Problems in the work Doctor Zhivago EGE. Rails, tram and railway tracks, urban culture

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 solving the “final questions” of existence;

As an artistic study of 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;

As a 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 layer of Russian society as the intelligentsia.

P. Main part.

1. Yuri Zhivago, the son of a bankrupt industrialist, was raised “in a family circle” from a young age 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 it 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 end up at the epicenter revolutionary events in the Urals. Rejection of the new government and 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”, continued to collaborate with the Soviet government, but this is the difference between his life position and the “passivity” of Zhivago, that he Adapted to the times, internally betrayed himself, was ready not only to understand everything, but and justify: “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 fate of the novel’s heroes one can discern an entire generation that had to survive the bloody years of the revolution and civil war. The book tells us about the paths of this generation.

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The history of the creation of the novel shows that its title was carefully thought out by the author. “Doctor Zhivago” sums up the Russian novel of the 19th century with its fading poetry of “noble nests” and estates, the beauty of rural nature, the purity and sacrifice of the heroines, the painful reflection and tragic fate of the heroes. The main character - Yuri Andreevich Zhivago - closes the series of heroes of Lermontov, Turgenev, Tolstoy and Dostoevsky. In the context of Russian classical literature, Pasternak’s novel “Doctor Zhivago” was studied by such scientists as I.V. Kondakov, G.M. Lesnaya, I.N. Sukhikh and others.

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IDEATORICAL AND THEMATIC CONTENT

NOVEL “DOCTOR ZHIVAGO” BY BORIS PASTERNAK

The meaning of the title of the novel "Doctor Zhivago"

Pasternak not only follows the long tradition of Russian classical literature of the 19th century, in which the name of the main character is often included in the title of the work, but also indicates his profession - doctor. For the general concept of the work, this clarification is very significant, since the hero, involved in the maelstrom of terrible historical events, retains his view of the world, history, man, determined by his humanistic position as a doctor. This is reflected in a number of plot collisions (Zhivago, as a doctor, visited the fronts of the First World War, then in a partisan detachment during the Civil War), he helps Lara’s mother and thanks to this he meets a girl, whose love he will carry throughout his life. But the most important thing is that the doctor’s duty is to help all those who suffer, regardless of which camp a particular person belongs to. Therefore, the definition of “doctor” takes on a deeper meaning associated with the Christian concept of mercy. In the terrible trials of world wars, revolutions, civil strife, which split not only the country, but also the person himself, the hero preserves what constitutes the basis of a person’s healthy moral nature, and helps others in this. He is, as it were, called upon to be a healer of human souls, and it is no coincidence that as the plot of the novel progresses, Christian motives intensify and are completed in the last poetic part.

Contrary to the traditions of the Russian novel, the author is more busy searching for meaning in the game of chance than constructing a logically completed series of events. The methods of characterization in the novel are correlated with the idea of resolving the problem of the irony of history, when in the process of conquering freedom it turns out to be impossible for a person to exist internally free and at the same time not separated from the whole and universal.

The character of the main character is not without the logic of natural development, and the pattern of personality development in contact with the circumstances of real life is revealed in him. In accordance with this artistic concept, the novel creates the image of Yuri Zhivago, a doctor and poet who embodied Pasternak’s idea of freedom and personalism. Yuri has a spiritual ideal, he is disgusted by everyday games, packs and clans - freedom and secret independence, a sense of the highest ideal are dear to him.

“Doctor Zhivago” is a spiritual biography of a man who found himself at a rift in time. Although the novel reflects the most important periods in the history of the country, it is not built according to the laws of an epic work. The main thing in the novel is not the history of life events, but the history of the spirit.

The 20th century created the type of strong hero as an active personality. B. Pasternak proceeds from a religious and philosophical understanding of strength as a moral, spiritual feeling. From this point of view, Christ is the embodiment of a new moral ideal, a turn in history. According to Pasternak, life is understood as spiritualized and spiritualizing matter, in perpetual motion. Death is seen as a temporary stage on a person’s path from life to immortality. The symbols of a candle, garden, cross, and bowl serve as a means of representing the concepts of “life” and “death”; in the text they manifest individual author’s associations that arise on the basis of traditional ones. [Chumak, 2004, p. 12].

The idea of life in the novel is manifested in its very title, in the profession and surname of the hero. The surname Zhivago introduces the action of the novel into the circle of Christian concepts and meanings. In this regard, Yuri Zhivago has the strength of spirit that allows him not to succumb to the temptation of simple, unambiguous decisions, to accept the world in all its complexity and diversity, denying what brings spiritual death.

The book of poems “My Sister is Life” sounded like a poetic manifesto of the poet’s blood relationship with life. It is significant that the Siberian surname of the hero is a form of the genitive and accusative case of the Church Slavonic adjective “zhivoy” (alive). In Orthodox liturgical texts and the Bible (in the Gospel of Luke), this word in relation to Christ is written with a capital letter: “Why are you looking for the living among the dead?” [Bible..., 2004, p. 238] - the angel addresses the women who came to the tomb of Christ, i.e. the doctor's name graphically coincides with one of the names of Christ, and thereby emphasizes the connection between the hero of the novel and his gospel prototype. According to the writer V. Shalamov, B. Pasternak explained the choice of a surname for his hero: “The surname of my hero? This is a complicated story. Even as a child, I was amazed and excited by the lines from the prayer of the Orthodox Church: “You are truly Christ, the son of the living God.” I repeated this line and childishly put a comma after the word “God.” The result was the mysterious name of Christ “Zhivago”. But I was not thinking about the living God, but about his new name, accessible only to me, “Zhivago.” It took my whole life to make this childhood feeling a reality - to name it after the hero of my novel.” [Borisov, Pasternak, 1998, p. 205].

O. Ivinskaya testifies that the very name “Zhivago” arose from Pasternak when he accidentally on the street “came across a round cast-iron tile with the “autograph” of the manufacturer - “Zhivago”... and decided that let him be like this, unknown, not released either from a merchant, or from a semi-intelligentsia environment; this man will be his literary hero.” [Ivinskaya, 1992, p.142].

The real person who was the prototype of Doctor Zhivago was probably the doctor Dmitry Dmitrievich Avdeev, the son of a merchant of the second guild, whom Pasternak met during the evacuation to Chistopol, where the writer lived from October 1941 to June 1943. It was in the doctor’s apartment that writers held creative evenings (by the way, it was called “a branch of the Moscow Writers Club”). And when Pasternak was looking for a title for his most significant work in 1947, he remembered his Chistopol acquaintance, Doctor Avdeev, and the novel was called “Doctor Zhivago.”

While writing the novel, Pasternak changed its title more than once. The novel could be called “Boys and Girls”, “The Candle Was Burning”, “The Experience of Russian Faust”, “There is No Death”. Initially, the novel contained fragments with crossed out titles - “When the Boys Grew Up” and “Notes of Zhivult”. The semantic identity of the surnames Zhivult and Zhivago is obvious and in itself indicates their undoubted emblematic nature, and not an accidental origin. In the fragment entitled “The Death of Reliquimini”, a variant of his name is found - Purvit (from the distorted French pour vie - for the sake of life), which, together with two others - Zhivoult and Zhivago - forms a triad of names-emblems identical in meaning. The triple form of this essentially single name contains the central intuition of all Pasternak’s work - the intuition of the immortality of life.

“The Notes of Patrick Zhivult” - Pasternak’s “general” prose of the 30s - was undoubtedly the most important link linking together all previous attempts at a “great novel” with the concept of “Doctor Zhivago”. A whole series of motifs, provisions, names and toponyms in the part that has come down to us (“The Beginning of Prose of the Year 36”) indicate this with complete clarity. Istomina’s appearance in the “novel about Patrick” anticipates some of the features of the future Lara Antipova. In the image of Patricius, on whose behalf the story is told, autobiographical features are easily recognizable, on the one hand, and signs that bring him closer to Yuri Zhivago, on the other.

The image of “a man in captivity, in a cage” explains the origin of another “talking” surname in the novel “Doctor Zhivago” - Guichard (from the French guichet - prison window) and, in combination with the Russian meaning of the name Larisa (seagull), makes clear the abundance of “ bird" associations in the descriptions of the heroine of the novel. Symbolism of the name Larisa Fedorovna Guichard: Larisa - “Seagull” (association with Chekhov’s seagull), Fedor - “God’s gift”, Guichard - “lattice” (French). The name supports the metaphor “Lara – Russia”: Russia, spiritualized, humiliated, dying behind bars.

Thus, the very name of Zhivago contains life and literally repeats the Old Slavonic definition of “God of the Living.” Zhivago is a doctor, guardian of life, protector of it. In this regard, we can say that the hero’s life becomes a life, or rather being, overshadowed by the sign of eternity.

It is no coincidence that the hero's surname is included in the title of the novel. She is certainly speaking, associated with the Christian concept: “The Spirit of the Living God.” Already in the title of the work, the deep Christian foundations of the author's concept are defined, the main ideological and philosophical axis of the novel is the opposition of life and death. Indeed, much points to the messianic role of his central character, who went through suffering and trials, who became a kind of atoning victim of a formidable historical “surgery,” but who gained immortality in his creativity and in the grateful memory of people.

The theme of personality and history in B. Pasternak’s novel “Doctor Zhivago”

One of the main emphasis is made by the author in solving the problem of the relationship between personality and history, character and circumstances. Despite the commonality of the common theme - the intelligentsia and the revolution, as well as its embodiment - showing the fate of a person changing under the influence of revolutionary events, the whirlpool of history that confronted an individual with the problem of choice, Doctor Zhivago is distinguished by a sharp dissimilarity of emphasis. Pasternak goes against the traditional interest of literature in the formation of the character of a new person in the conditions of the revolution and under its influence.

For Zhivago, Russia is nature, the world around us, and the history of Russia. Yuri witnessed such historical events as: the Russo-Japanese War, the unrest of 1905, the First World War, the revolution of 1917, the Civil War, the Red Terror, the first five-year plans, the Great Patriotic War. Almost all the heroes of Pasternak’s novel are also involved in their own way in the turbulent life of the century and take his life for their own. Everyone decides his own destiny, correlating with the demands of the time: war, revolution, famine and so on. Yuri Zhivago lives in his own space, in his own dimension, where the main ones are not everyday values, but the laws of culture. Roman B.L. Pasternak's Doctor Zhivago is based on fundamental archetypes recreated by the author in the images of the novel, which raises it to the level of the general cultural heritage of mankind and places it among the pinnacle achievements of Russian and world literature. [Avasapyants, 2013, p. 20].

The author talks about the fate of Yuri Zhivago in its historical context. The opposition of Rome, with its division into leaders and peoples, with its false gods, to the gospel recognition of the divine meaning of the individual human personality is translated into the author's plan, where the individual, Yuri Zhivago, is contrasted with the new society of leaders and slaves. For the revolution did not become a process of liberation of peoples, contrary to Vedenyapin’s dream. Instead of a utopian brotherhood of free individuals, a new Rome is slowly emerging from the chaos of war, a new barbaric division into rulers and the crowd. Doctor Zhivago confronts the new idols. [Kadiyalieva, Kadiyalieva, URL: http://www.rusnauka.com/8_NMIW_ 2012/ Philologia/8_104376.doc.htm].

In the literary process of the post-revolutionary years, B. Pasternak belonged to the camp of writers who objectively depicted both the positive and negative sides of the revolution. Yuri Zhivago does not find an answer to the question: what to accept and what not to accept in his new life. In describing the spiritual life of his hero, Pasternak expressed the doubts of his generation.

The main question around which the narrative about the external and internal lives of the heroes moves is their attitude to the revolution, the influence of turning points in the country’s history on their destinies. It is known that Pasternak’s attitude towards the revolution was contradictory.

Yuri Andreevich’s initial attitude to the revolution was as follows: 1) in the revolution he sees something “evangelical” [Pasternak, 2010, p. 88]; 2) revolution is freedom. “Just think what time it is now! The roof was ripped off from all over Russia, and all the people and I found ourselves in the open air. And there is no one to spy on us. Freedom! Real, not in words and demands, but fallen from the sky beyond expectations. Freedom by accident, by misunderstanding.” [Pasternak, 2010, p. 88]; 3) in the revolution, Doctor Zhivago saw the course of history taking place and rejoices at this work of art: “The revolution broke out against the will, like a sigh held in for too long. Everyone came to life, was reborn, everyone had transformations, revolutions. We can say: two revolutions happened to everyone, one of their own, personal, and the other general” [Pasternak, 2010, p. 89]; 4) “What a magnificent surgery!” [Pasternak, 2010, p. 116]. Zhivago reacts unmistakably only to the true, the eternal.

But over time, Zhivago’s attitude towards the revolution changes: 1) “remaking life” [Pasternak, 2010, p. 197] - opposition to all living things; 2) “...Each installation of this power goes through several stages. At the beginning it is the triumph of reason, the critical spirit, the fight against prejudice. Then comes the second period. The dark forces of the “adjacent”, feigned sympathizers gain an advantage. Suspicion, denunciations, intrigue, hatred are growing... we are at the beginning of the second phase" [Pasternak, 2010, p. 236]; 3) fratricidal war (the case of Seryozha Rantsevich): “A crowd surrounded a bloody human stump lying on the ground” [Pasternak, 2010, p. 214]; 4) the story of Palykh: “He was clearly insane, his existence irrevocably ended” [Pasternak, 2010, p. 215]; revolution cripples people, depriving them of their humanity; 5) “...Man is a wolf to man. When a traveler saw a traveler, he turned aside, and the one he met killed the one he met so as not to be killed. Human laws of civilization have ended. Animals were in power" [Pasternak, 2010, p. 219]; 6) “The brutality of the warring parties had reached its limit by this time. The prisoners were not brought alive to their destination; the enemy’s wounded were pinned on the field” [Pasternak, 2010, p. 196]; 7) violence: “Commissars with unlimited powers, people of iron will, armed with intimidation measures and revolvers began to be appointed in all places” [Pasternak, 2010, p. 116]; 8) a revolution in life, when everything collapses. Lara: “What is happening now with life in general... Everything derivative, established, everything related to everyday life, the human nest and order, all this went to dust along with the revolution of the entire society and its reconstruction. Everything household has been overturned and destroyed” [Pasternak, 2010, p. 233].

Zhivago feels the history as a given. Trying not to participate in the remaking of the world, Zhivago is nevertheless not an outside observer. His position could be compared with the position of M. Voloshin, who wrote: And I alone stand between them // In roaring flames and smoke. // And with all my strength // I pray for those and for others [Voloshin, 1989, p. 178].

In the novel Doctor Zhivago, Pasternak revives the idea of the intrinsic value of the human personality. The personal dominates the narrative. All artistic means are subordinated to the genre of this novel, which can be conventionally defined as prose of lyrical self-expression. There are, as it were, two planes in the novel: an external one, telling about the life story of Doctor Zhivago, and an internal one, reflecting the spiritual life of the hero. It is more important for the author to convey not the events of Yuri Zhivago’s life, but his spiritual experience. Therefore, the main semantic load in the novel is transferred from the events and dialogues of the characters to their monologues. The novel reflects life story a relatively small circle of people, several families, connected by relationships of kinship, love, and personal intimacy.

The fate of Doctor Zhivago and his loved ones is the story of people whose lives were thrown out of balance and destroyed by the elements of revolution. Pasternak says that everything that happened in Russia in those years was violence against life and contradicted its natural course. Refusal from the past turns into a rejection of the eternal, of moral values.

Thus, the idea of life is opposed to the idea of the inanimate, dead, unnatural, artificial, therefore Yuri Zhivago evades the violence of history. In his opinion, the events of the revolution cannot be avoided, they can be interfered with, but they cannot be changed. The novelty of Pasternak's solution is due to the fact that he rejects the traditional tragic resolution of the conflict due to the inability of the hero to ideologically correspond to the grandeur of the events. The concept of his novel reveals the flawed nature of the revolutionary process itself, the neglect in its course of both the centuries-old ideas about true humanity and the capabilities of the individual human personality in its independent revolutionary degeneration.

Christian theme in the novel "Doctor Zhivago"

Despite the variety of research positions, one of the aspects in the study of Doctor Zhivago remained on its periphery. This is the powerful influence of the Christian tradition of Russian literature (Dostoevsky), as well as Gospel and liturgical texts on Pasternak as a decisive factor in the creation of the novel “Doctor Zhivago”. [Ptitsyn, 2000, p. 8]. J. Börtnes, T.G. devoted their works to identifying the religious and philosophical roots in Doctor Zhivago. Prokhorova, I.A. Ptytsin et al.

The novel contains a huge amount of information, including many subjects, phenomena, eras and figures in the overall cultural and historical work. The text of Doctor Zhivago comes from many sources. Pasternak’s “inscription” of various pretexts into the images of these characters actualizes the plots and details of the latter in projection onto the modernity depicted by the writer and allows him to give hidden assessments of it.

The world of history and a person’s entry into it is determined for Pasternak by the dimensions that he outlined in a Christian vein: “free personality,” “love for one’s neighbor,” and “the idea of life as a sacrifice.” The highest sphere where this understanding of the world of history is embodied is, according to the writer, art. Pasternak saw such art as realistic and corresponding not only to the truth of history, but also to the truth of nature. [Kutsaenko, 2011, p. 3].

The main thing in the novel is the discovery of internal connections between people and events, which leads to an understanding of history as a natural and consistent process. It is in revealing this inner content of the novel that Christian motives play the most important role.

There is also a lot of debate about Yuri Zhivago’s Christianity, and the main complaint against Pasternak here is the identification of the hero with Christ. Pasternak just set himself the task of proving that a very good person is precisely the most honest follower of Christ in the world, because... sacrifice and generosity, submission to fate, non-participation in murders and robberies are quite enough to consider oneself a Christian.” [Bykov, 2007, p. 722].

The hero, capable of voluntarily dooming himself to suffering, entered Pasternak's work early. Yuri Zhivago symbolized the figure of Christ. For Pasternak, the following Christian idea is very important: he who obeys the calls of Christ, makes an effort on himself, diligently transforms his entire life. [Ptitsyn, 2000, p. 12].

In light of the problems of B. Pasternak’s novel “Doctor Zhivago,” the parallelism between the image of Yuri Zhivago and the image of Jesus Christ in the novel becomes fundamentally important. However, there is reason to talk not just about the parallelism of images, but about the parallelism of the entire story of Yuri Zhivago, the entire plot of his fate with the biblical story of the life, deeds, death and resurrection of Jesus Christ. This parallelism forms the key structure of Pasternak's novel. This parallelism is formed both in the phases of plot action, and in the system of characters, and in stylistic “consonances”, and finally, a whole range of special signals is oriented towards it.

The heroes of the entire work live by the idea of life as a victim. For Pasternak, the theme of the compassionate identity of the soul of one person to another, the idea of the inevitability of giving all of oneself for people, is important. Only in the context of eternity does the life of man and all humanity gain meaning for the writer. All the events of the novel, all the characters are continually projected onto the New Testament tradition, intertwined with the eternal, be it the obvious parallelism of the life of Doctor Zhivago with the way of the cross, the fate of Lara with the fate of Magdalene, Komarovsky -

With the devil. “The mystery of life, the mystery of death” - the thought of the author of Doctor Zhivago struggles with this mystery. And Pasternak solves the “mystery of death” through life in history-eternity and in creativity.

Pasternak is concerned with the theme of the spiritual resurrection of the individual. The first lines of the book (the funeral of Yura’s mother, the blizzard night after the burial, the child’s experiences) are the semantic beginning of this theme. Later, Yuri Andreevich imagines that he is writing the poem “Confusion” about those days that passed between the death of Christ and his resurrection, about that space and time when there was a struggle between the resurrection potency of life and the “black earthly storm.” [Pasternak, 2010, p. 123]. The main character of the novel understands resurrection this way: “...You are afraid whether you will be resurrected, but you were already resurrected when you were born, and you didn’t notice it” [Pasternak, 2010, p. 45].

In the novel “Doctor Zhivago,” both the moral aspects of the gospel teaching and others related to the main idea brought by Christ to humanity were embodied. Doctor Zhivago believes that man in other people is the soul of man, his immortality: “You were in others, and you will remain in others. And what difference does it make to you that later it will be called memory. It will be you, who has become part of the future.” [Pasternak, 2010, p. 45].

“There will be no death” - this is one of the author’s options for the title of the future novel. According to Pasternak, a person should carry within himself the idea of immortality. He cannot live without this. Zhivago believes that immortality will be achieved by a person if he becomes “free from himself” - he accepts the pain of time, accepts all the suffering of humanity as his own. And what matters is that main character- not only a doctor, but also a poet. The collection of his poems is the result, the summation of his life. This is Yuri Zhivago's life after death. This is the immortality of the human spirit.

The ending of the novel is conceptually important. It contains two epilogues: the first is the result of the hero’s earthly life, and the second is the result of his creativity and miracles. A deliberately reduced image of the death of Yuri Zhivago is replaced by the apotheosis of the hero - the publication, many years later, of his bookpoems. This is a direct plot materialization of the idea of immortality. In his poems, which captured the miracle of life, expressing his attitude and understanding of the world, Yuri overcame the power of death. He preserved his soul, and it again entered into communication with people.

The immortality of man for Yuri Zhivago is life in the minds of others. Yuri speaks the words of Christ about the resurrection as constant updating the same eternal life. The mystery of the Incarnation is the main Christian motif in the novel Doctor Zhivago. It sounds in the reasoning of Uncle Yuri, the heretic Vedenyapin, already in the first book. [Pasternak, 2010, p. 2]. Truth is known through everyday life, and the human image of Christ is the cornerstone of Vedenyapin’s historiosophy, which, according to him, is built on the idea that “man lives not in nature, but in history, and that in the current understanding it is founded by Christ, that the Gospel there is its justification" [Pasternak, 2010, p. 13]. Vedenyapin's view of history and human personality is opposed to antiquity, which did not have such an understanding of history. In ancient times, the human person had no value, and rulers likened themselves to gods, turning people into slaves.

The quotation plan with the theme of Christ appears again at the end of the second book, in the thirteenth and seventeenth parts. The topic has undergone some changes. By this time, Yuri Zhivago had already been to the front, experienced the defeat of the Russians in the First World War, the civil war and the complete collapse of Russian society. One day he accidentally hears Simushka Tuntseva analyzing liturgical texts, interpreting them in accordance with Vedenyapin’s ideas.

The views of Vedenyapin's historiosophy strikingly coincide with the views of Yuri Zhivago, which are reflected in his poetry, in which the theme of Christ is repeated, and again in a new interpretation. Like Vedenyapin, Simushka is clearly influenced by Hegel in assessing the meaning of Christianity for modern man, who no longer wants to be either a ruler or a slave, in contrast to the pre-Christian social order with its absolute division into leaders and peoples, into Caesar and the faceless mass of slaves. "Separate human life became God’s story, filled the space of the universe with its content” [Pasternak, 2010, p. 239].

Pasternak forces Simushka to express the idea that underlies the Orthodox theory of salvation and the teaching of the Orthodox Church about the transformation of man into God. According to this teaching, a person must strive to repeat the life of Christ, become like him, work to return sinful nature to a state of paradisiacal pristineness, and return Divine meaning to it.

The main things in life for Yuri Zhivago are: noble culture and the ideas of Christianity: Yuri Andreevich about uncle Nikolai Nikolaevich: “Like her (mother), he was a free person, devoid of prejudice against anything unusual. Like her, he had a noble sense of equality with all living things” [Pasternak, 2010, p. 12]; “This, firstly, is love for one’s neighbor, this highest type of living energy that overflows the human heart... the idea of a free personality and the idea of life as a sacrifice” [Pasternak, 2010, p. 13].

Thus, one of the interpretations of the legend of Christ, which is a constant element of culture, was included in the content of the novel about Yuri Zhivago - embodied in his personality and fate eternal theme– Christian. B. Pasternak raised mortal man to the same level as Jesus Christ, proving the equivalence of the earthly life of a spiritualized man, his tragedy of the existence of that destiny, which became for humanity a symbol of martyrdom and immortality. The parallelism between the fate of Yuri Zhivago, a Russian intellectual who lived in the first third of the 20th century, and the story of Jesus Christ became in the novel the most important way of discovering the moral essence of man’s struggle with his time, a form of enormous artistic generalization.

The idea of the purpose of art in a novel

Yuri Zhivago repeats the path of Christ not only in suffering. He participates in the divine nature of Christ and is his companion. The poet, with his gift of seeing the essence of things and existence, participates in the work of creating living reality. The idea of the poet as a participant in the creative divine work is one of those thoughts that occupied Pasternak all his life and which he formulated in his early youth.

In the fourteenth poem of the cycle “August,” the idea of the poet’s involvement in the creation of a miracle is most clearly expressed. The hero of the poem has a presentiment of imminent death, says goodbye to work, and meanwhile the foliage is burning, illuminated by the light of the transformed Lord. The light of the Transfiguration of the Lord, captured in the word, remains to live forever thanks to the poet: “Farewell, azure of the Transfiguration // And the gold of the second Savior... // ... And the image of the world, revealed in the word, // And creativity, and miracles” [Pasternak, 2010, p. 310].

The construction of the image of Yuri Zhivago differs from that accepted in classical realism: his character is “given”. From the very beginning, he has the ability to put his thoughts into poetic words; from an early age he takes on the mission of a preacher, or rather, he is expected and asked to preach. But the messianic in Yuri Zhivago is inseparable from the earthly. Immersion in life, completely devoid of snobbery, this fusion with earthly flesh makes Yuri Andreevich receptive to the world, makes it possible to discern in the litter and trifles of everyday life glimpses of the beauty of earthly life, hidden from people. [Leiderman, Lipovetsky, 2003, p. 28].

According to Pasternak, poetic creativity is a work equal to God. The process of poetic creativity itself is depicted in the novel as a divine act, as a miracle, and the appearance of the poet is perceived as the “appearance of Christmas.” In their own creations, poets perpetuate life, overcome death, embodying everything that existed in words.

The novel does not end with the death of Doctor Zhivago. It ends with poetry - with the fact that it cannot die. Zhivago is not only a doctor, he is also a poet. Many pages of the novel are autobiographical, especially those devoted to poetic creativity. D.S. Likhachev says in his “Reflections on the novel by B.L. Pasternak’s “Doctor Zhivago”: “These poems were written from one person - the poems have one author and one common lyrical hero. Yu.A. Zhivago is Pasternak’s lyrical hero, who remains a lyricist even in prose.” [Likhachev, 1998, vol. 2, p. 7].

The writer, through the mouth of the lyrical hero Yuri Zhivago, speaks about the purpose of art: “It relentlessly reflects on death and relentlessly creates life through this” [Pasternak, 2010, p. 58]. For Zhivago, creativity is life. According to Zhivago, “art has never seemed like an object or aspect of form, but rather a mysterious and hidden part of content” [Pasternak, 2010, p. 165]. The author, being extremely sincere, shows the moment of inspiration when the pen cannot keep up with the thought:“...And he experienced the approach of what is called inspiration...” [Pasternak, 2010, p. 252]. The author also makes the reader a witness and participant in the most difficult work on the word: “But what tormented him even more was the anticipation of the evening and the desire to cry out this melancholy in such an expression that everyone would cry...” [Pasternak, 2010, p. 254].

Pasternak exposes Zhivago's creative process. The lyrical hero is the clearest expression of the poet. According to D.S. Likhachev, “there are no differences between the poetic imagery of the speeches and thoughts of the main character of the novel. Zhivago is the exponent of Pasternak’s innermost.” [Likhachev, 1998, vol. 2, p. 7]. Yu. Zhivago’s life credo is freedom from dogma, any parties, complete freedom from reason, life and creativity by inspiration, and not by coercion (Sima’s conversation with Lara about the Christian understanding of life): “She wanted to be with him at least for a little while.” with help to break free, into fresh air, from the abyss of the suffering that entangled her, to experience, as it used to be, the happiness of liberation” [Pasternak, 2010, p. 288].

The motive of love is combined with the motive of poetic creativity in the novel. In Pasternak’s value system, love is equal to poetry, for it is also insight, also a miracle, also a creation. And at the same time, love becomes the main reward for the poet: Tonya - Lara - Marina - this is in a certain sense a single image - the image of a loving, devoted, grateful one. Life manifests itself most brightly and fully in love. Love is shown in everyday, ordinary expression. Love and beauty are depicted by the writer in a purely everyday manner, using everyday details and sketches. Here, for example, is an image of Lara’s appearance through the eyes of Yuri Andreevich. [Pasternak, 2010, p. 171]. Love for Yuri Zhivago is connected with the life of home, family, marriage (both with Tonya and Lara). Tonya personifies the family hearth, family, a person’s native circle of life. With the advent of Lara, this circle of life expands; it includes reflections on the fate of Russia, the revolution, and nature.

All the years of Yuri’s tragic life were supported by creativity. “The Poems of Yuri Zhivago” constitute the most important part of the novel, performing a variety of functions in it, for example, conveying the hero’s inner world (the poem “Separation”).

Thus, the novel “Doctor Zhivago” is a novel about creativity.The idea of the human personality as a place where time and eternity converge was the subject of intense thought by Pasternak both at the beginning and at the end of his creative career. The idea that to live means to realize the eternal in the temporal underlies the idea of the purpose of the poet in the novel “Doctor Zhivago”: everything in the world is filled with meaning through the word of the poet and thus enters into human history.

To understand the reasons for Zhivago’s behavior in certain situations, you need to understand the meaning of nature for him and its place in the work.

The novel is based on traditional literary motifs of nature and the railway, i.e. life and death. These two motives take on different guises throughout the book: living history and anti-spirituality. The motives are in dialectical contradiction. The antithesis of life in nature is the railroad, the rails, which are symbols of the inanimate, the dead.

Pasternak's heroes are revealed through communication with nature. Nature in the novel is an embodied miracle, a miracle of life: “The miracle came out. Water ran out from under the shifting snow cover and began to scream.” In the novel, nature is not only enlivened by the gift of a living spirit, but promises the presence of higher goals in the world. Nature is the sphere that absorbs the space of the novel. “Nature in Pasternak’s light,” as V.N. correctly wrote. Alfonsov, is one of the synonyms of life.” [Alfonsov, 1990, p. 319]. A. Akhmatova: “All his life nature was his only full-fledged muse, his secret interlocutor, his bride and lover, his wife and widow - she was to him what Russia was to Blok. He remained faithful to her to the end, and she royally rewarded him.” [Fokin, 2008, p. 341]. V. Shalamov in a letter to Pasternak: “Where the novel is truly remarkable and unique... is in the extraordinary subtlety of the depiction of nature and not just the depiction of nature, but that unity of the moral and physical world... the only ability... to grow together so that nature lives together and in tune with the spiritual movements of the heroes... Nature itself is part of the plot.” [Talk about the most important thing..., 1988, p. 5].

In its special quality, Pasternak’s “non-classical” psychologism manifests itself through the sphere of nature (landscape, the system of natural images of vertical and horizontal space), which becomes in “Doctor Zhivago” a unified - both material and spiritual, and symbolic authority, allowing facts to be conscious and spiritual life of the subject to find its “manifestation”. [Di Xiaoxia, 2012, p.10].

In the semantics of the forest image, pagan and Christian traditions are closely intertwined; this image has several, often contradictory, functions. Tracing the dynamics of the development of the image of the forest in the mind of Yuri Zhivago, one can see that even in childhood the forest turns for him into a biblically ambiguous metaphor for the world. Nature is close to God, and man, by approaching nature, approaches God. It is in the forest that Yuri Zhivago finds peace of mind and relaxation. A clean, bright forest is like a temple in which thoughts are purified, the most sincere feelings are awakened, and forgotten childhood sensations are resurrected. The forest is a healer not only of the soul, but also of the body. [Skoropadskaya, 2006, p. 18].

Even Christianity here is inevitably natural: either Jesus appears as “a shepherd man in a flock of sheep at sunset,” or flowers accompany Zhivago to another world, because “the plant kingdom is the closest neighbor to the kingdom of death. The mysteries of transformation and the mysteries of life are concentrated in the greenery of the earth" [Pasternak, 2010, p. 201].

Zhivago’s whole life is an instinctive desire to dissolve in nature, not to resist it, to return to childhood, where “the outside world surrounded Yura on all sides, tactile, impenetrable and undeniable, like a forest... This forest was made up of all the things in the world... All with his half-animal faith, Yura believed in the God of this forest, as in a forester” [Pasternak, 2010, p. 56].

The doctor is interested in everything around him, he is always in harmony with nature: “Everything wandered around, grew and sprang up on the magical yeast of existence. Admiration for life, like a quiet wind, went in a wide wave, without knowing where, across the ground and through the city, through walls and fences, through wood and the body, covering everything along the way with awe” [Pasternak, 2010, p. 284].

Nature lives and feels, just like humans:“The first harbingers of spring, a thaw. The air smells of pancakes and vodka, like at a butter salon... The sun squints sleepily, with oily eyes in the forest, sleepily, with needle eyelashes, the forest squints, the puddles glisten oilily at noon. Nature yawns, stretches, rolls over and falls asleep again.” [Pasternak, 2010, p. 85].

Having departed from God, and thereby from nature, during his youth, Zhivago during the civil war, when “the laws ended human civilization"and the pressure of the mind weakened, he returned to nature through love for Lara. In the novel, the “naturalness” of love is constantly emphasized: “They loved because everything around them wanted it that way: the earth under them, the sky above their heads, clouds and trees.” [Pasternak, 2010, p. 288].

Nature is feminine in the novel: “Some kind of living intimacy developed between the birds and the tree. It was as if the mountain ash saw all this, was stubborn for a long time, and then gave in and, taking pity on the birds, gave in, unbuttoned and gave them her breast, like a mother to a baby.” [Pasternak, 2010, p. 205]. Lara appears in the form of either a swan or a mountain ash, it becomes clear that for Zhivago Lara is the embodiment of nature itself: “Since childhood, Yuri Andreevich loved the evening forest through the fire of dawn. At such moments, it was precisely that he let these pillars of light pass through himself... “Lara!” - closing his eyes, he half-whispered or mentally addressed his whole life, to all of God’s earth, to all the sun-lit space stretched out before him.” [Pasternak, 2010, p. 200].

The hero feels that Lara is a continuation of nature, feels that the desire for her is a desire for life. It is precisely because Lara personified all of nature for Zhivago that can explain his instinctive desire for her. He had to dissolve in it, as then in the forest, when he lay down on the lawn and “the variegation of sun spots, which had put him to sleep, covered his body stretched out on the ground with a checkered pattern and made him undetectable, indistinguishable in the kaleidoscope of rays and leaves, as if he had put on a hat invisible." [Pasternak, 2010, p. 201]. Dissolving in nature, a person has equal rights with animals: they are equal brothers even with an insect. [Pasternak, 2010, p. 201].

B. Pasternak focuses on individual elements of nature. He fragments the world, because for him it is valuable in every manifestation. Uncultivated, pristine nature is symbolized by the forest. The man in the forest is a guest. The forest takes on human characteristics; it is a hospitable host who welcomes guests and generously gives them gifts. People should not live in the forest; nature opposes this. The fields are the opposite of the forest. Without a person they are orphaned. [Sokolova, 2005]..

Returning to the forest, to the beginning, when everyone was equal, is the only way out for Zhivago as creative personality, otherwise he will constantly feel the inferiority of his existence. He and Lara are a single whole, this is what nature requires, this is what his soul requires. The fields, “orphaned and damned without man,” evoke in Zhivago a feeling of feverish delirium: he sees how “the mocking smile of the devil snakes across them”; while in the forests, freed from man, they show off “like released prisoners” [Pasternak, 2010, p. 270], God dwells, and a state of enlightenment and recovery descends on man. Pasternak makes Zhivago feel not only the internal manifestations of nature, but also external ones, some of which become constant messengers of joy or misfortune.

Thus, the highest values for Yuri Zhivago are nature, love, poetry - what forms the basis of the hero’s inner world allows him to preserve inner freedom in the most difficult vicissitudes of time. The love of the heroes is necessary and natural, like life, like nature. Yuri Zhivago and Lara love because they are equally close in their understanding of life and nature. Nature in the concept of the novel is the embodiment of life, its all-encompassing beginning.

ORIGINALITY OF THE POETICS OF BORIS'S NOVEL

PASTERNAK "DOCTOR ZHIVAGO"

The problem of the genre of the novel "Doctor Zhivago"

Pasternak wanted to create a novel that would give feelings, dialogues and people in a dramatic embodiment, and would reflect the prose of the time. The diversity of opinions was caused by the particularly ambiguous nature of the novel, where behind the external simplicity of the style there was hidden content that was significant for the author, and in specific plot situations there was a generalized meaning. The multiplicity of forms also predetermined the diversity of interpretations.

B.M. studied certain aspects of the novel and its poetics. Gasparov, I.L. Smirnov, I.M. Dubrovina, L.A. Kolobaeva, O.V. Sineva, N.A. Fateeva and others. The problem of genre features of the novel was studied from different points of view. Doctor Zhivago is not recognized as a whole epic work- a novel in the full sense of the word.

A. Popoff thinks Doctor Zhivago lyrical novel. Pasternak's prose is the poet's personal prose. The characters in the novel express the author's ideas and speak in his poetic voice. The lyrical content in the novel is concentrated in its last part - a book of poems by Yuri Zhivago. The novel "Doctor Zhivago" was discussed in criticism both from the standpoint of novel prose of the 19th century, and as a work created under the influence of the ideas of the symbolists. [Popoff, 2001, p. 319].

The poems of the hero of the novel are a lyrical diary in which human history is interpreted in the light of the Christian ideal. A. Voznesensky sees in Doctor Zhivago “a novel of a special type - a poetic novel,” in which the lack of epic objectivity was more than compensated for by intense lyrical beginning. He gives a figurative explanation: “The huge body of prose, like an overgrown lilac bush, bears terry clusters of poems crowning it. The purpose of the novel is the poems that grow from it in the finale.” [Voznesensky, 1990, p. 226].

O. Kling defined the novel as “late symbolist.” He believed that symbolism had a strong influence on Pasternak. The late symbolist novel does not mean a return to symbolic canons, but their enrichment at the plot level. The work absorbed “features of symbolist aesthetics.” [Kling, 1999, p. 20].

From the position of biographer and researcher of Pasternak’s work D. Bykov, the novel can be represented as a system of symbols that operate at the level of title, plot, composition and reveal another reality of the existence of the work. D. Bykov calls the “symbolic plan” of Pasternak’s novel obvious. [Bykov, 2007, p. 722].

Another researcher, I. Sukhikh, demonstrates the multidimensional structure of a character-symbol using the example of the protagonist, in whom he sees “an attempt to synthesize ... various aesthetic and historical ideologies,” as a result of which Yuri Zhivago can be perceived both as “an image of a poet and a symbol of a Russian intellectual ( physician-writer Chekhov), and continuation literary tradition(ideological hero, extra person), and a figure of a certain historical era, a sign of a generation.” [Sukhikh, 2001, p. 78].

B.M. Gasparov called the novel “Doctor Zhivago” a post-realistic work, because its structural construction is associated with the nonlinearity and polyphony of a musical composition. Search theme song Pasternak's work should be directed not at the material, but at the internal structure of his works. From this point of view, Doctor Zhivago is of exceptional interest. It is in music that this phenomenon receives its most complete embodiment and becomes a universal formative device on which the entire composition is based. [Gasparov, 1994, p. 198].

But behind these plans lies another one -autobiographical , because Doctor Zhivago is a novel about the development of a poet. However, the figurative presentation of this path is not limited to the experience of Pasternak alone. The special role of the symbolist poet is evidenced by a fact from creative history novel - Pasternak initially intended to call his work “Boys and Girls,” which is a reference to Blok’s poem “Willows.” [Lesnaya, 1996, p. 105].

Academician D.S. Likhachev believed that the novel “Doctor Zhivago” was an autobiographical novel. Pasternak writes not about himself, inventing his own destiny, but at the same time about himself, with the goal of revealing his inner life to the reader. The lyrical voice of the protagonist, his philosophy are inseparable from the voice and beliefs of Pasternak himself. The researcher classified this novel as a “kind of autobiography,” “biography of time.” He wroteabout the novel “Doctor Zhivago” as “an autobiography in which, surprisingly, there are no external facts that coincide with real life author. And yet, the author (Pasternak) seems to be writing for someone else about himself. This is Pasternak’s spiritual autobiography, written by him with utmost frankness.” [Likhachev, 1988, p. 4] Other literary scholars also wrote about the autographic nature of the work.[Bondarchuk, 1999, p. 6].

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

According to a number of researchers of Pasternak’s work, the novel “Doctor Zhivago” should be considered “prose of lyrical self-expression.” Finally, there is an opinion that Pasternak’s novel is “a parable full of metaphors and exaggerations. It is unreliable, just as life at a mystical historical turning point is unreliable.” [Bykov, 2006].

In the genre sense, the novel was read in different ways, depending on the reader’s attitude and his “genre expectations.” An alternative to socialist realism turned out to be new realism. The new problematic has put the novel at the head of the realistic genre system, the genre content of which is most adequate to the study of the relationship between personality and history. In Doctor Zhivago, a novel was discovered that continued the traditions of realistic psychological prose of the 19th century, where, according to N. Ivanova, the main character “closes the ranks of the heroes of Lermontov, Turgenev, Tolstoy and Dostoevsky.” [Ivanova, 1988].

Pasternak himself called his method subjective biographical realism. The method of realism for Pasternak was a special degree of authorial accuracy in reproducing the spiritual world. “My plan was to give prose that, in my understanding, was realistic...” [Pasternak, 1997, p. 621].

The novel presented a generalized portrait of Russian culture of the 19th - early 20th centuries. I.V. Kondakov, who studied the novel “Doctor Zhivago” in the context of Russian literature, emphasized that Pasternak did not join “any bright tradition of classical Russian prose, nor any great novelistic style of Russian literature.” [Kondakov, 1990, vol. 49]. Indeed, a novel that chronologically spans almost half a century: from 1903 to 1929, and with an epilogue - until the early 50s. - densely “populated” with many major and episodic characters. All characters are grouped in one way or another around the main character, described and evaluated through his eyes, and “subordinated” to his consciousness.

According to O.A. Grimova, the novel “Doctor Zhivago” should be considered as a genre polyform, the elements of which are genetically connected with the most significant stages in the development of literature (myth – folklore – literature). [Grimova, 2013, p. 7]. Various genre vectors interact in the novel. A visual representation of Pasternak’s novel as a genre polyform is contained in Appendix No. 3.

"Doctor Zhivago" combines the features of a philological meta-novel and a narrative organized by an emphasis on orality. HELL. Stepanov believes that the dominance of the orientation towards orality and the activation of primary speech genres are marked by crisis and transition periods in the history of literature. [Stepanov, 2005, p. 63]. This is precisely the transitional, summative character of Pasternak’s work, and this is precisely his era.

One of the features of genre dynamics that determines the appearance of Doctor Zhivago is the combination of opposite processes - the exaggeration of genre characteristics and its blurring. The author's desire for the effect of spontaneity, unintentionality, and involuntary text generation is noted. M. Shapir connects this effect with the “aesthetics of negligence,” which largely determines Pasternak’s idiostyle. [Shapir, 2004]. Echoing an impressive number of genre paradigms, Doctor Zhivago does not fit into any one, and this probably indicates the formation within its framework of a new type of artistic integrity, which is now defined as a “total novel.” [Grimova, 2013, p. 41].

In the mid-90s. I.P. Smirnov put forward the hypothesis that Doctor Zhivago is a text that, like Dostoevsky’s The Brothers Karamazov, is “beyond the literary genre.” While talking about the fact that these texts are “not literature,” the scientist does not classify them as “some kind of discourse of historical time other than literature.” [Smirnov, 1996, p. 154]. It’s hard not to feel the “post-classical” nature of this text, which P.P. Smirnov defines it as belonging to a “secondary style,” that is, one of those that “identify actual reality with the semantic universe.” [Smirnov, 2000, p. 22].

In the space of other scientific interpretations, the novel turns into a fact of life creativity (the concept of the “novel-deed” by M. Aucouturier) or even religious creativity: the concepts of F. Kermode, M.F. Rowland and P. Rowland, A. Sinyavsky (“treatise”, “theology”), V. Gusev (“either a life or a biography”), G. Pomerants. Versions are put forward about the intermedial nature of the novel, about the presence of a musical code in it (B. Gasparov’s idea of musical counterpoint as the basis of text composition; G. Gachev’s reading of JD as an “opera novel”), pictorial and cinematic codes (I. Smirnov). [Grimova, 2013, p. eleven].

According to S.G. Burov, the genre dominants of the novel are not of a static nature, they are characterized by movement. [Burov, 2011, p. 54]. “Doctor Zhivago” gives the researcher solid grounds to see in it “the epilogue ... of the Russian classical novel as a single text of an already completed era of the flourishing of national culture,” a factor that reveals this unity in diversity. [Tamarchenko, 1991, p. 32].

Thus, although the novel is built on the principle of concatenation of episodes, and the fates of the heroes and the events of their lives are subordinated to the course of history, this work cannot be called either a historical novel or an epic. There are too many conventions, symbolic meetings, monologues, details and images.

“Doctor Zhivago” has a summary character: it summarizes the individual author’s experience, the experience of the era. It not only sums up the classic novel of the 18th – 19th centuries, but also paves the way for the modern novel. The most succinct summation of the unique combination of such poetic features as universality, paradox, multi-level dynamism is the definition of the essential nature of Doctor Zhivago as a “novel of secrets” (concepts of I. Kondakov, I. Smirnov).

Ways to recreate artistic space in a novel

The dynamics of the unfolding of the narrative in Doctor Zhivago are determined by an algorithmically organized linear structure, to which the implementation of certain themes and motives in the literary text is subordinated. The action of the novel covers the years 1903 – 1929. Outwardly, the story is quite traditional: it tells about the fate of a person in the era of revolution. But the events of the novel are given through the perception of the main character; this subjective perception constitutes the plot. [Khalizev, 1999, p. 116].

The novel “Doctor Zhivago” is based on the life story of several families connected by friendship and family ties. The plot of the novel consists of the hero’s constant and unsuccessful attempts to hide from a terrible and cruel era, to find a niche for himself and his family in which he can escape the violence of history and find the happiness of everyday life. At the heart of Pasternak’s picture of the world is the idea of “life” as a “self-revealing”, “spiritualizing” beginning, a subject of world history. [Kretinin, 1995]. The life of Doctor Zhivago and his loved ones is destroyed by two revolutions and a civil war. Intense work is going on in his soul to comprehend what is happening. It is on the inner, spiritual life of his hero that the author focuses his attention - and, as a result, the main semantic load in the novel falls on the hero’s monologues and poems.

