Temporary and eternal in the characters of Russian literature: E. A. Latkina. The image of Lara in the novel by B. L. Pasternak “Doctor Zhivago. Portrayal of love in Pasternak's novel Doctor Zhivago
Love is an element. The love of Yuri and Tony is a pent-up element, it’s like a candle flame - it shines and warms. It's warm and cozy around her. Yuri Andreevich loves Antonina Alexandrovna in his own way, he is attached to her. But this flame breaks free and captures the hero. Moreover, he begins to glow with passion not for his wife, but for Lara - to a stranger. Eternal love triangle, bringing suffering to all three. Because of love, Tonya suffers, who, experiencing the betrayal of her beloved, is unable to stop loving him. Yuri suffers: as a man of honor, he cannot forgive himself for betraying his wife, but he is also unable to leave Lara. Lara herself also suffers, having caused the breakup, understanding and feeling the pain caused. And all because the elements broke out, now this is not a small flame of a candle, the love of Yuri and Lara is a raging element, a flame that has broken free,
Threatening to destroy, burn everything and everyone. Love is an element that brings suffering, it gives moments of joy, but then makes you pay for them a hundredfold, sending trials. But love, like any other element, cannot be avoided. She will still come, take over, swirl in her whirlpool, mix grief and joy together. This element collides completely different people as if wanting
Find out what comes of it. Tonya and Lara love the same person, but they are complete opposites of each other. “I must sincerely admit that she good man, but I don’t want to prevaricate - the complete opposite of me. I was born into the world to simplify life and look for the right way out, and she was born to complicate it and lead astray,” this is what Antonina Aleksandrovna writes about Lara to Yuri Andreevich in her farewell letter.
And yet, love illuminates and warms the life path of the heroes, especially Lara and Yuri. Yes, she makes their life difficult, but they live by this love.
“Their love was great. But everyone loves, not noticing the unprecedented
Feelings. For them - and this was the exclusivity - moments when, like the spirit of eternity, in their doomed human existence a breath of passion flew in, there were moments of revelation and learning everything new about oneself and about life.”
Yes, love for the heroes was not something ordinary, something earthly. Love for Yura and Lara is a kind of art, and high art. Yuri Andreevich idolizes Larisa Fedorovna, and even jealousy can only be caused in him by something low and distant. He accepts the love of only like-minded people; he rejects vicious and base love. “It seems to me that I can only be jealous, strongly, mortally, with passion, of the lowest, the distant. Competition with the highest gives me completely different feelings. If a person close in spirit and enjoying my love fell in love with the same woman as me, I would have a feeling of sad brotherhood
With him, not disputes and litigation. I, of course, would not be able to share the object of my adoration with him for a minute. But I would retreat with a feeling of completely different suffering than jealousy, not so smoking and bloody. The same thing would happen to me if I encountered an artist who would captivate me with the superiority of his abilities in works similar to mine. I would probably give up my search, repeating his attempts that defeated me.”
It seems to me that these words very well show the strength and height of Yuri’s feelings for Lara. Zhivago is not jealous of her towards Antipov, he understands, accepts, and, most importantly, shares her feelings. Feelings of duty, responsibility, and tender affection. Larisa Fedorovna tells Yuri Andreevich that “if Strelnikov became Pashenka Antipov again,” then she would “on
Lazy crawled crawling into their house. “Everything would stir up inside me. I would not have resisted the call of the past, the call of fidelity. I would sacrifice everything, even the most expensive. By you. And my closeness with you, so easy, not forced, self-evident... This is the same voice of duty that drives you to Tonya.”
The theme of love in B. Pasternak’s novel “Doctor Zhivago”
Introduction (biography and review of the writer’s work)
Boris Leonidovich Pasternak (1890-1960), Russian writer. Born into the well-known Moscow Jewish family of the artist, academician of painting Pasternak and pianist R.I. Kaufman, who before her marriage was a professor at the Odessa branch of the Imperial Russian musical society. The most important for the spiritual development of the future poet were three events: introduction to Christianity, passion for music and philosophy. The parents professed the Old Testament, and the Russian nanny secretly took the boy to Orthodox Church. Musicians, artists, and writers often gathered in the house; among the guests were L.N. Tolstoy, N.N. Ge, A. N. Scriabin, V. A. Serov. The atmosphere of his parents' home determined the deep rootedness of Pasternak's work in cultural tradition and at the same time taught me to perceive art as everyday painstaking work.
