “Epilogue” of the novel he was the first Soviet writers started talking about the mistakes of collectivization, Stalin’s terror, camps).”

Where and how in the novel “Doctor Zhivago” does Pasternak describe the disasters of the era? What is the writer's attitude towards them?

Who is right in the discussion about the attitude of the novel’s author to the disasters and tragedies of the era he describes?
6. Critic D. Urnov wrote: “...When you finish reading Doctor Zhivago, there is nothing to remember from the life of the title character - not an episode, not a moment, not a scene that would be imprinted in memory as a vivid experience. Retelling the plot to someone who has not read the novel may create a different impression: after all, it seems like there is so much going on! Yes, events, great and small, public and private, take place, or rather, are designated continuously... and at the same time, not a single one of the events, large or small, is experienced by Zhivago with sufficient expressiveness (for the reader).

What “events, great and small, public and private” are remembered most of all by the reader of Doctor Zhivago?

What is the reason for the different perception of the novel by those who have read and those who have not read?
7. “Unlike D.S. Likhachev, who, not without reason, saw in Larisa symbolic image Russia, we would like to correlate the image of “sister” Larisa Fedorovna (at the moment of rapprochement with Zhivago, she works as a nurse in a hospital) precisely with “my sister - life”, whose true path is a harmonious combination of spontaneity and culture, body and mind, uninhibited self-affirmation and self-denial. It is this harmony that permeates Larisa’s love for Zhivago” (S. Piskunova, V. Piskunov).

Is Larisa’s “true path” really a “harmonious combination of spontaneity and culture,” etc.? Whose opinion, S. Piskunov or D. S. Likhachev, seems more justified to you?

What is the “harmony” that permeates Larisa’s motives?
8. Writer Varlam Shalamov noted in a letter to the author of Doctor Zhivago: “... Larisa is richer in her inner life than Doctor Zhivago, not to mention Pasha, Larisa is a magnet for everyone, including Zhivago. 200 pages of the novel have been read - where is Doctor Zhivago? This is a novel about Larisa...”

Is Larisa really richer in her inner life than Doctor Zhivago?

What allows V. Shalamov the right to claim that Doctor Zhivago is a “novel about Larisa”?

Answer the question posed by V. Shalamov.
9. “The guarantee of the correctness of my view of the novel “Doctor Zhivago” as a lyrical confession of Boris Leonidovich himself is the fact that Yu. A. Zhivago is a poet, like Pasternak himself, and his poems are appended to the work. This is no coincidence. Zhivago's poems are Pasternak's poems. And these poems were written from one person, the poems have one author and one common lyrical hero: Zhivago - Pasternak" (D. S. Likhachev).

What is the role of Yuri Zhivago’s poems included by Pasternak in the text of the novel? Are they a “guarantee of the correctness” of the view of the novel as “the lyrical confession of Pasternak himself?”

What is the meaning of the critic’s phrase that the poems of the novel “have one common lyrical hero: Zhivago - Pasternak”?

Does the level of mastery of Yuri Andreevich’s poems and their figurative system give grounds to assert that they were written by the great and profound poet Boris Pasternak?
10. N. Ivanova wrote: “The contrast between the living (nature, history, Russia, love, Lara, creativity, Zhivago himself) and the dead (the dead letter of the decree, violence that brings death, fratricidal war, the deadening spirit of the new philistinism, the dead, inanimate- deadening railway and the whole complex of motives associated with it) is the main core of the novel.”

How is what N. Ivanova calls “living” described in the novel?

How do images and phenomena of the “dead” appear in Doctor Zhivago? For example, “the inanimate-death railroad and the whole complex of motives associated with it”?

Is “the contrast between the living... and the dead... the main core of the novel”?
11. Critic Vl. Gusev said this: “Doctor Zhivago” is a novel about the loss of an ideal and about attempts to find it again. The problem is being solved against the backdrop of the strained history of our country in this century. The novel is dedicated to religious and generally spiritual issues; the very fluidity of everyday life and its horrors act as a factor of vanity and lies in this world.”

What events represent the history of the twentieth century? in the novel "Doctor Zhivago"? Does the description of these events provide a picture of “our country’s torn history in this century?”

Is “the novel really dedicated to religious and generally spiritual issues”?

What is “the fluidity of everyday life and its horrors that act as factors of vanity and lies in this world”?

Is Pasternak’s novel really “about the loss of an ideal and attempts to find it again”?
12. Critic V. Vozdvizhensky wrote: “...The novel ends with the author’s monologue, a pathetic lyrical picture that affirms and accepts this world, whatever it may be at the moment...

And this is not an artificial major chord in the finale, nor an optimistic declamation made by the author himself. This is a kind of conclusion internal theme“, which develops throughout the novel - love for life, for Russia, for the reality given to us, whatever it may be.”

With what words does the novel Doctor Zhivago end? What are your thoughts on the ending?

Is the ending of the novel “a kind of summary of the internal theme”? What does not correspond to the internal content of the novel?

Lessons 41-42 (102-103)

Essay on the works of B. L. Pasternak
Essay topics:

1. The theme of the poet and poetry in the works of Pasternak.

2. The relationship between man and nature in the works of Pasternak.

3. The theme of the intelligentsia and revolution and its solution in the novel “Doctor Zhivago”.
Thesis plan for the essay: