Problems in Doctor Zhivago with quotes. The cycle “Poems of Yuri Zhivago” and its connection with the general themes of B. L. Pasternak’s novel “Doctor Zhivago”

The twentieth century, with its tragic events, became a time of severe trials for many people. It was especially difficult for representatives of the intelligentsia, who saw the horror of the situation, but could not change anything. It is no coincidence that the twentieth century was called the “wolfhound century.”

One of the brightest works that reveals a person’s relationship with the era was the novel by Boris Leonidovich Pasternak "Doctor Zhivago". Written in 1955, it was published in its homeland only in 1988, 33 years later. Why did the work provoke such a reaction from the authorities? Externally, the plot is quite traditional for the beginning of the twentieth century: we're talking about about the fate of man in the era of revolutionary transformations. The events of the novel are shown through the prism of the perception of the main character, so the plot is primarily connected with the fate of the young doctor Yuri Zhivago.

The fate of a person, according to Pasternak, is not directly related to the historical era in which he has to live. Main character The novel did not struggle with circumstances, but did not adapt to them, remaining an individual under any conditions. Zhivago is a broad specialist, a therapist, and more of a diagnostician than an attending physician. He is able to predict and make an accurate diagnosis, but does not seek to correct or treat, that is, to interfere with the natural course of things. At the same time, such a peculiar fatalism of Zhivago does not prevent him from making the necessary moral choice, in which the true freedom of man is manifested.

From the very beginning of the novel, there are boys - Yura Zhivago, Misha Gordon, Nika Dudorov and girls - Nadya, Tonya. Only Lara Guichard - "a girl from another circle". The author wanted to call the novel "Boys and Girls". And although the events of the novel unfold around the matured heroes, the teenage perception remains in Yuri himself, and in Lara, and even in Antipov, who has become a different person. After all, everything that happens during the Civil War will become a game for him.

But life is not a game, it is a reality that interferes with destinies main characters. The novel begins with the suicide of Yuri's father, a bankrupt "rich, good-natured and naughty" Zhivago, and he was pushed to take this terrible step by none other than lawyer Komarovsky, who later played a tragic role in Lara’s fate.

At the age of 11, becoming an orphan, Zhivago ended up in the family of Professor Gromeko, who had a daughter, Tonya, the same age as Yuri. “They have such a triumviate there: Yura, his friend and classmate, high school student Gordon, and the owners’ daughter, Tonya Gromeko. This triple union has read “The Meaning of Love” and “The Kreutzer Sonata” and is obsessed with preaching chastity.”.

In the spring of 1912, all young people completed their higher education: Yura became a doctor, Tonya became a lawyer, and Misha became a philologist. But on the eve of this year, Tonina’s dying mother begged them to get married. Having grown up together and loving each other like brother and sister, the young people fulfilled the will of the deceased Anna Ivanovna - they got married after receiving their diploma. But just before the death of Tonina’s mother, at the Sventitsky Christmas tree, Yuri saw Lara Guichard shooting at her mother’s lover, lawyer Komarovsky, who had seduced her. The young man was shocked by the beauty and proud posture of this girl, not imagining that their destinies would unite in the future.

Indeed, a “tangle of fate” will happen more than once in their lives. For example, having become a doctor, Yuri will go to the First World War, and Lara, having married Pavel Antipov and gone with him as assigned to Ural city Yuryatin will then look for him, missing in action, at the front, and meet Zhivago there.

In general, the hero greets all the events of history with enthusiasm. For example, as a doctor he admires "great surgery" October Revolution, which can “to cut out all the stinking ulcers of society at once”. However, the hero soon realizes that instead of emancipation, the Soviet government put a person in a rigid framework, imposing at the same time its understanding of freedom and happiness. Such interference in human life frightens Yuri Zhivago, and he decides to go with his family away from the epicenter of historical events - to former estate Gromeko Varykino in the vicinity of Yuryatin.

It is there, in Yuryatino, that Yura and Lara will meet again and fall in love with each other. Yuri rushes between his two beloved women, but history, in the person of Comrade Lesnykh, frees him from his dual position: the partisans need a doctor, and they forcibly take Doctor Zhivago into their squad. But even there, in conditions of captivity, Zhivago reserves the right to choose: he is given a rifle to shoot at enemies, and he shoots at a tree, he must treat the partisans, and he nurses the wounded Kolchak soldier Seryozha Rantsevich.

There is another hero in the novel who also made his choice. This is Lara's husband, Pasha Antipov, who changed his last name to Strelnikov, who decided to start life with clean slate. He tries to make history in his own way, sacrificing not only his family (wife Lara and daughter Katenka), but also his destiny. As a result, finding himself a victim of both history and his feelings, he makes a last attempt to resist a fate that is unacceptable to him - he shoots himself in the forehead.

Zhivago commits a truly strong-willed act - he escapes from the partisan camp and, exhausted, half-dead, returns to Yuryatin to Lara. And his wife, along with his father and children, emigrated to Europe during this time, and contact with them was severed. But the trials for Yuri did not end there. Realizing that Lara will be persecuted, he persuades her to leave with Komarovsky, who can ensure her safety.

Left alone, Zhivago returns to Moscow, where he ceases to take care of himself, outwardly completely declines, spiritually degenerates and dies in the prime of life, essentially alone. But such external metamorphoses indicate a change inner world. He creates, and the result of creativity is final chapter novel "Poems of Yuri Zhivago".

Thus, the novel "Doctor Zhivago" becomes spiritual biography its author, because the fate of Yuri Zhivago is woven into the fabric of life and spiritual path its creator.

IMAGE OF A CIVIL WARRIOR IN B. PASTERNAK'S NOVEL "DOCTOR ZHIVAGO".

On the topic, Boris Pasternak's novel Doctor Zhivago is quite traditional. It is adjacent to the prose of M. Sholokhov, A. Fadeev, I. Babel, M. Bulgakov, B. Pilnyak. But, being similar thematically, at the same time it differs significantly from “Don Stories”, and from “Destruction”, and from “Cavalry”. With what?

Firstly, this work was not written “hot on the trail.” Between the time of its creation (1950s) and the events reflected: the first World War, revolution, civil war - a temporal distance spanned more than thirty years. “You can’t see face to face. Big things can be seen from a distance,” said Sergei Yesenin. And indeed, history has put a lot of things in their place, made us think about what was taken for granted, that is, it has prepared the ground for a philosophical understanding of the past. Philosophical view on things and is characteristic of Pasternak.

Secondly, Doctor Zhivago is a novel written by a poet, not a prose writer. And this is a significant difference. The poet is more sensitive to details, shades of feelings and experiences. Impulses coming from outside world, he is used to passing it not only through consciousness, but also through his heart, soul, his “I”. Hence the special emotional coloring and autobiographical nature of the narrative. The main character, Yuri Andreevich Zhivago, is also a poet himself, and the poems written by him are not simply appended to the main text of the novel. They “illuminate” this text from the inside, translating the prose narrative into the language of lyrical images.

In the novel, Yuri Zhivago is one of millions of Russians caught up in the cycle of revolution and war. He is often powerless to resist the pressure of events and submits to the general vortex movement. It is no coincidence that in Pasternak, as in A. Blok in the poem “The Twelve,” the main image-symbol of the revolutionary element is a blizzard. Yuri Andreevich often participates in events not of his own free will, but only as a grain of sand caught in a blizzard, not belonging to himself.

In poems written on behalf of the hero, on the contrary, the theme of loneliness and personal responsibility for everything that he witnessed is raised:

The hum died down.

I went on stage.

Leaning against the door frame,

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. .

It is no coincidence that Zhivago freely quotes from the Gospel the words of Christ, the Son of Man, who anticipates torment and death. The life of the character himself, a Russian intellectual who drank to the bottom the bitter cup of suffering that befell the people, was filled with similar premonitions.

By profession a doctor, that is, a person for whom there are no friends and foes, Yuri Andreevich Zhivago well understands the tragedy of the fratricidal war. He perceives what is happening as “a bloody mess and a massacre of people, which had no end in sight.” Pasternak's hero cannot rise above the battle, but he sees that there is little truth on the side of both the whites and the reds. Their fanaticisms competed in cruelty, “alternatingly increasing one in response to the other, as if they were multiplied.” The blood of both of them caused attacks of nausea, “it came up to the throat and rushed to the head, and the eyes swam with it.”

The correctness of the position of Doctor Zhivago, who understood the senselessness and criminality of the fratricidal massacre, is confirmed by a fact that has symbolic meaning. So, at the same time, a young high school student who fought for the whites and a Red partisan were killed and found the same psalm sewn into their amulet, which was supposed to protect them from death, but, as we see, it did not.

Boris Pasternak approaches the events of thirty years ago not from a class, but from a universal, humanistic point of view. They destroyed each other not as enemies, but as compatriots, sons of the same land, brothers in blood and spirit. Today we understand this well. And Pasternak was one of the first who was not afraid to speak directly about the civil war as “legalized and praised murder.”

But directly does not mean unambiguously. Yuri Zhivago is a person who constantly hesitates and doubts. The situation of duality partly has its origins in the personal drama of the hero, in his love for Lara, Larisa Fedorovna Antipova, which for him is identified with the image of Russia. This love was not destined to overcome mental turmoil. Human destinies crumpled and crippled by the revolutionary impulse are a common occurrence in those terrible years. The Bolsheviks sent Yuri Andreevich's relatives - his first wife and children - outside the Soviet Republic. Not hoping to meet the woman he loves, Zhivago starts new family and dies of a heart attack, collapsing on the stones of the pavement. And the heroine herself, having survived the suicide of her husband and the death of Yuri Andreevich, eventually disappears without a trace in one of the countless concentration camps in the north. Only Marina, Zhivago’s third wife, remains to live. And at the most last pages In the novel, “the linen maker Tanka” appears, in whom Yuri Andreevich’s friends recognize his daughter, but who herself does not suspect it. Who will be responsible for these deaths, expulsions, unconsciousness?

And yet, the narrative part of Pasternak’s novel ends not with the scene of Zhivago’s death, not with the message about the disappearance of Larisa Feodorovna, not with the story of the “unlearned” linen worker Tatyana. It ends with a description of those bright feelings that gripped Yuri Andreevich’s friends when reading his poems many, many years after the hero’s death. This is a feeling of “freedom of the soul”, and a “happy, tender calmness” for the earth, for all participants in history and their children, and a feeling of inaudible music of happiness, “spreading far all around.”

Such an ending is not a reflection of the official optimism of the author and not an artificial addition to the story of love and sorrow. This is the poet’s gaze, bright and wise, able to guess the great and lofty principle in the ordinary and terrible.

The poetic cycle of Yuri Zhivago, which opens with Christ’s request to the Almighty Father to carry the “mortal cup” past him, ends with a poem about the coming resurrection of the Savior, about the most significant event in the “book of life”:

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

And, like rafts being floated down the river...

To my court, like the barges of a caravan, .

Centuries will float out of the darkness.

The ideological and thematic content of the novel is largely determined by how the author himself characterizes his plan in 1946 in a letter to his sister O. M. Freidenberg: “I started writing great novel in prose. Actually, this is my first real job. I want to give it historical image 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, the Gospel, on human life in history and much more.” Thus, Doctor Zhivago was conceived as a “novel of the century” and as the author’s most complete and objective lyrical statement “about time and about himself.” “...I want to speak on the topics of life and time to the end and in clarity, as given to me...” wrote Pasternak about working on the novel. For him, this is not just the result of life and creativity, but a concentrated expression of the entire complex of philosophical, religious, ethical ideas, a view of his own destiny and the path of world history and culture.

One of the main themes of the novel is reflections on the history of Russia, its past, present and future in the context of world history. Pasternak is characterized by a concept of the course close to Tolstoy’s. historical process, which he trusts to express to Yuri Zhivago: “He again thought that he imagines history, what is called the course of history, in a completely different way than is customary, and to him it is depicted like the plant kingdom. ...No one makes history, it is not visible, just as you cannot see how grass grows.” That is why so often in the novel living, constantly regenerating nature personifies Russia and the entire history of mankind. It is not for nothing that the heroes of the novel, Yuri Zhivago and Lara, who are closest to the author, feel nature so subtly, are so close to it, as if dissolved in the natural principle. The main ideological and thematic nodes of the novel represent the connection between man and nature. That is why natural images, motifs, and similes are so important in his ideological and artistic system: “...Russia flew past in clouds of hot dust, raised by the sun like limestone...”.

The entire novel is permeated and cemented by the multi-valued image of a blizzard, blizzard, storm. Firstly, this is the cleansing storm of the revolution, a symbol similar to Blok’s from the poem “The Twelve” (the picture of November snow falling on the page of a newspaper with the first decrees of the Soviet regime is symbolic). Secondly, this is a gust of feelings beyond the control of reason that sweeps over the heroes like a snowstorm. And, finally, this image is associated with an equally sudden burst of creativity that captured Yuri Zhivago and determined his future path. It is through the curtain of a winter blizzard that he sees from the street a circle of candles burning in the house where Lara is having a conversation with her future husband Antipov. Then Yuri for the first time hears the words of probably the most famous of the poems that conclude the novel: “The candle was burning on the table, the candle was burning...”. This is how a poet is born, who with his creativity redeemed not only his life, suffering, love, but also tied together the disconnected ends of Russian culture and history, restoring the “connection of times.”

Similar figurative and thematic threads permeate the entire artistic canvas of the novel, which gives it a special integrity and organicity. Thus, at the beginning of the novel, the image of a storm appears, which recognized ten-year-old Yura: “A blizzard was raging outside, the air was smoking with snow. One might have thought that the storm had noticed Yura and, realizing how terrible it was, was enjoying the impression it made on him. She whistled and howled and tried in every way to attract Yurino’s attention.” And in the finale, it’s as if the same storm gathers a thunderous “black-purple cloud”, which overtakes the tram carrying Yuri Andreevich, sweltering from the heat, suffocating, on his final journey.

It is in these last minutes of life that the thought again comes to him about a certain “principle of relativity in the world of life,” according to which completely unexpected, at first glance, rapprochements, meetings, intersections of people, destinies, times and spaces occur. This idea is heard more than once in the novel, characterizing not only its main constructive principle, but the most important idea for the author of the conjugacy of all life phenomena. This also applies to the above-mentioned interpenetration of human and natural principles, and to that paradoxical connection between the destinies of numerous heroes of the novel, which often seemed to readers and critics to be something unnatural and far-fetched. Moreover, this is another the most important topic a novel about the connection between a single Russian culture, which, it would seem, was cut off forever under the blows of revolutionary cataclysms. The novel itself is an artistic fusion of various styles that embody all the leading traditions of Russian culture. This is a kind of “generalized portrait of Russian culture of the 19th century.” beginning of the 20th century." Indicative from this point of view is the reading range of the heroes of the novel: “Demons” by Dostoevsky, “War and Peace” by Tolstoy, “Eugene Onegin” by Pushkin and much more that makes up the “golden fund” of Russian culture. The characters talk about this, argue, and think about it, and at the same time the problem that is so important for the author becomes increasingly clear: what happens when it collides with richest culture of the people, containing their most powerful spiritual potential, and militant “anti-culturalism”, lack of spirituality, which, after the accomplished revolutionary breakdown of centuries-old traditions, seemingly filled the entire national cultural and historical space. In this monstrous battle, it becomes obvious what in fact from the cultural and historical heritage of Russia can be destroyed, destroyed, distorted, and what is eternal and indestructible, despite all the revolutions and wars. At the same time, Pasternak does not give a “portrait” of Russian culture in isolation, but fits it into the global cultural space. Not only Russian, but also foreign literature is reflected on the pages of the novel (in Zhivago’s house they read Dickens and Stendhal), various philosophical systems, political events that different heroes give different interpretations according to your own position. But they all emphasize precisely the idea of ​​continuity and unity. So, fully immersed in the revolutionary struggle, Antipov-Strelnikov reasoned in a conversation with Zhivago: “... This entire nineteenth century with all its revolutions in Paris, several generations of Russian emigration, starting with Herzen, all the planned regicides... the entire labor movement of the world, all Marxism in parliaments and the universities of Europe... Lenin absorbed all this and expressed it in a general way, so that as personified retribution for everything he had done, he would fall upon the old. Next to him rose an indelibly huge image of Russia, in front of the eyes of the whole world, suddenly blazing with a candle of atonement for all the deprivation and adversity of mankind.” Despite the differences in attitude towards the coup, the heroes of the novel, like the author himself, recognize the inevitability of what is happening. “What a magnificent surgery!” - exclaims Yuri Zhivago, who did not recognize the new life and never fit into it. For all his disagreement with the new system, which levels and destroys the individual, he sees in the revolution itself something artistically brilliant. “This is unprecedented, this is a miracle of history, this revelation is thrown into the very midst of ongoing everyday life, without paying attention to its progress. This is the most brilliant thing." It is obvious that the author trusts the hero to express his thoughts about unintentionality historical development, and therefore, despite all the horrors of the revolution, it is perceived as a given, an inevitability that draws a person, like a grain of sand, into the whirlpool of events. For Pasternak, wars, revolutions, tsars, Robespierres are the “fermentation yeast” of history. Fanatics like Antipov-Strelnikov, who make revolutions, destroying the entire previous system of life in a few hours and days, are “geniuses of self-restraint” in the name of the “great idea” they recognize. But what comes after this?

“For decades, centuries, the spirit of limitation, leading to revolution, has been worshiped as a shrine.” This is precisely one of the most important things for Pasternak. dire consequences revolution for Russia. As a result, a kingdom of mediocrity has been established, which rejects, persecutes, and destroys everything truly living and creative. That is why people like Dudorov and Gordon were able to adapt to the new life and settle in it, but there was no free place, creative personality, similar to Yuri Zhivago. “The stereotype of what Dudorov said and felt especially touched Gordon. ...Innocent's virtuous speeches were in the spirit of the times. But it was precisely the regularity, the transparency of their hypocrisy that exploded Yuri Andreevich. An unfree person always idealizes his bondage. Yuri Andreevich could not stand the political mysticism of the Soviet intelligentsia, what was her highest achievement or, as they would say then, the spiritual ceiling of the era.” It turns out that the revolution kills not only with its harshness (“if the enemy does not surrender, he is destroyed”), but in itself contradicts life, rejects it. “...In our time, microscopic forms of cardiac hemorrhages have become very common,” notes Dr. Zhivago with medical precision. -...This is a disease of modern times. I think her reasons are moral. The vast majority of us are required to maintain a constant system of crookedness. You cannot, day after day, act contrary to what you feel without health consequences; crucify yourself in front of what you don’t like, rejoice in what brings you unhappiness.”

Thus, the theme of Russia, its history and culture, reflections on the laws of the historical process are inextricably linked in the novel with its main philosophical theme- life, death and immortality. In the prose part of the novel, it is most clearly expressed in the reflections of the protagonist’s uncle, Nikolai Nikolayevich Vedenyapin, “a priest who was defrocked at his own request.” He states: “...man does not live in nature, but in history... in the current understanding, it is founded by Christ... The Gospel is its foundation,” and asks the question: “What is history? This is the establishment of centuries-old work on the consistent solution to death and its future overcoming.” What is necessary to achieve immortality? “This is, firstly, love for one’s neighbor, this highest form of living energy... and then these are the main components modern man, without which it is unthinkable, namely the idea of ​​a free personality and the idea of ​​life as a victim.” So the main ideological and thematic lines of the novel close and go out to its main topic- life, death and immortality of man in the Christian understanding. For Pasternak, the appearance of Christ is the beginning of the true history of mankind: “Only after Him did life begin in posterity, 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, he dies, himself dedicated to this topic.” . According to the author, after the coming of Christ, the history of mankind begins to be projected into eternity. The model of personality in the novel is Christ: with his arrival, as Pasternak writes, “peoples and gods ceased” and “man began.” It is not for nothing that Pasternak’s image of Christ is “emphatically human, deliberately provincial,” because thanks to this, every person gains hope for immortality. This is “... a man-carpenter, a man-plowman, a man-shepherd in a flock of sheep at sunset, a man who does not sound the least bit proud, a man who is gratefully included in all the lullabies of mothers and in all the art galleries of the world.” The worldview center of the novel is the idea of ​​resurrection and immortality, which manifests itself in a sense of personality commensurate with the world. The reflections of Yuri Zhivago are indicative in this regard: “There is no death. Death is not our thing. But you said: talent is another matter, it’s ours, it’s open to us. And talent, in the broadest sense, is the gift of life.” This is exactly how the idea of ​​immortality is realized in the novel in the fate of Zhivago: after his death, the memory of him remained in the hearts of people close to him, his poems remained, which complete the entire book. “The Poems of Yuri Zhivago” is a kind of catharsis for the novel, a breakthrough into immortality after a difficult plot, this breakthrough into eternity. That is why among these verses there are so many that are directly related to Christian themes, motifs and images: “On Passion”, “Christmas Star”, “Miracle”, “Magdalene”, “Garden of Gethsemane”. It is in this series that one of the most significant “eternal images” for Russian literature appears - Hamlet, and with him the problem moral choice, set in the novel as fundamental for each of the characters, reaches a universal level. The idea of ​​the complexity and responsibility of choice, of its possible consequences, about the human right to shed blood, running through the entire novel, is projected onto the fate of its author and appeals to readers. Thus, “The Poems of Yuri Zhivago” are not only ideologically and thematically connected with the main lines of the work, but also complete their development at a new level of artistic generalization.

I. Introduction.

1. - a complex, multifaceted work that allows for a wide variety of readings:

How " love story» with an entertaining plot, accessible and interesting to the general reader;

How philosophical novel, decisive " last questions» being;

How artistic research the nature of poetic creativity and the relationship between the fate of the poet and his works;

Like a mystery novel, where each hero has his own real or mythological prototype;

Like traditional realistic work, in which the originality of the whole historical era is revealed through the fate of individual heroes.

2. The last reading allows us to see certain socio-psychological types in the heroes, especially since a number of the leading heroes belong to such a unique stratum of Russian society as the intelligentsia.

P. Main part.

1. Yuri Zhivago - the son of a bankrupt industrialist, with youth was brought up “in a family circle” and knows how to appreciate the world order in the form in which it has developed over millennia. Important traits of his character are receptivity to everything, especially to the suffering of others, and a special kind of passivity, consisting of trust in life and its course.

2. In the revolution, he accepts its moral meaning: “What a magnificent surgery! Take it and artistically cut out old stinking ulcers! A simple, straightforward verdict on age-old injustice, which is accustomed to being bowed to, scraping and curtseying in front of it” (book 1, part 6, chapter 8). But Zhivago himself is a therapist by profession, not a surgeon: he is closer to treating rather than cutting.

3. Disappointment in the revolution, an attempt on earth with the family to escape from the hunger, cruelty and untruth that came along with the revolution. But instead, Zhivago and Gromeko find themselves at the epicenter of revolutionary events in the Urals. Rejection new government, its methods: “This government is against us. I was not asked for consent to this withdrawal. But they believed me, and my actions, even if I committed them forcedly, oblige me” (book 1, part 7, chapter 26). Partisan captivity, forced participation in battles.

4. Pavel Antipov is an intellectual from below, grew up among ordinary workers, knows firsthand about the need. With his strengths and abilities he achieved a place in life, he got used to relying only on himself. He has old scores to settle with life, so he is ready to reshape reality, as long as everything in it is correct, reasonable, and fair. It was precisely such “principled” people who led the masses, so that later, when times change and not uncompromising fighters, but unquestioning performers are needed, they would become victims of the revolution.

5. Gordon and Dudorov - they “belonged to a good circle of professors. They spent their lives among good books, good thinkers, good composers, good, always, yesterday and today, good, and only good music, and they did not know that the disaster of average taste is worse than the disaster of bad taste” (book 2, part 15, chapter 7). Dudorov, having gone through exile, was politically “re-educated” and continued to collaborate with the Soviet government, but that’s what makes him different life position from Zhivago’s “passivity”, that he Adapted to the times, internally betrayed himself, was ready not only to understand everything, but also to justify it: “it’s as if a horse were telling how it rode around in the arena” (book 2, part 15 , chapter 7). The path of opportunism turns out to be the most destructive for the soul, although it can bestow not only life, but also privileges.

III. Conclusion.

Pasternak's novel is a novel about the destinies of individual people; there is no deliberate desire for typification in it; any desire for depersonalization, erasure of the individual for the sake of the general is alien to Pasternak. However, in the destinies of the novel’s heroes one can discern an entire generation that had to endure bloody years revolution and civil war. The book tells us about the paths of this generation.

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B. Pasternak's novel "Doctor Zhivago" is often called one of the most complex works in the writer's work. This concerns the features of displaying real events (first and October Revolution, global and civil war), understanding of his ideas, characteristics of the characters, the name of the main one is Doctor Zhivago.

The role of the Russian intelligentsia in the events of the early 20th century, however, is as difficult as its fate.

Creative history

The first idea of ​​the novel dates back to the age of 17-18, but Pasternak began serious work only almost two decades later. 1955 marked the end of the novel, followed by publication in Italy and an award Nobel Prize, which the Soviet authorities forced the disgraced writer to abandon. And only in 1988 did the novel first see the light in its homeland.

The title of the novel changed several times: “The Candle Was Burning” - the title of one of the poems of the main character, “There Will Be No Death”, “Innokenty Dudorov”. As a reflection of one of the aspects author's intention- “Boys and girls.” They appear on the first pages of the novel, grow up, and experience through themselves the events of which they are witnesses and participants. Teenage perception peace is maintained in adult life, which is proved by the thoughts, actions of the heroes and their analysis.

Doctor Zhivago - Pasternak was attentive to the choice of name - this is the name of the main character. First there was Patrick Zhivult. Yuri is most likely St. George the Victorious. The surname Zhivago is most often associated with the image of Christ: “You are the son of the living God (genitive case form in the Old Russian language).” In this regard, the idea of ​​sacrifice and resurrection arises in the novel, running like a red thread through the entire work.

Image of Zhivago

Writer's Spotlight historical events the first and second decades of the 20th century and their analysis. Doctor Zhivago - Pasternak portrays his entire life - in 1903 loses his mother and finds himself under the tutelage of his uncle. While they are traveling to Moscow, the boy’s father, who had left his family even earlier, also dies. Next to his uncle, Yura lives in an atmosphere of freedom and the absence of any prejudices. He studies, grows up, marries a girl he has known since childhood, gets a job and begins to do the job he loves. And he also awakens an interest in poetry - he begins to write poetry - and philosophy. And suddenly the usual and established life collapses. The year is 1914, and even more will follow. terrible events. The reader sees them through the prism of the main character's views and their analysis.

Doctor Zhivago, just like his comrades, reacts vividly to everything that happens. He goes to the front, where many things seem meaningless and unnecessary to him. Upon returning, he witnesses how power passes to the Bolsheviks. At first, the hero perceives everything with delight: in his mind, the revolution is a “magnificent surgery” that symbolizes life itself, unpredictable and spontaneous. However, with time comes a rethinking of what happened. You cannot make people happy without their desire, it is criminal and, at the very least, absurd - this is the conclusion that Doctor Zhivago comes to. Analysis of the work leads to the idea that a person, whether he wants it or not, finds himself drawn into Pasternak’s hero in this case practically goes with the flow, not openly protesting, but also not unconditionally accepting the new government. This is what was most often reproached to the author.