As a child, Pasternak studied painting, then in 1903-1908 he seriously prepared for a career as a composer (he received recognition from A. N. Scriabin). After graduating from high school, he studied in 1909-1913 at the philosophy department of the historical and philological faculty of Moscow University, where, under the guidance of G. G. Shpet, he became acquainted with the phenomenology of E. Husserl, and in 1912 he spent one semester at the University of Marburg in Germany, where he listened to lectures by the famous philosopher. There he had the opportunity to continue his career as a professional philosopher, but stopped studying philosophy and returned to his homeland. Later, Pasternak worked almost exclusively literary activity, but professional musical and philosophical training largely predetermined the features of Pasternak’s peculiar art world.
B. Pasternak first appeared in print in the anthology “Lyrics” (1913; 5 poems), then his books of poems “Twin in the Clouds” (1914) and “Over the Barriers” (1916) appeared. It was after “Twin in the Clouds” that Pasternak began to recognize himself as a professional writer. Twelve years later, having returned to these verses, excluding and reworking many things, adding new ones, he released new collection"Over the Barriers" 1929 - collection “Poems different years" Pasternak considered his real poetic birth to be the summer of 1917, the time of the creation of the book “My Sister is Life” (published in 1922). In the 20s The collection “Themes and Variations” (1923), the novel in verse “Spektorsky” (1925), the cycle “High Disease” (1923-1928), the poems “Nine Hundred and Fifth” (1925-1926) and “Lieutenant Schmidt” ( 1926-1927), “The Tale” (1929), where the kinship between Pasternak’s prose and poetic lyrics is easily revealed.
In addition, Pasternak published several prose works: “Apples’ Line” (1918), “Letters from Tula” and “Childhood Grommets” (1922), “Airways” (1924). But this prose, published during the author’s lifetime, did not receive recognition from his contemporaries. But his lyrics became increasingly famous. Since the early 1920s. B. Pasternak becomes one of the most prominent figures in Soviet poetry, his influence is noticeable in the works of many younger contemporary poets P. G. Antokolsky, N. A. Zabolotsky, N. S. Tikhonov, A. A. Tarkovsky, K. M . Simonova. called for Pasternak to be officially named the best poet Soviet Union, but Pasternak himself resolutely opposed this.
In 1932, Pasternak’s lyrics “Second Birth” were published.
Pasternak begins to pay more and more attention to prose: by 1930, he completed the autobiographical notes “Safety Certificate,” where he sets out his fundamental views on art and creativity. By the end of the 30s. - turns to prose and translations, which in the 40s became the main source of his income. During that period, Pasternak created what became
classical translations of many tragedies, "", "Mary Stuart".
During the Great Patriotic War he writes essays “In the Army” and patriotic poems “A Scary Tale”, “Bobyl”, “Outpost”, “Reviving Fresco”, “Spring”, later - “Death of a Sapper”, “Winner”, etc., included in 1943 a book of poems “On Early Trains” (as well as the “Peredelkino” cycle).
The result of its writing activity, Pasternak himself considered the novel “Doctor Zhivago”, on which he worked from 1945 to 1955, to be the pinnacle of his creativity as a prose writer. In his letters, Pasternak often mentions his endeavors:
“Then I will do my own work for a while, for myself... I want to write a play and a story, a poem in verse and short poems. This mood may be dying, last year and the last pre-war months, which flared up even brighter during the war.” He writes to Olga Freidenberg: “I have started a long prose in which I want to put the most important thing, which is why the “fuss” in my life caught fire, and I am in a hurry to finish it by your summer visit and then read it.”
We can also see confirmation of this plan in Boris Leonidovich’s letter to N. Ya. Mandelstam:
“I want to write prose about our entire life from Blok to this spring, if possible in ten to twelve chapters, no more. You can imagine how hastily I work and how afraid I am that something will happen before I finish my work!”
The story “Childhood Eyelets” (1918), surviving prose fragments from the 1930s. already testify to numerous attempts by writers to begin to create a picture of the moral and spiritual life of their era, the history of their generation.
The novel "Doctor Zhivago" represents a broad canvas of the life of the Russian intelligentsia against the backdrop of the dramatic period from the beginning of the century to the Great Patriotic War. It is imbued with high poetics, accompanied by poems by the main character - Yuri Zhivago. While writing it, Pasternak changed its title more than once: “Boys and Girls”, “The Candle Was Burning”, “The Experience of the Russian Faust”, “There is No Death”.
The novel was sharply negatively received by the authorities and the official Soviet literary environment due to the author's ambiguous position on and subsequent changes in the life of the country. Pasternak was denied publication in his homeland. In 1957, the publication of Doctor Zhivago appeared in Italian, soon followed by Russian, English, French, German and Swedish editions, and by the end of 1958 the novel was released in all European languages(in the USSR it was published only in 1988). This led to real persecution of Pasternak in the Soviet press, his expulsion from the Union of Writers of the USSR, outright insults against him from the pages of Soviet newspapers, and at meetings of workers. The Moscow organization, following the Board of the Writers' Union, demanded the expulsion of Pasternak from the Soviet Union and deprivation of his Soviet citizenship. Pasternak wrote in his letter to his name: “Leaving my homeland is tantamount to death for me. I am connected with Russia by birth, life and work.”
Circle philosophical problems is analyzed using the example of the fate of the Russian intellectual, doctor and poet Yuri Zhivago, his friends and relatives, who became eyewitnesses and participants in all the historical cataclysms that befell Russia in the first half of the 20th century.
Zhivago saw the revolutionary events in their tragic complexity, in all their contradictions, just as Pasternak saw them. Neither the hero nor the author sought to interpret them. Pasternak’s task was different: to pass the events of history through the personal perception of a subtly and acutely sensitive hero. And this task was brilliantly accomplished. The novel is unusual, it is read in one breath, and the poems of Yuri Zhivago are an excellent means of even deeper revelation inner world hero and his relationship to to the outside world. Life is eternal, but man is finite. And the fate of a person who happened to live in critical eras, to be in the thick of historical events, is tragic. Man is a grain of sand in the sea
life, but he is also the keeper of history, he participates in all events, but not as a creator, but only as a drop in the general whirlpool.
The novel contains many motifs: biblical, philosophical, fate, various elements, beauty, homeland, etc. But in this work we are interested in love theme.
We'll find out life story a relatively small circle of people, several families, connected by relationships of kinship, love, and personal intimacy. Their destinies are directly related to historical events countries. Through the intertwining of many destinies it is shown dramatic story Doctor Zhivago's unhappy love for two women, Tonya and Lara. Sincere love for his wife, the mother of his children, the keeper of the home, is a natural beginning in Yuri Zhivago. And love for Lara merges with love for life itself, with the happiness of existence. The image of Lara is one of the facets that reflects the attitude of the writer himself to the world (it is known that her prototype was Olga Ivinskaya, last love poet. He confessed his love to her and was tormented by the fact that he had a wife and children, just like Zhivago in the novel).
The main character, Yuri Andreevich Zhivago, belonged to a very rich family, but his father went bankrupt in revelry and debauchery, throwing millions down the drain. The boy was left an orphan early. The boy grew up in the family of Professor Gromeko, along with his daughter Tonya. Relatives helped him get an education and upbringing. He graduated from the Faculty of Medicine of Moscow University and became an excellent doctor. But even in high school I dreamed of writing fiction, began writing poetry in his youth. Later creativity became his main passion. A doctor and a writer are a well-known combination in Russian literature. This combination is rare, predetermining an extraordinary personality, especially if you take into account that Yuri Zhivago in the novel is shown as genius poet In addition, he is also a religious philosopher.
Centrally books (and books of Yuri Zhivago’s poems, and Pasternak’s books about Yuri Zhivago) becomes the image of a burning candle from the poem “ Winter night", that candle,
with which Yuri Zhivago began as a poet. This symbol is carried through the entire novel, the flame and light of a candle - the element of fire:
Chalk, chalk all over the earth,
To all limits.
The candle was burning on the table,
The candle was burning.
("Winter night")
(The image of a candle has a special meaning in Christian symbolism. And the book of poems by Yuri Zhivago is his spiritual biography, correlated with his earthly life, and his vision of the world). Love can be both a great happiness and a great disaster. It is a great passion to which everything around is subordinated. It can burn with an even, warm flame of a candle, warming life, or it can flare up and turn into a fire, burning everything around to the ground.
Yuri Andreeviya marries the daughter of chemistry professor Gromeko. Marrying Tonya was his inner urge. It seemed to him that he could never find a better wife-friend than Tony - a kind, understanding wife. Family is the highest value for Yuri. He sincerely loves and respects his wife (but this is love dictated by the mind, not the heart), appreciates his father-in-law Alexander Alexandrovich, and adores his son Sashenka.
Tonya reciprocates. Yuri Zhivago is only a seemingly submissive and weak-willed person; in the face of life's difficulties, he is able to make his own decision, defend his convictions, and not break. Tonya feels his spiritual strength, she understands that the lack of will is more than compensated by the inner strength, spirituality, and talent of Yuri Andreevich, and this is much more important to her. She writes to her husband:
"I love you. Oh, how I love you, if only you could imagine. I love everything special about you, everything advantageous and disadvantageous, all your ordinary sides, dear in their extraordinary combination, a face ennobled by inner content, which without this might seem ugly, talent and intelligence, as if taking the place of a completely absent will. All this is dear to me, and I don’t know a better person than you.”
On the one hand, Yuri is a weak-willed person, he does not resist, he completely submits to the revolution, to life. But at the same time, he steadfastly endures all the trials of fate, does not change spiritually, does not betray his ideals in his soul, nothing can influence him. moral principles. Zhivago does not make specific, unambiguous decisions; he lives by doubts and hesitations. But this is not weakness, but his moral strength. “He has the determination of the spirit not to succumb to the temptation of unambiguous decisions that eliminate doubts,” - This is what D. S. Likhachev writes about Yuri Zhivago in his “Reflections on B. L. Pasternak’s novel “Doctor Zhivago.” Yuri's complaisance is neither mental weakness nor cowardice. Zhivago has a strong mind and intuition, he simply follows, obeys what life requires of him. But he is able to defend his position in the face of danger or in situations where we're talking about about his personal honor or beliefs, while maintaining his deep spiritual essence. Yuri does not object to the decisions of other people, especially those dear and close to him, accepting other people's decisions like a child who does not argue with his parents, accepts their gifts along with instructions. Zhivago does not object to the wedding with Tonya when Anna Ivanovna “conspired” them. He does not object to conscription into the army or a trip to the Urals: “However, why argue? You decided to go. I'm joining." , says Yuri.
Zhivago remains true to himself in his marriage to Tonya Gromeko. Their happy married life does not last long - the war with the Germans has begun. Zhivago leaves his young wife and son. Military reality puts Yuri Zhivago in conditions that contradict his inner essence. First world war Zhivago is perceived as scary destructive force, destroying first of all physical world. The civil war appears as a mass psychosis, an obsession of people who have lost the idea of humanity and who are involved in a monstrous process of mutual extermination. After the February Revolution, Zhivago's spouses are together again in cold and hungry Moscow. And in the spring of 1918 they leave for the homeland of Tony’s ancestors, the Urals. And there, in order to survive, they do agriculture. Thus passes a year, perhaps the best in Zhivago’s life. And then the revolution began, which Yuri initially accepted as an update. But very soon I realized what her true face was. Its transformations turn out to be a matter of pure politics, the result of the struggle of people striving for power.
But it is this war and revolution that brings Yuri Zhivago closer to another woman - Lara Guichard. Lara is the daughter of a Belgian engineer and a Russified Frenchwoman, the mistress of lawyer Komarovsky, who was left without a father early on. While still a high school student, Yura accidentally witnesses a suicide attempt made by Lara's mother. And then he sees Lara for the first time. Yura, still a boy, who first saw Lara, a girl in a student’s dress, understood and felt all her charm, all her femininity, all the power of her love, her passion.
From the first meeting, she cast a “light of charm” into him, as he himself says:
“Then at night, as a high school student in the last grades in a coffee-colored uniform, in the semi-darkness behind the number partition, you were absolutely the same as you are now, and just as stunningly beautiful... When you stepped out of the darkness of the number plate recess like a shadow in a student’s dress, I, boy , who knew nothing about you, understood with all the agony of the power that resonated with you: this puny, thin girl is charged, as if with electricity, to the limit, with all conceivable femininity in the world. If you come close to her or touch her with your fingers, a spark will illuminate the room and either kill you on the spot, or electrify you for life with a magnetically attracted, complaining craving and sadness... My whole being was surprised and asked: if it hurts so much to love and absorb electricity, how it is probably even more painful to be a woman, to be electricity, to inspire love.” .
A few years later they meet again. She is a girl with pure soul, against her will, becomes, like her mother, Komarovsky’s mistress, tries to shoot him - and submits to him. Lara dreams of an orderly life and marries Pasha Antipov (first a high school mathematics teacher, then a cruel, straightforward revolutionary who adopted the pseudonym Strelnikov and was nicknamed Rastrelnikov).
If it weren’t for the war, maybe Lara Guichard would have remained in Yuri’s memory as that young girl-woman whom he saw only twice: in a hotel room when her mother was poisoned, and on the Svetnitskys’ Christmas tree when Lara shot at Komarovsky.
During the World War, Zhivago ends up as a doctor on the South-Eastern Front, is wounded and in the hospital the nurse Lara comes to his room. In a letter, he informs his wife about this. Tonya already then, from her husband’s letter, felt and felt that thin, transparent like a gossamer, but already strong internal connection between Yuri and Lara. With her instinct alone, the woman realized that Yuri and Larisa were destined to be together. Their lives are connected by some coincidence. And she knows this and writes about it to Yuri, who still does not understand it, does not believe it, and resists. Zhivago did not take this seriously at first. The duty of loyalty and love still overpowers this connection:
“In this letter, in which sobs disrupted the construction of periods, and traces of tears and blots served as dots, Antonina Alexandrovna convinced her husband not to return to Moscow, but to follow straight to the Urals for this amazing sister, walking through life accompanied by such signs and coincidences of circumstances, with whom she, Tonin, the modest, cannot compare life path» .
Shortly before Lara and Yuri left the hospital, the inevitable explanation took place between them. Outwardly nothing has changed. He is married, she is married. He has a son, Shurochka, and she has a daughter, Katenka. Zhivago is forced to break up with Lara, and his feelings for her only intensify.
Yuri is trying to figure it out, resist this, hopes that something will destroy this connection, because he “... loved Tonya to the point of adoration. The peace of her soul, her tranquility were dearer to him than anything in the world. He stood up for her honor, more than her own father and than she herself. In defense of her wounded pride, he would tear the offender to pieces with his own hands. And this offender was himself,” Zhivago suffers from duality. He is married and loves his wife Tonya. But Lara became his very life:
“They loved each other not out of inevitability, not “scorched by passion,” as is falsely portrayed. They loved each other because everyone around them wanted it that way: the earth below them, the sky above their heads, the clouds and trees. Their love was liked by those around them, perhaps more than by themselves... Oh, this, this, after all, was the main thing that made them related and united!” .
An eternal love triangle that brings suffering to all three. Because of love, Tonya suffers, who, experiencing the betrayal of her beloved, is unable to stop loving him:
“From the mere fear of what a humiliating, destroying punishment of not loving, I would unconsciously be careful not to understand that I do not love you. Neither you nor I would ever know this. My own heart would hide this from me, because dislike is almost like murder, and I would not be able to inflict this blow on anyone.”
Yuri suffers: as a man of honor, he cannot forgive himself for betraying his wife, but he is also unable to leave Lara. Lara herself also suffers, having caused the breakup, understanding and feeling the pain caused. Love brings suffering, gives moments of joy, but then makes you pay for them a hundredfold by sending trials. Tonya and Lara love the same person, but they are the complete opposite of each other .
“I must sincerely admit that she is a good person, but I don’t want to prevaricate, she is the complete opposite of me. I was born into the world to simplify life and look for the right way out, and she was born to complicate it and lead her astray,” Tonya writes about Lara in her farewell letter to her husband.
The love of Lara and Yuri complicates their lives, but they live by this love:
“Their love was great. But everyone loves, not noticing the unprecedented feeling. For them - and this was uniqueness - the moments when, like the spirit of eternity, the spirit of passion flew into their doomed human existence, were moments of revelation and learning everything new about themselves and about life,” writes Pasternak.
Exactly tremulous love Yuri Zhivago and Lara Guichard are the core of the novel, its soul.
She's the top tragic life Yuri Zhivago, the rise of all his feelings. Description of this love - best places in the novel. Pasternak gives his hero passionate love for Lara. It is in love for a woman that he finds his sincere calling:
And I’m in front of the miracle of women’s hands,
Backs and shoulders and necks
And so with the affection of servants
I have been in awe all my life.
("Explanation")
Lara and Yuri met as they meet once in a lifetime and forever, and it doesn’t matter whether they stay together or not. It was metaphysical love, on some other level, incomprehensible to the human mind. The novel contains stunning lines about love that have become its formula:
“Never, never, even in moments of the most gift-giving, unmemorable happiness, did the highest and most exciting things leave them: the pleasure of the overall sculpting of the world, the feeling of being related to the whole picture, the feeling of belonging to the beauty of the whole spectacle, to the whole universe.”
At the heroes different tempers, but kindred spirits. Lara is the only woman who is so close to Zhivago, so similar to him, and thinks so alike with him. Although she is half-French by blood, she is Russian in spirit and feelings. At Lara's higher education. She has a keen sense of art and is very feminine. Larisa almost idolizes Yuri Zhivago.
“Lara was the purest creature in the world,” says B. Pasternak about her.
“He [Pavel Antipov] and I are as different people as I am the same as you,” Lara herself says. Yuri and Lara are absolutely indifferent to material wealth, and are internally free and generous by nature. The author writes about it this way:
“Even more than the community of soul, they were united by the abyss that separated them from the rest of the world. They were both equally disgusted by everything fatally typical in modern man, his studied enthusiasm, loud elation and that mortal winglessness that countless workers in the sciences and arts so diligently spread so that genius continues to remain a great rarity.” .
But, unlike Yuri, Lara is firm and decisive, she resists life, does not accept its conditions, fights with herself: realizing the dirtiness of her relationship with Komarovsky, for the time being she is unable to break with him. But, having decided to change her life, Lara commits a desperate act - she makes an attempt on his life. She makes decisions herself, and sometimes even dictates her will to the weaker. Lara decides to marry Patulya Antipov, then still a sweet, shy, weak-willed young man, and when her husband goes missing, she, leaving her daughter, goes in search of him herself.
Lara has a huge influence on Yuri. Zhivago loves life, even the very idea of \u200b\u200bremaking it seems wild to him. Life, according to his concept, is not a material, but an active principle. Lara is the embodiment of this life.
For the heroes, love was not something ordinary, something earthly, something that makes them related and unites. Love for Yura and Lara is a kind of art, and high art at that. Yuri idolizes Lara, and even jealousy can only be caused by something low and distant. He accepts the love of only like-minded people; he rejects vicious and base love:
It seems to me that I can only be jealous, intensely, mortally, with passion, of something inferior and distant. Competition with the highest gives me completely different feelings. If a person close in spirit and enjoying my love fell in love with the same woman as me, I would have a feeling of sad brotherhood with him, and not of argument and litigation. I, of course, would not be able to share the object of my adoration with him for a minute. But I would retreat with a feeling of completely different suffering than jealousy, not so smoking and bloody. The same thing would happen to me if I encountered an artist who would captivate me with the superiority of his abilities in works similar to mine. I would probably give up my searches, repeating his attempts that defeated me, -
These words show the strength and height of Yuri’s feelings for Lara. Zhivago is not jealous of her for Antipov, he understands, accepts, and, most importantly, shares her feelings - feelings of duty, responsibility, and tender affection. Lara tells Yuri that if Strelnikov “became Pashenka Antipov again,” then: “...I would not have resisted the call of the past, the call of fidelity. I would sacrifice everything, even the most expensive. By you. And my closeness with you, so easy, not forced, self-evident... This is the same voice of duty that drives you to Tonya.” .
Through the love of Yuri and Lara, the author reveals many wonderful character traits of the heroes. He shows them inner strength, the willingness to sacrifice your love, your happiness for the sake of salvation, for the sake of peace and well-being of each other. Yuri and Lara could not help but love (So, Zhivago refuses Komarovsky’s tempting offer, sacrificing his love for Lara. He cannot give up his convictions, so he cannot go with her. Yuri is ready to give up his happiness for the sake of the salvation and peace of mind of the woman he loves, and for this he even resorts to deception).
At the moment when Doctor Zhivago decides to open up to Tonya and break up with Lara, he is taken into the partisan detachment. Yuri captured by partisans, in captivity, in mortal fear for loved ones. But he is still overcome with happiness at the sight of the forest, permeated with the rays and reflections of the evening dawn. And his whole being is directed towards one thing: Lara. She is everything to him: his life, all of God’s earth, all the sun-lit space stretching out before him.
While Zhivago was being held captive by the partisans, his wife gave birth to a daughter, Masha, the whole family returned to Moscow, and from there, along with many representatives of the old liberal intelligentsia, were expelled from Soviet Russia. Antipov-Strelnikov fell out of favor with the revolutionary authorities and, fleeing execution, hid somewhere. Zhivago flees from the partisans to his Lara, and in the half-oblivion of a serious illness finds happiness:
“Oh, how sweet it is to exist! How sweet it is to live in the world and love life! Oh, as always, you want to say thank you to life itself, to existence itself, to say it to their faces!
This is what Lara is. You can’t talk to them, but she is their representative, their expression, the gift of hearing and speech, bestowed by the silent beginning of existence!” , - thinks
about Lara Yuri, returning from partisan detachment. Lara is his life, his love. She captured the soul of the hero, and he is unable to resist her influence.
The love of Lara and Yuri is both a blessing to their life and a formidable element that threatens to destroy this life. But the love of the heroes was sent down to them from above; they are destined for each other by heaven’s decision:
“The gift of love,” says Lara, “is like any other gift. He may be great, but without blessing he will not manifest himself...”
Yuri and Lara were left alone. In the midst of general hunger and devastation, they breathe and love and cry and hold on to each other. They are almost one whole. That is why their love is so unique, so piercing:
Should I weak woman, to explain to you, so smart, what is happening now with life in general, with human life in Russia and why are families collapsing, including yours and mine? - Lara says to Yuri. - Oh, as if it’s about people, about the similarities and dissimilarities of characters, about love and dislike. 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 was overturned and destroyed. There was only one non-everyday, immutable force left, naked, stripped to the bone soulfulness, for which nothing had changed, because at all times it was cold, trembling and reaching out to the one closest to it, equally naked and lonely. You and I are like the first two people, Adam and Eve, who had nothing to cover themselves with at the beginning of the world, and we are now just as naked and homeless at the end of it. And you and I last memory about all the incalculably great things that have been done in the world over many thousands of years between them and us, and in memory of these vanished miracles we breathe and love and cry and hold on to each other and cling to each other
Chapter from the book by V.M. Rosin "LOVE AND SEXUALITY IN CULTURE, FAMILY AND VIEWS ON SEX EDUCATION." The book is in our “Love, family, sex and about...”.
Not long ago I reread “Doctor Zhivago” by B. Pasternak and thought about it. I hope everyone remembers that there are two main female characters in the novel - Tony, the doctor's wife, and Larisa. And here’s what’s interesting: Tony’s image is suspiciously positive through and through. Tonya selflessly and hopelessly loves her husband; she is ready, respecting his sublime feelings, even to step aside and give him up to Larisa. Her fate is tragic. Circumstances of the revolutionary time force her and her family to leave Russia and separate from her husband. Zhivago’s attitude towards Tonya is not love. Duty, conscience, respect, pity - anything but love. And Tonya herself understands this. Why, one might ask, not love Tonya? If you follow reason, then you should love her, she is so positive. But Zhivago loves - passionately, deeply, directly - Larisa. Larisa, in her own words, is “broken, with a crack for life”; she is spiritually enslaved by Komarovsky and leaves with him at a tragic moment for Zhivago. Meanwhile, dedicated to Larisa best pages novel, her image is painted in the most delicate colors, with great feeling and tact: this is not an earthly woman, but an ideal, beauty and love itself, as they were understood by a poet living in an alarming and tragic time. Remember the thoughts about Lara being captured by Zhivago:
Oh, how he loved her! How good she was! Just the way he always thought and dreamed, just the way he needed it! But with what, which side? Something that could be named and highlighted in analysis. Oh no, oh no! But with that incomparably simple and swift line with which all of it in one fell swoop was circled from top to bottom by the Creator, and in this divine outline it was handed over to the arms of his soul, as a bathed child is wrapped in a tightly draped sheet.
Larisa’s reciprocal feelings are no less deep and beautiful. The gift of love is like any other gift. He may be great, but without blessing he will not manifest. And we were definitely taught to kiss in heaven and then sent as children to live at the same time in order to test this ability on each other. Some kind of crown of compatibility, no sides, no degrees, neither high nor low, the equivalence of the whole being, everything brings joy, everything has become a soul.
However, there is something strange here too. Larisa begins life losing her virginity as a high school student; she lives with Komarovsky, and she is flattered that a handsome, graying man, old enough to be her father, who is applauded in meetings and written about in newspapers, spends money and time on her, calls her a deity, takes her to theaters and concerts and, as they say, “mentally develops” her. Then she finds the strength to leave Komarovsky. A few years later he shoots him... Finally, complete freedom. Larisa marries Pasha. She studies, works, goes to the front, works in a hospital. Meeting with Zhivago. Larisa fell in love with him, but they break up. Going Civil War. Larisa works as a teacher, helps people, saves many... And here is another meeting with Zhivago. They open up to each other. Their living together tragic (threat of arrest) and beautiful. But Komarovsky appears and takes Larisa away - obviously by deception, taking advantage of the danger hanging over Zhivago and his confusion, but still with her consent.
How can one explain why Zhivago loves Larisa and does not love his such a positive wife Tonya, and why Larisa, a woman of a beautiful soul, a clear mind, loving Zhivago, again goes to Komarovsky and even lives with him for some time? Well, the reader may say, it’s an everyday matter. Why we don’t love a woman is always clear, but why we love her is never clear. As for Larisa, Zhivago himself once said to her, referring to Komarovsky: “Do you know yourself so well? Human nature, especially female nature, is so dark and contradictory. In some corner of your disgust, perhaps, you are more subservient to him than to anyone else whom you love of your own free will, without coercion.”