The novel consists of 2 parts: prosaic and poetic. 16 parts of the novel tell about people, events, big history, and the tragic fates of Zhivago, Tony, Lara and other heroes. It also shows a multifaceted image of Russia in the pre-revolutionary and post-revolutionary years. In the last, 17th part, all this extensive material seems to be repeated again, but this time in poetry.

The novel has two plots - “external” and “internal”. The external action is a biography of Yuri and the characters associated with him. Visible randomness external action makes us think about its convention, indicating the presence of a second, internal action, the subject and hero of which is reality itself. The construction of the external plot uses numerous plot clichés characteristic of adventure narration and, in part, fairy tale: kidnapping of the hero by robbers, imaginary death, etc. The internal, main action is the image of Russian reality, the manifestations of which were the historical vicissitudes of the first half of the 20th century. The internal plot conveys the sequence of transformations occurring in reality. [Kuznetsov, Lyalyaev, 2013, p. 45].

The storylines are artificially intertwined, there are too many coincidences. But the author needs all these coincidences in order to build cause-and-effect phenomena in their continuous chain. The beginning of the narrative is no less surprising, representing a dense plot knot in which the fates of most of the main characters of the novel are invisibly intertwined: Yuri Zhivago, his uncle Nikolai Nikolaevich Vedenyapin, who is given the role of the main interpreter of historical events; Lara, Yuri Zhivago's beloved and Pavel Antipov-Strelnikov's wife - Nika Dudorov, whose path is traced in a dotted line until the end of the novel.

In a novel where many private destinies intersect against the backdrop of global historical events, Pasternak has to find compositional techniques that would help coordinate the plot lines. The composition of the novel can be considered circular: the narrative begins with the death of Zhivago’s mother and ends with the death of the main character. The work contains the motif of the hero’s way of the cross, the motif of memory. The main principle of writing is antithesis, the opposition of “dead” and “alive”.

On the peculiarities of the composition, specialist in the field of symbolism L.A. Kolobaeva writes that the main theme of the novel is the problem of the flow of life. She believes that the structure of the novel helps develop the theme. This flow of life fits into the microstructure of the novel's composition. The structure of micro chapters captures the fleeting moments of life and contributes to the saturation of the text with the breath of the lyrics. [Kolobaeva, 1999, p. 9].

The main formative principle of the entire novel is counterpoint - the combination of several relatively autonomous and parallel lines flowing in time along which the text develops. The principles of counterpoint in the novel are manifested at the level of verse, prose, images, plot, type of narratives, etc. So, at the level of the plot, the installation of the wardrobe is a key event in the life of Anna Ivanovna, daughter and Yu. Zhivago. When installing the wardrobe, the first storyline is established - the death of Anna Ivanovna, she is injured and dies), the second - Yu. Zhivago marries Tona (spiritual connection between them), the third - during installation, Yu. Zhivago meets the daughter of Markel's servant Marinka and then marries her (material relations). Parallel to the birth of storylines, their dying occurs. “Living life is not a field to cross” - this phrase is an illustration of counterpoint. At the level of images - the image of a candle (a symbol of life) appears again and again in the novel, as well as images of the elements (wind, blizzard), the image of a train, etc.

Main compositional feature The novel constitutes a repetition of the memory motif. The motif of memory, one of the main ones in the novel, announced from the first page by the title of the psalm performed during the church funeral, serves as an example of how a motif can vary and be filled with new meaning through comparison with one or another hero of the novel. This motif is repeated in the monologue about the meaning of resurrection that young medical student Yuri Zhivago delivers to the dying Anna Ivanovna, his adoptive mother and the mother of his future wife Toni.

Pasternak reduced to a minimum the role of traditional intrigue, philosophical dialogues, pictures of nature, the change of seasons, scenes of the senseless horrors of war and brief moments of happiness - from all this the biography of Yuri Zhivago is built - a harmonious whole, in which, like in a piece of music, the main melody. [Bertnes, URL: http://philolog.petrsu.ru/filolog/konf/1994/28-byortnes.htm].

Researcher V.I. Tyupa in his article “The verse-like composition of Doctor Zhivago” [Tyupa, 2012, p. 8–10] emphasizes the originality of the compositional division of the novel “Doctor Zhivago” into chapters, giving rise to the effect of “poet’s prose”. According to the author, in Pasternak’s text composition has a constructive function in organizing the meaning of the whole, similar to the strophic structure of a poetic text. It is concluded that the author's intention of the novel lies not in the opposition of verse and prose, but in their meaningful gradation.

Orlitsky Yu.B. notes that in Pasternak the plot-thematic unity of the text is compositionally broken by divisions that do not have a generally accepted name. These chapters act as a kind of macrostrophes of a complexly ordered whole, between which a “vertical, “verse” way” of connection is found [Orlitsky, 2008, p. 189-190], suggesting significant connections not only between adjacent, but also between distant components of the text. Thus, the researcher highlights “the special compositional role of Zhivago’s diary, located exactly in the center of the novel - in the 9th part” (more precisely, in the tenth chapter of the ninth part). The nine chapters of the novel are identical to the nine diary entries.

The parts and chapters of the novel are in a vertical compositional relationship. The sixteen chapters of the central ninth part of the novel are semantically connected with the sixteen prose parts corresponding in number. At the same time, the ninth chapter, dedicated to the appearance of Evgraf, serves as the semantic center of the entire work. A striking example of vertical compositional connections between stanza-like chapters of a text is the role of the number fourteen in the structure of the artistic whole. The fourteenth part of the novel is the climax: twelve days of the hero’s happy family and creative life pass here; by the end of the thirteenth day, the doctor loses Lara, and from the next (fourteenth) day the peak of his desperate creativity begins; This key part ends with Strelnikov’s suicide. Similarly, poem number 14 (“August”) occupies in many respects a key position in the poetic cycle that concludes the novel and in many ways echoes the fourteenth part: the motifs of dreams and awakening, death and immortality, love and creativity. [Tyupa, 2011].

The compositional and semantic significance of the number fourteen is enhanced by its allusive and semantic load in the text of the novel. This is the adolescence of growing up; this is the year the war began, which led to the revolution; This is the number of the train car in which Zhivago and his family travel from Moscow to the Urals. In addition, one of the important rituals catholic church is the rite of the Way of the Cross, performed on Fridays during Lent; it consists of fourteen “standings”. As rightly noted by I.A. Sukhanov, in the poems of Yuri Zhivago the Gospel text is read through the prism of the traditions of Western Christianity. [Sukhanova, 2000].

In the novel Doctor Zhivago, the relationship between the heroes and their destinies is built on the principle of dialogue. [Orlova, 2008, p. 20]. All the characters in the novel are compared with Zhivago, and everyone bears a reflection of his personality. This is the meaning of the composition, built on countless meetings of the main character with minor ones: remaining unchanged at different stages of his own and general biography.

Important observations on the poetics of B.L. Pasternak is contained in the works of L.Ya. Ginzburg, which emphasizes the multi-subject nature, the absence of boundaries and hierarchy in the poet’s artistic world, as well as the universal cohesion of a wide variety of things and phenomena expressed in metaphor. The absence of boundaries in Pasternak’s poetic world, noted by L.Ya. Ginzburg, also determines such a feature of his space-time organization as “the blurring of boundaries between the external and internal world, between subject and object.” [Ginsburg, 1989, p. 41].

The same feature is highlighted by L.A. Ozerov: “There are no partitions between objects and phenomena of the external world and the internal world. The subjective is often objectified; trees and clouds speak in the first person, on behalf of the poet who perceives them. The objective takes the position of the subject.” [Ozerov, 1990, p. 64]. The very form of Pasternak’s verse creates the impression of overcrowding, the dynamism of the artist’s artistic world, and the complexity of the spatio-temporal organization of his poetic works.

How is artistic space recreated in the novel? The theme of death introduces the meaning of eternity, the timelessness of what is happening and thus, as it were, includes the flow of events described in the general course of time, in the spatio-temporal context of history. The novel opens with the funeral scene of the mother of ten-year-old Yuri Zhivago. From the depths of childhood, the hero’s sense of time was gradually born - a subjective, personal perception of a series of events - but through an understanding of space, through a sense of its details, significant and not significant for the hero. At the same time, the author is detached: he is outside of time, outside of events, he is an outside observer.

In this “timeless” picture, two perceptions of the event are given: objective and subjective, because a tragic event seems to stop time. There is a contrast between the performance of the anthem “ Everlasting memory"and deliberate ordinariness, everyday life in the depiction of the event itself. Two spheres, two different planes are connected here. The first plan is a description of the funeral as an episode from the life of the main character of the novel, Yuri Zhivago (author’s plan). The second plan, which consists of fragments of borrowed texts, is quotation plan. A completely different function is performed by Christian elements introduced into the novel with the help of quotes, when they are correlated with the main characters: Yuri Zhivago, Larisa Guichard, Uncle Yuri, Vedenyapin, Simushka Tuntseva [Bertnes, URL:http://philolog.petrsu.ru/filolog/konf/1994/28-byortnes.htm ].

As children grow up, an understanding of social inequality creeps into their consciousness: external, objective time-space penetrates the child’s subjective world, imbuing it with class and political sorrows, since they have to give up joys and interests. Awareness of the sequence of events and times makes the idea of subjective time part of the poetics of the novel. In the child’s subjective perception, there is a kind of awareness of time through spatial orientations, through their alternation (rhythm). [Pasternak, 2010, p. eleven].

The minimum unit of plot division is motive. The image of time is derived through the motif of memory, combining personal ideas about the past, present and future into a single whole. The awareness of the sequence of events and times appears especially clearly in Ivan Ivanovich’s remark about the significance of the religious and biblical understanding of time: “I think we must be immortally faithful to this other name of life, a little strengthened. We must remain faithful to immortality, we must be faithful to Christ” [Pasternak, 2010, p. 13].

The combination of the two categories of death and immortality, both in a religious and ideological-thematic sense, informs about the understanding of the spatio-temporal parameters of life through the idea of time and eternity as the main signs of the inclusion of the hero’s personality in both objective time and objective space.

In artistic consciousness, time is often updated by referring to the category of eternity. B. Pasternak mythologizes time and space by concentrating attention on the smallest, hastily snatched from reality, details of the surrounding world, any of which reflects the “essence” of existence, and on the shortest, indecomposable periods of time - moments that are equivalent to eternity due to their indivisibility. [Pudova, 2011, p. 20].

According to L.I. Ermolov, in the novel one can distinguish two ways of transmitting time: “according to the calendar” (directly indicating a time date) and transmitting time through the movement of images - changes in nature, its subtlest shades. In temporal organization, we can designate memory time, memories of the author and heroes, linear time, cyclical time (of nature), eternity. [Ermolov, 2012, p. 80].

The early period is the childhood of humanity, there was no understanding of time, there was only an attempt to understand space. The author is trying to express this idea by entrusting religious reasoning about space-time to his hero. The philosophical and artistic parallelism between religious consciousness and the perception of the child (the main character) most accurately reflects the spatio-temporal parameters of the narrative. It is no coincidence that the author introduces the symbol of space-time through the motif of anxiety: “In the distance, across the plain, a neat yellow-blue train, greatly reduced by distance, was rolling from right to left. Suddenly they noticed that he stopped. White balls of steam rose above the locomotive. A little later, the whistles came" [Pasternak, 2010, p. 14]. The train appears as a spatial image of time.

However, the author characterizes the chain of events through the consciousness of the child. Therefore, the first motif that the author introduces through the image of a train is the motif of the road: “Russia, fields and steppes, cities and villages, flew past in clouds of hot dust, whitened by the sun like lime.” [Pasternak, 2010, p. 14]. Through children's perception, the endless Russian space is characterized, appearing outside of time, as stopped, frozen in the flow of history. [Correspondence of Boris Pasternak..., 1990, p. 224].

The image of the road, as a key spatial image in the composition of the novel, is developed through the image of the railway station and the accompanying concerns of the railway workers. The author takes great place a description of the life of the railway station, its workers, including their worries, hardships, and socio-political cataclysms.

The artistic space of B. Pasternak’s novel “Doctor Zhivago” is characterized by a combination of the real and the conventional. So, for example, the real topoi are Moscow, the Urals, St. Petersburg, Galicia, and the conditional (fictional) topoi are Yuryatin, Varykino and Melyuzeev. But even in the depiction of real space, the device of convention is often used. Toponyms play an important role in the artistic space of the novel. The composition of toponyms reflects the different regions of Russia, as a result, the novel “Doctor Zhivago” recreates the model of all of Russia. The most significant for the novel are the toponyms Moscow and the toponyms of the Urals.

The spatial images considered in the work: a road, a circle and a triangle, a window, a forest, perform structure-forming functions at the compositional level of the text of the novel “Doctor Zhivago” (they connect the poetic and prose chapters, serve as a leitmotif in the context of the entire novel), as well as on the lexical level -semantic level of the text (see, for example, the polysemantic words path and circle, increments of the meaning of the lexeme road), at the phonetic-graphic level of the text (building a sound space based on the semantics of circle, vocabulary with the root -colo-), at the ideological and semantic level and the philosophical and symbolic level of organization of the text of the novel (semantics of a circle enclosed in a triangle). [Smirnova, 2009, p. 8].

Geocultural topoi on the poetic map of B.L. Pasternak - signs of the poet’s special relationship to the world, in which space is one of the main arguments that determine the fate of both the hero and the poet. Any lyrical experience is based on the reflective properties of consciousness, where a possible object of reflection can be both the natural landscape and cultural space. Pasternak's Moscow is formed at the intersection of cultural, historical, folklore, literary facts and is a more developed space for the lyrical hero. [Pudova, 2011].

Political events intensively draw the novel's heroes into the whirlpool of historical changes. Through their depiction, the artistic space is intensified. In local images, as if in focus, the plot, fable, spatial and temporal parameters of the artistic whole intersect, which creates a special narrative mood that combines place, time and history.

The key image of the story is a person. Many literary heroes seem alive to the reader, taken from real life, because the author uses artistic means to create the image of his hero, creating the illusion of reality. It is the image of a person, as a meaning-giving image, that focuses the author’s worldview quest and helps him overcome the specifics of existentiality (beingness) in order to come to an understanding of human existence as a mystery. But the diversity of epic lines significantly complicates the specific spatiotemporal parameters of human existence and indicates the predetermination and uncertainty of his life at the same time.

An important feature of the organization of the artistic space of the novel “Doctor Zhivago” is the alternation of everyday and historical space, access to space, for example: “In the distance there was a field in the snow and a graveyard, / Fences, gravestones, / A shaft in a snowdrift, / And the sky above the cemetery full of stars. // And nearby, unknown before, / More shy than a bowl / At the window of the gatehouse / A star flickered on the way to Bethlehem // ... // It rose like a burning stack / Of straw and hay / Among the whole universe, / Alarmed by this new star” [ Pasternak, 2010, p. 314].

So, in the context of Pasternak’s concept of artistic reality, the spatio-temporal organization in the novel has a number of features. The categories of space and time are correlated, the spatial characteristics of reality are, as it were, “absorbed” by the temporal ones, time prevails over space. Time in the novel is presented as a series of intersecting mutually defining layers: the author's time, the time of lyrical experience, the time of characters, the reader's time, breakthroughs to Eternity, creating a complex unity of the narrative structure.

The creative beginning of the novel “Doctor Zhivago” is revealed in three forms: 1) a lyrical hero speaking in poetry (in the prose parts of the novel he acts as an epic hero); 2) narrator, prose speaker; 3) a virtual author “clothed in silence” (according to M.M. Bakhtin), manifesting himself through a verse-like composition of an artistic whole. The author's intention does not lie in the opposition of verse and prose, but in their gradation. The poems of Yuri Zhivago, being a way of overcoming death and communion with eternity, appear as a kind of final stage of a life story, a compositionally “ripening” poetic form in it.

Function, theme and poetics of the cycle of poems by Yuri Zhivago

The problem of Pasternak's path to Doctor Zhivago was most fully considered by B.C. Baevsky. [Baevsky, 1997]. The author names five roads along which Pasternak moved towards his novel: prose sketches, poetic epics, lyrics, drama, translations. “Doctor Zhivago” is connected with each book of Pasternak’s lyrics by many verse, thematic, figurative, mythopoetic, stylistic, and linguistic bonds. [Radionova, 2002].

Poetry and prose in B. Pasternak's novel form a unity and are, in fact, a new genre form. The synthesis of prose and poetry is the fundamental principle of the organization of a literary text and one of the artistic features of Doctor Zhivago. [Ivashutina, 2004, p. 23].

The novel is permeated with high poetics, accompanied by poems by the main character - Yuri Andreevich Zhivago. The cycle “Poems of Yuri Zhivago” is the final lyrical chord of the narrative, related to the general themes of the novel; a lyrical plot relating to the entire prose text. Yuri Zhivago's testimony about his time and himself are the poems that were found in his papers after his death. In the novel they are separated into a separate part, representing not just a small collection of poems, but a whole book with its own strictly thought-out composition. The special poetic and functional significance of Yuri Zhivago’s poems in the general context of Pasternak’s novel is determined by the fact that this poetic cycle is the seventeenth, final (immediately following the epilogue) part of it. [Vlasov, 2002, p. 19].

The book of poems by Yuri Zhivago is his spiritual biography, correlated with his earthly life, and his “image of the world revealed in words.” D. Obolensky, in an article devoted to the poems of Yuri Zhivago, notes that the three main themes of “25 poems by Yuri Zhivago” are nature, love, Yuri Zhivago’s understanding of the meaning and purpose of life. [Im Hye-yong, 2000, p. 5].

In its modern meaning, the term “mythopoetics” can be interpreted as the study of the “projection” of a myth (mythological plot, image, motif, etc.) onto a work. [Belokurova, 2005]. Mythopoetic motifs and images of Pasternak’s novel have repeatedly come into the focus of research attention. The most obvious and popular comparisons are made between the image of Yuri Zhivago and the image of Christ, Lara and Mary Magdalene, between the Komarovsky-Lara-Zhivago triangle and the story of the snake fighter St. George.

Allusions to the passions of the Lord and the reflections of the hero are woven together, predetermining the compositional design of the future poem by Yuri Zhivago, which, like a code, will concentrate all the main themes of the novel. This poem, called “Hamlet,” opens a cycle of poems by Yuri Zhivago. The appeal to the image of Hamlet shows Pasternak’s desire to rethink Shakespeare’s hero, paying tribute to the mythologization of Hamlet, i.e. Pasternak moves to the level of literary allusions, endowed with a mythopoetic meaning of the image of Western European literature. The name Hamlet in the title even more clearly indicates not the “intertextual”, but precisely the mythologized appeal to the image of the Prince of Denmark, which emphasizes not so much specific “Shakespearean” meanings and overtones, but rather various “mythological” traditions of perception of Hamlet.

The first poem “Hamlet” reveals the meaning of the image of Yuri Zhivago: Hamlet goes onto the stage of life to do the will of the Lord, his “stubborn plan.” The poem closely intertwines Shakespearean symbolism, the symbolism of theater-life and fate-role, as well as gospel symbolism. The main conflict “lack of will/activity” is rethought in its own way by Pasternak in contrast to Zhivago and Strelnikov. Pasternak also adds a Christian one to these literary associations, forcing the lyrical hero of the poem to quote the Gospel prayer for the cup.

With the hero of Shakespeare's tragedy, the lyrical hero of B. Pasternak's poem of the same name is brought together by the same desire to make his own life choice"in mortal combat with a whole world of troubles." He, like Hamlet, feels the break in the “connecting thread” of times and his responsibility for its connection. The choice of path was made in favor of Christian ethics: I am going towards suffering and death, but in no case - lies, untruth, lawlessness and unbelief.

Yuri Zhivago identifies himself with Hamlet. Behind the image of the actor-poet is the author of the novel himself. Pasternak points out the close connection between the images of Christ and Hamlet. The awakening of spirituality in Hamlet is associated primarily with Christian motives. Yuri Zhivago’s poem “Hamlet” correlates with the situation of Hamlet pronouncing the monologue “To be or not to be.” The poem correlates with the situation of Zhivago himself, described in the novel, as well as with a certain historical context and the situation of the author of the novel, who belonged to those poets who chose the path of suffering and self-sacrifice. Their life drama, the fate of Yuri Zhivago, the tragedy of Hamlet represent a series of repetitions of the Passion of the Lord.

The idea of the poet’s sacrifice lies at the heart of the novel; it defines Zhivago’s poetry and at the same time forms the basis of Pasternak’s own worldview, convinced that voluntary suffering and self-sacrifice are the goal of human earthly existence. Like Christ, Hamlet fulfills the will of his father. Both sacrifice their lives for others. The hero of the poem must be ready to sacrifice himself so that others continue to live, drawing strength from his poetry and feat, so that his life continues in them. The motive of self-denial is present in the penultimate stanza of the poem “Wedding”: Life, too, is only a moment, // Only dissolution // Of ourselves in all others // As if as a gift to them. [Pasternak, 2010, p. 306]. Essentially the same motive sounds in the monologue of young Zhivago about resurrection and immortality as a continuation of life in others.

The image of a candle has a special meaning in Christian symbolism, and the symbolism of the “chalice” already corresponds to the maximum with Gospel symbolism. V. Borisov and E. Pasternak come to the conclusion that the meaning of the symbolic image of a lit candle “is revealed in the Gospel parable about a candle - the light of truth, which must not be hidden, but boldly brought to people.” [Borisov, Pasternak, 1998, p. 205].

The leitmotif of the novel was the poem “Winter Night”. A burning candle, which first appeared in the novel during Larisa’s love affair with Antipov, embodied for Yuri in the image of his beloved woman, becomes in the poem a sign of the invincibility of life. Two images - blizzards and candles - run like a leitmotif through the novel, uniting in the verses “Winter Night”: Chalk, chalk all over the earth, // To all limits. // The candle was burning on the table, // The candle was burning. In the blizzards of History, candle light attracts a wandering soul, allows it to resist loneliness, and unites with Love [Pasternak, 2010, p. 311].

In the poem “Dawn” the religious nature of this motif is clearly visible. The poet speaks of a return to faith as an event that awakened him to a new life and transformed reality. His relationship with the world has become different: I feel for them all, // As if I had been in their shoes... // ... People without names are with me, // Trees, children, homebodies. // I am defeated by them all, // And only that is my victory [Pasternak, 2010, p. 317].

Redemptive suffering is the main theme of Yuri Zhivago’s poetry. It is most clearly reflected in the last poem of the Passion cycle, which is based on a verbal game, on the interaction of various texts: the author's, the Gospel and the liturgical, representing the death and resurrection of the Son of God.

In the novel, the motives of life and death form a force field in which all the characters in the work appear. The image of Yuri Zhivago, who carries a living spiritual principle, correlates with the image of Pavel Strelnikov. The difference between death and resurrection is not metaphysical in nature. The poem “On Passion” describes a ritual symbolizing the burial of Christ. The distance from Death to Resurrection seems endless: There is still darkness all around. // So early in the world, // That the square lay for eternity // From the crossroads to the corner, // And until dawn and warmth // Another millennium. But this infinity will be overcome during the night Easter liturgy: But at midnight creation and flesh will fall silent, // Having heard the spring rumor, // As soon as the weather has just cleared, // Death can be overcome [Pasternak, 2010, p. 300]. The poem “On Strastnaya” translates the thought into a philosophical plan of the struggle between life and death.

The Passion Cycle itself begins with the poem “Miracle”, which is based on gospel story about the barren fig tree cursed by Christ - an event that is commemorated on the first day of Holy Week.

In the next poem, “Earth,” the poet’s farewell to his friends is associated with the Gospel Last Supper: For this purpose, in early spring // Friends come together with me, // And our evenings are farewells, // Our feasts are testaments, // So that the secret stream of suffering // Warmed the cold of existence [Pasternak, 2010, p. 300].

This is followed by “Evil Days,” a poem covering the first four days of Holy Week: on the first day Jesus entered Jerusalem, on the fourth he appeared before the high priests. The penultimate two poems are dedicated to Mary Magdalene - according to tradition, she is identified with the sinner who washed Christ’s feet and dried them with her hair.

This poetic book ends with a poem called “The Garden of Gethsemane.” The words of Hamlet’s prayer “If only it is possible, Abba Father, // Carry this cup past,” spoken by Christ in the Garden of Gethsemane, connect the first (“Hamlet”) and the last (“Garden of Gethsemane” - poems. In the “Garden of Gethsemane” the words of Christ are heard , addressed to the Apostle Peter, who defended Jesus with a sword from those who came to seize him and put him to a painful death. He says that “the dispute cannot be resolved with iron,” and therefore Jesus orders Peter: “Put your sword in its place, man” [Pasternak, 2010, p. 300] This is Yuri Zhivago’s assessment of the events taking place.

The poet mourns with Christ on the eve of crucifixion and death. However, the fear of death is overcome by faith in eternal life. The poem was written with the idea that the course of history takes place according to a predetermined plan. In the last stanzas, the poet’s voice merges with the voice of Christ: You see, the course of centuries is like a parable // And it can catch fire as it goes. // In the name of her terrible greatness // I will go to the grave in voluntary torment. // I will go to the grave and on the third day I will rise, // And, as rafts are floated down the river, // To me for judgment, like the barges of a caravan, // Centuries will float out of the darkness [Pasternak, 2010, p. 322].

The last poem picks up the theme of the first and takes it into the cosmic plane. Both poems are variations of the same theme - self-sacrifice as the fulfillment of divine cosmic will. If we talk about changes in the worldview of Zhivago himself, about his spiritual evolution, then “The Garden of Gethsemane”, like the rest of the poems, are united by the image of Christ and form the so-called “gospel cycle” (“The Christmas Star”, “Miracle”, “Bad Days” , “Magdalene (I)” and “Magdalene (II)”) are evidence of the hero’s awareness of his earthly destiny, his highest sacrificial mission.

In the novel, the candle is a symbol of creativity and life. While Yuri and Tonya were driving through Moscow, along Kamergersky, he noticed a black, melted hole in the window, a candle fire was shining through it, as if the flame was spying on those traveling and waiting for someone. “The candle was burning on the table...” [Pasternak, 2010, p. 52]. The candle burns as if from the inside - not from a force filled from the outside, but from itself, its essence; and her life is combustion.

In the poem "Fairy Tale"Several sequentially revealing content-symbolic “layers” are revealed. V. Baevsky noted that the plot underlying the poem (ballad) “is fully based on three defining motifs: the serpent (dragon) gains power over the woman; the warrior defeats the serpent (dragon); a warrior frees a woman." [Baevsky, 1997]. This is an individual author’s transformation of the plot, which is based on the above-mentioned archetypal motif of snake fighting, correlated with individual episodes and storylines novel and being in relation to them, as it were, a second – symbolic – plan, allowing one to reveal their true meaning.

Thus, poetry and prose in the novel “Doctor Zhivago” form a living, indecomposable dialectical unity. The cycle “Poems of Yuri Zhivago” is a lyrical summary of the story of the Son of Man, giving in a refined form the outline of the hero’s life in direct analogy with the story of Jesus Christ. There are two motives here, penetrating each other: the motive of the divine happiness of existence and the motive of martyrdom for this happiness.

The book of poems opens with the theme of suffering and the awareness of its inevitability, and ends with the theme of its voluntary acceptance and atoning sacrifice. The central image of the entire novel is the image of a burning candle from “ winter night", the candle with which Yuri Zhivago began as a poet. Poems are a poetic summary of all the main ideas and motives of the novel.

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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? Outwardly, the plot is quite traditional for the beginning of the twentieth century: we are talking 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 grown-up 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 interfered with the fate of the 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, having become 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’s 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, “the interplay 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 going with him on assignment to the Ural city of Yuryatin, will then look for him, who went missing, at the front, and will 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 the former estate of 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 in the inner world. He creates, and the result of his creativity is the last chapter of the 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.

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CHAPTER1 . IDEA-THEMATICCONTENTNOVEL “DOCTOR ZHIVAGO” BY BORIS PASTERNAK

1 . 1 The meaning of the title of the novel "Doctor Zhivago"

The book of poems “My Sister is Life” sounded like a poetic manifesto of the poet’s blood relationship with life. It is significant that the Siberian surname of the hero is a form of the genitive and accusative case of the Church Slavonic adjective “zhivoy” (alive). In Orthodox liturgical texts and the Bible (in the Gospel of Luke), this word in relation to Christ is written with a capital letter: “Why are you looking for the living among the dead?” [Bible..., 2004, p. 238] ? The angel addresses the women who came to the tomb of Christ, i.e. the doctor's name graphically coincides with one of the names of Christ, and thereby emphasizes the connection between the hero of the novel and his gospel prototype. According to the writer V. Shalamov, B. Pasternak explained the choice of a surname for his hero: “The surname of my hero? This is a complicated story. Even as a child, I was amazed and excited by the lines from the prayer of the Orthodox Church: “You are truly Christ, the son of the living God.” I repeated this line and childishly put a comma after the word “God.” The result was the mysterious name of Christ “Zhivago”. But I was not thinking about the living God, but about his new name, accessible only to me, “Zhivago.” It took my whole life to make this childhood feeling a reality - to name it after the hero of my novel.” [Borisov, Pasternak, 1998, p. 205].

“Notes of Patricius Zhivult” - Pasternak’s “general” prose of the 30s - was undoubtedly the most important link connecting all previous attempts at a “great novel” with the concept of “Doctor Zhivago”. A whole series of motifs, provisions, names and toponyms in the part that has come down to us (“The Beginning of Prose of the Year 36”) indicate this with complete clarity. Istomina’s appearance in the “novel about Patrick” anticipates some of the features of the future Lara Antipova. In the image of Patricius, on whose behalf the story is told, autobiographical features are easily recognizable, on the one hand, and signs that bring him closer to Yuri Zhivago, on the other.

The image of “a man in captivity, in a cage” explains the origin of another “talking” surname in the novel “Doctor Zhivago” - Guichard (from the French guichet - prison window) and, in combination with the Russian meaning of the name Larisa (seagull), makes clear the abundance of “ bird" associations in the descriptions of the heroine of the novel. Symbolism of the name Larisa Fedorovna Guichard: Larisa - “Seagull” (association with Chekhov’s seagull), Fedor - “God’s gift”, Guichard - “lattice” (French). The name supports the metaphor “Lara - Russia”: Russia, spiritualized, humiliated, dying behind bars.

It is no coincidence that the hero's surname is included in the title of the novel. She is certainly speaking, associated with the Christian concept: “The Spirit of the Living God.” Already in the title of the work, the deep Christian foundations of the author's concept are defined, the main ideological and philosophical axis of the novel is the opposition of life and death. Indeed, much points to the messianic role of its central hero, who went through suffering and trials, became a kind of atoning victim of a formidable historical “surgery,” but gained immortality in his creativity and in the grateful memory of people.

1 .2 Subjectpersonalities and history inB. Pasternak's novel “Doctor ZhIvago"

The main question around which the narrative about the external and internal lives of the heroes moves is their attitude to the revolution, the influence of turning points in the country's history on their destinies. It is known that Pasternak’s attitude towards the revolution was contradictory.

In the novel Doctor Zhivago, Pasternak revives the idea of the intrinsic value of the human personality. The personal dominates the narrative. All artistic means are subordinated to the genre of this novel, which can be conventionally defined as prose of lyrical self-expression. There are, as it were, two planes in the novel: an external one, telling about the life story of Doctor Zhivago, and an internal one, reflecting the spiritual life of the hero. It is more important for the author to convey not the events of Yuri Zhivago’s life, but his spiritual experience. Therefore, the main semantic load in the novel is transferred from the events and dialogues of the characters to their monologues. The novel reflects the life story of a relatively small circle of people, several families connected by relationships of kinship, love, and personal intimacy.

1 . 3 Christian theme in the novel "Doctor Zhivago"

The main thing in the novel? this is the discovery of internal connections between people and events, which leads to an understanding of history as a natural and consistent process. It is in revealing this inner content of the novel that Christian motives play the most important role.

with the devil. “The mystery of life, the mystery of death” - the thought of the author of Doctor Zhivago struggles with this mystery. And Pasternak solves the “mystery of death” through life in history-eternity and in creativity.

Pasternak is concerned with the theme of the spiritual resurrection of the individual. The first lines of the book (the funeral of Yura's mother, the blizzard night after the burial, the child's experiences) are the semantic beginning of this theme. Later, Yuri Andreevich imagines that he is writing the poem “Confusion” about those days that passed between the death of Christ and his resurrection, about that space and time when there was a struggle between the resurrection potency of life and the “black earthly storm.” [Pasternak, 2010, p. 123]. The main character of the novel understands resurrection this way: “...You are afraid whether you will be resurrected, but you were already resurrected when you were born, and you didn’t notice it” [Pasternak, 2010, p. 45].

“There will be no death” - this is one of the author’s options for the title of the future novel. According to Pasternak, a person should carry within himself the idea of immortality. He cannot live without this. Zhivago believes that immortality will be achieved by a person if he becomes “free from himself” - he accepts the pain of time, accepts all the suffering of humanity as his own. And it is significant that the main character is not only a doctor, but also a poet. The collection of his poems is the result, the summation of his life. This is Yuri Zhivago's life after death. This is the immortality of the human spirit.

The ending of the novel is conceptually important. It contains two epilogues: the first is the result of the hero’s earthly life, and the second is the result of his creativity and miracles. A deliberately reduced image of the death of Yuri Zhivago is replaced by the apotheosis of the hero - the publication, many years later, of his book poems. This is a direct plot materialization of the idea of immortality. In his poems, which captured the miracle of life, expressing his attitude and understanding of the world, Yuri overcame the power of death. He preserved his soul, and it again entered into communication with people.

Human immortality for Yuri Zhivago? it is life in the minds of others. Yuri speaks the words of Christ about the resurrection as a constant renewal of the same eternal life. The Mystery of the Incarnation? the main Christian motif in the novel Doctor Zhivago. It sounds in the reasoning of Uncle Yuri, the heretic Vedenyapin, already in the first book. [Pasternak, 2010, p. 2]. Truth is known through everyday life, and the human image of Christ is the cornerstone of Vedenyapin’s historiosophy, which, according to him, is built on the idea that “man lives not in nature, but in history, and that in the current understanding it is founded by Christ, that the Gospel there is its justification" [Pasternak, 2010, p. 13]. Vedenyapin's view of history and human personality is opposed to antiquity, which did not have such an understanding of history. In ancient times, the human person had no value, and rulers likened themselves to gods, turning people into slaves.