During the civil war, Yuri Zhivago ends up in partisan detachment, from where he escapes, returns to Moscow, tries to live under the new government. But he cannot work as before - this would mean adapting to the conditions that have arisen, and this is contrary to his nature. What remains is creativity, in which the main thing is the proclamation of the eternity of life. This will be shown by the hero’s poems and their analysis.

Doctor Zhivago, thus, expresses the position of that part of the intelligentsia that was wary of the revolution that happened in 1917 as a way to artificially establish new orders, initially alien to any humanistic idea.

Death of a Hero

Suffocating in new conditions that his essence does not accept, Zhivago gradually loses interest in life and mental strength, in the opinion of many, is even degrading. Death overtakes him unexpectedly: in a stuffy tram, from which Yuri, who feels unwell, has no way to get out. But the hero does not disappear from the pages of the novel: he continues to live in his poems, as evidenced by their analysis. Doctor Zhivago and his soul gain immortality thanks to great power art.

Symbols in the novel

The work has a ring composition: it begins with a scene describing the mother’s funeral, and ends with his death. Thus, the pages narrate the fate of an entire generation, represented mainly by Yuri Zhivago, and emphasize the uniqueness human life at all. The appearance of a candle (for example, the young hero sees it in the window), personifying life, is symbolic. Or blizzards and snowfall as a harbinger of adversity and death.

Present symbolic images and in the hero’s poetic diary, for example, in the poem “Fairy Tale”. Here the “dragon corpse” - the victim of a duel with the serpent rider - represents fairytale dream, turned into eternity, as imperishable as the soul of the author himself.

Poetry collection

“The Poems of Yuri Zhivago” - 25 in total - were written by Pasternak while working on the novel and form one whole with it. At the center of them is a man caught in the wheel of history and facing a difficult moral choice.

The cycle opens with Hamlet. Doctor Zhivago - analysis shows that the poem is a reflection of his inner world - turns to the Almighty with a request to alleviate the fate assigned to him. But not because he is afraid - the hero is ready to fight for freedom in the surrounding kingdom of cruelty and violence. This work is also about famous hero Shakespeare, facing the difficult and cruel fate of Jesus. But the main thing is a poem about a person who does not tolerate evil and violence and perceives what is happening around as a tragedy.

Poetic entries in the diary correlate with various stages life and emotional experiences of Zhivago. For example, an analysis of Doctor Zhivago’s poem “Winter Night”. The antithesis on which the work is built helps to show the confusion and mental anguish of the lyrical hero, trying to determine what is good and evil. The hostile world in his mind is destroyed thanks to the warmth and light of a burning candle, symbolizing the quivering fire of love and home comfort.

The meaning of the novel

One day “... waking up, we... will not regain our lost memory” - this thought of B. Pasternak, expressed on the pages of the novel, sounds like a warning and a prophecy. The coup that took place, accompanied by bloodshed and cruelty, caused the loss of the commandments of humanism. This is confirmed by subsequent events in the country and their analysis. “Doctor Zhivago” is different in that Boris Pasternak gives his understanding of history without imposing it on the reader. As a result, everyone gets the opportunity to see events in their own way and, as it were, becomes its co-author.

The meaning of the epilogue

The description of the death of the main character is not the end. The novel's action briefly shifts to the early forties, when Zhivago's half-brother meets Tatyana, the daughter of Yuri and Lara, who works as a nurse, in the war. She, unfortunately, does not possess any of the spiritual qualities that were characteristic of her parents, as an analysis of the episode shows. "Doctor Zhivago", thus, identifies the problem of spiritual and moral impoverishment of society as a result of the changes that have occurred in the country, which is opposed by the immortality of the hero in his poetic diary - the final part of the work.