The views of Vedenyapin's historiosophy strikingly coincide with the views of Yuri Zhivago, which are reflected in his poetry, in which the theme of Christ is repeated, and again in a new interpretation. Like Vedenyapin, Simushka is clearly influenced by Hegel in assessing the meaning of Christianity for modern man, who no longer wants to be either a ruler or a slave, in contrast to the pre-Christian social order with its absolute division into leaders and peoples, into Caesar and the faceless mass of slaves. “An individual human life became God’s story, filling the space of the universe with its content” [Pasternak, 2010, p. 239].

Thus, one of the interpretations of the legend of Christ, which is a constant element of culture, was included in the content of the novel about Yuri Zhivago - an eternal theme - Christian - was embodied in his personality and fate. B. Pasternak raised mortal man to the same level as Jesus Christ, proving the equivalence of the earthly life of a spiritualized man, his tragedy of the existence of that destiny, which became for humanity a symbol of martyrdom and immortality. The parallelism between the fate of Yuri Zhivago, a Russian intellectual who lived in the first third of the 20th century, and the story of Jesus Christ became in the novel the most important way of discovering the moral essence of man’s struggle with his time, a form of enormous artistic generalization.

1 .4 The idea of the purpose of art in the novel

The writer, through the mouth of the lyrical hero Yuri Zhivago, speaks about the purpose of art: “It relentlessly reflects on death and relentlessly creates life through this” [Pasternak, 2010, p. 58]. For Zhivago, creativity is life. According to Zhivago, “art has never seemed like an object or aspect of form, but rather a mysterious and hidden part of content” [Pasternak, 2010, p. 165]. The author, being extremely sincere, shows the moment of inspiration when the pen cannot keep up with the thought: “...And he experienced the approach of what is called inspiration...” [Pasternak, 2010, p. 252]. The author also makes the reader a witness and participant in the most difficult work on the word: “But what tormented him even more was the anticipation of the evening and the desire to cry out this melancholy in such an expression that everyone would cry...” [Pasternak, 2010, p. 254].

Pasternak exposes Zhivago's creative process. The lyrical hero is the clearest expression of the poet. According to D.S. Likhachev, “there are no differences between the poetic imagery of the speeches and thoughts of the main character of the novel. Zhivago is the exponent of Pasternak’s innermost.” [Likhachev , 1998, vol. 2, p. 7]. Yu. Zhivago’s life credo is freedom from dogma, any parties, complete freedom from reason, life and creativity by inspiration, and not by coercion (Sima’s conversation with Lara about the Christian understanding of life): “She wanted to be with him at least for a little while.” with help to break free, into fresh air, from the abyss of the suffering that entangled her, to experience, as it used to be, the happiness of liberation” [Pasternak, 2010, p. 288].

The motive of love is combined with the motive of poetic creativity in the novel. In Pasternak’s value system, love is equal to poetry, for it is also insight, also a miracle, also a creation. And at the same time, love becomes the main reward for the poet: Tonya - Lara - Marina - this is, in a certain sense, a single image - the image of a loving, devoted, grateful one. Life manifests itself most brightly and fully in love. Love is shown in everyday, ordinary expression. Love and beauty are depicted by the writer in a purely everyday manner, using everyday details and sketches. Here, for example, is an image of Lara’s appearance through the eyes of Yuri Andreevich. [Pasternak, 2010, p. 171]. Love for Yuri Zhivago is connected with the life of home, family, marriage (both with Tonya and Lara). Tonya personifies the family hearth, family, a person’s native circle of life. With the advent of Lara, this circle of life expands; it includes reflections on the fate of Russia, the revolution, and nature.

Thus, the novel “Doctor Zhivago” is a novel about creativity. The idea of the human personality as a place where time and eternity converge was the subject of intense thought by Pasternak both at the beginning and at the end of his creative career. The idea that to live means to realize the eternal in the temporal underlies the idea of the purpose of the poet in the novel “Doctor Zhivago”: everything in the world is filled with meaning through the word of the poet and thus enters into human history.

To understand the reasons for Zhivago’s behavior in certain situations, you need to understand the meaning of nature for him and its place in the work.

In its special quality, Pasternak’s “non-classical” psychologism manifests itself through the sphere of nature (landscape, the system of natural images of vertical and horizontal space), which becomes unified in Doctor Zhivago - both material and spiritual, and a symbolic authority that allows facts to become conscious and the spiritual life of the subject to find its “manifestation”. [Di Xiaoxia, 2012, p.10].

Even Christianity here is inevitably natural: either Jesus appears as “a man-shepherd in a flock of sheep at sunset,” or flowers escort Zhivago to another world, because “the plant kingdom is the closest neighbor to the kingdom of death. The mysteries of transformation and the mysteries of life are concentrated in the greenery of the earth" [Pasternak, 2010, p. 201].

Zhivago’s whole life is an instinctive desire to dissolve in nature, not to resist it, to return to childhood, where “the outside world surrounded Yura on all sides, tactile, impenetrable and undeniable, like a forest... This forest was made up of all the things in the world... With all his half-animal faith, Yura believed in the God of this forest, as in a forester” [Pasternak, 2010, p. 56].

Nature lives and feels, just like humans: “The first harbingers of spring, a thaw. The air smells of pancakes and vodka, like at a butter salon... The sun squints sleepily, with oily eyes in the forest, sleepily, with needle eyelashes, the forest squints, the puddles glisten oilily at noon. Nature yawns, stretches, rolls over and falls asleep again.” [Pasternak, 2010, p. 85].

Having moved away from God, and thereby from nature, in his youth, Zhivago during the civil war, when “the laws of human civilization ended” and the pressure of reason weakened, returned to nature through his love for Lara. In the novel, the “naturalness” of love is constantly emphasized: “They loved because everything around them wanted it that way: the earth under them, the sky above their heads, clouds and trees.” [Pasternak, 2010, p. 288].

Nature is feminine in the novel: “Some kind of living intimacy developed between the birds and the tree. It was as if the mountain ash saw all this, was stubborn for a long time, and then gave in and, taking pity on the birds, gave in, unbuttoned and gave them her breast, like a mother to a baby.” [Pasternak, 2010, p. 205]. Lara appears in the form of either a swan or a rowan tree, it becomes clear that for Zhivago Lara is the embodiment of nature itself: “Since childhood, Yuri Andreevich loved the evening forest through the fire of dawn. At such moments, it was precisely that he let these pillars of light pass through himself... “Lara!” - closing his eyes, he half-whispered or mentally addressed his whole life, to all of God’s earth, to all the sun-lit space stretched out before him.” [Pasternak, 2010, p. 200].

Returning to the forest, to the beginning, when everyone was equal, is the only way out for Zhivago as a creative person, otherwise he will constantly feel the inferiority of his existence. He and Lara are a single whole, this is what nature requires, this is what his soul requires. The fields, “orphaned and damned without man,” evoke in Zhivago a feeling of feverish delirium: he sees how “the mocking smile of the devil snakes across them”; while in the forests, freed from man, they show off “like released prisoners” [Pasternak, 2010, p. 270], God dwells, and a state of enlightenment and recovery descends on man. Pasternak makes Zhivago feel not only the internal manifestations of nature, but also external ones, some of which become constant messengers of joy or misfortune.

Thus, the highest values for Yuri Zhivago are nature, love, poetry - what forms the basis of the hero’s inner world, allows him to maintain inner freedom in the most difficult vicissitudes of time. The love of the heroes is necessary and natural, like life, like nature. Yuri Zhivago and Lara love because they are equally close in their understanding of life and nature. Nature in the concept of the novel is the embodiment of life, its all-encompassing beginning.

CHAPTER2 . ORIGINALITY OF THE POETICS OF BORIS'S NOVELPASTERNAK "DOCTOR ZHIVAGO"

2 .1 The problem of genrenovel "Doctor Zhivago"

B.M. studied certain aspects of the novel and its poetics. Gasparov, I.L. Smirnov, I.M. Dubrovina, L.A. Kolobaeva, O.V. Sineva, N.A. Fateeva and others. The problem of genre features of the novel was studied from different points of view. Doctor Zhivago is not recognized as a complete epic work - a novel in the full sense of the word.

A. Popoff considers Doctor Zhivago a lyrical novel. Pasternak's prose is the poet's personal prose. The characters in the novel express the author's ideas and speak in his poetic voice. The lyrical content in the novel is concentrated in its last part - a book of poems by Yuri Zhivago. The novel "Doctor Zhivago" was discussed in criticism both from the standpoint of novel prose of the 19th century, and as a work created under the influence of the ideas of the symbolists. [Popoff, 2001, p. 319].

The poems of the hero of the novel are a lyrical diary in which human history is interpreted in the light of the Christian ideal. A. Voznesensky sees in Doctor Zhivago “a novel of a special type - a poetic novel,” in which the lack of epic objectivity was more than compensated for by an intense lyrical beginning. He gives a figurative explanation: “The huge body of prose, like an overgrown lilac bush, bears terry clusters of poems crowning it. The purpose of the novel is the poems that grow from it in the finale.” [Voznesensky, 1990, p. 226].

Another researcher, I. Sukhikh, demonstrates the multidimensional structure of a character-symbol using the example of the protagonist, in whom he sees “an attempt to synthesize ... various aesthetic and historical ideologies,” as a result of which Yuri Zhivago can be perceived both as “an image of a poet and a symbol of a Russian intellectual ( physician-writer Chekhov), and a continuation of the literary tradition (an ideological hero, an extra person), and a figure of a certain historical era, a sign of a generation.” [Sukhikh, 2001, p. 78].

B.M. Gasparov called the novel “Doctor Zhivago” a post-realistic work, because its structural construction is associated with the nonlinearity and polyphony of a musical composition. The search for a musical theme in Pasternak should be directed not at the material, but at the internal structure of his works. From this point of view, Doctor Zhivago is of exceptional interest. It is in music that this phenomenon receives its most complete embodiment and becomes a universal formative device on which the entire composition is based. [Gasparov, 1994, p. 198].

But behind these plans lies another one - autobiographical, because Doctor Zhivago is a novel about the development of a poet. However, the figurative presentation of this path is not limited to the experience of Pasternak alone. The special role of the symbolist poet is evidenced by a fact from the creative history of the novel - Pasternak initially intended to call his work “Boys and Girls,” which is a reference to Blok’s poem “Willows.” [Lesnaya, 1996, p. 105].

Academician D.S. Likhachev believed that the novel “Doctor Zhivago” was an autobiographical novel. Pasternak writes not about himself, inventing his own destiny, but at the same time about himself, with the goal of revealing his inner life to the reader. The lyrical voice of the protagonist, his philosophy are inseparable from the voice and beliefs of Pasternak himself. The researcher classified this novel as a “kind of autobiography,” “biography of time.” He wrote about the novel “Doctor Zhivago” as “an autobiography in which, surprisingly, there are no external facts that coincide with the real life of the author. And yet, the author (Pasternak) seems to be writing for someone else about himself. This is Pasternak’s spiritual autobiography, written by him with utmost frankness.” [Likhachev, 1988, p. 4] Other literary scholars also wrote about the autographic nature of the work. [Bondarchuk, 1999, p. 6].

According to O.A. Grimova, the novel “Doctor Zhivago” should be considered as a genre polyform, the elements of which are genetically connected with the most significant stages in the development of literature (myth - folklore - literature). [Grimova, 2013, p. 7]. Various genre vectors interact in the novel. A visual representation of Pasternak’s novel as a genre polyform is contained in Appendix No. 3.

“Doctor Zhivago” has a summary character: it summarizes the individual author’s experience, the experience of the era. He not only sums up the classic novel of the 18th - 19th centuries, but also paves the way for the modern novel. The most succinct summation of the unique combination of such poetic features as universality, paradox, multi-level dynamism is the definition of the essential nature of Doctor Zhivago as a “novel of secrets” (concepts of I. Kondakov, I. Smirnov).