And yet questions remain. The opposition between Tonya and Larisa can be understood by remembering how many writers of the last century resolved the issue of family and romantic love. Let's take, for example, “Eugene Onegin” or “Dubrovsky”. Pushkin believes: love is one thing, but marriage and family are another. Romantic love, love-passion, love-attraction, deification of the beloved did not coincide with ideas about marital relationships. Behind marital relationships were spiritual and religious principles, and behind romantic love - impulse, creative ecstasy, genius, nature. The common opinion about the incompatibility of love and marriage, which gained particular popularity on the eve of the New Age, writes R. Shapinskaya, in the era of the formation of a new attitude to power - legitimation, was formulated by M. Montaigne: “A successful marriage, if it exists at all, rejects love and everything to it.” accompanying: he tries to compensate for it with friendship.” The law of sociality reformulates the Christian formula, replacing spiritual categories (love, mercy, etc.) with economic categories (reliability, strength, support). The reason for the impossibility of maintaining love in marriage is, according to S. de Beauvoir, that the spouse loses her erotic attractiveness. In marriage there is a “trap” - “although by assumption he socializes eroticism, he only succeeds in killing it.” And a little higher, Shapinskaya notes: “In traditional Russian culture, “marriage for love” is embodied only in romantic discourse or “scandalous” stories (unless, of course, you count romanticized “arranged” marriages). A love marriage that did not receive the approval of the “elders” could bring nothing but misfortune.”
A.I. Goncharov in the novel “The Precipice” solves the dilemma of love and marriage in the same way as Alexander Sergeevich, and Stendhal in “Red and Black”, and Tolstoy in “Anna Karenina”. Tolstoy wrote that he often thought about falling in love and could not find a place or meaning for it. And this place and meaning are very clear and definite: to ease the struggle of lust with chastity. Falling in love, claimed great writer, should precede marriage for young men who cannot withstand complete chastity. This is where love comes in. When it bursts into people's lives after marriage, it is inappropriate and disgusting.
These writers bred in different sides romantic love and marital relationships, argued that they are incompatible. For the latter, completely different words were used: spouse, friend, husband, wife, comrades (along the path of life), etc. If you happen to walk along the alleys of the Donskoy Monastery in Moscow, pay attention to the epitaphs on the gravestones of the 18th and 19th centuries. Inscriptions like: “To my wife and friend” are common, but I also remember this wonderful epitaph:
Tender wife and true friend,
A mother who dedicated her life for her children,
Left the light in the blooming years,
Mourned by her husband and seven children.
Obviously, Boris Pasternak proceeds from the same models of love and marriage: he loves Zhivago Larisa, but he regrets and considers Tonya his wife. That’s why there is no happiness for him and Larisa, but only delight and suffering, coincidences and pain.
So, in Russian and not only Russian XIX literature century, a model has emerged that separates romantic love from marriage. True, already in the middle of this century, another model, so to speak, of civil marriage began to take shape. What is characteristic of her? Weakening of the religious principle, respect for the personality of the spouses, ideas of cooperation and emancipation. Disillusioned with the ideals of romantic love, N.P. Ogarev writes to his future, second wife Natalie Tuchkova: “I think the only woman with whom I could live under the same roof is you, because we have the same respect for other people’s freedom, respect for any reasonable egoism, and not at all this unpleasant pettiness that burdens a person with worries and his subsequent attachment, which tries to take over his entire being, without any respect for human personality" Natalie Tuchkova completely shared Ogarev’s views, but we know how it all ended: after living with Ogarev for seven years in complete agreement and understanding, she fell in love with Herzen and went to him.
Ogarev’s third wife, Mary (formerly a London woman of easy virtue), with whom he lived for 18 years in peace and harmony until his death, did not even understand Russian, much less his poetry or political activity. But she loved him, adored him, created all the conditions for him to normal life and work, i.e. she was just a wife. “Mary Sutherland,” writes Lydia Lebedinskaya in the story about Ogarev, idolized him without understanding him. And over the years, Ogarev began to think that it was probably natural, if so, and he no longer tried to explain anything. However, Mary didn’t need this. Everything that her husband did was obviously presented to her in an aura of immutable justice and rightness.”
Isn’t it a curious evolution: starting with romantic love, the attraction of the heart, passion, Ogarev comes to the idea of subordinating love to reason, in order to eventually calm down in an almost pagan understanding of love. Of course, anything can happen in life, but it is unlikely that Natalie would have left her husband if she understood marriage the same way as Tatyana Larina.
I love you (why lie?), But I am given to someone else; I will be faithful to him forever.
The model of civil marriage in terms of values develops in the 19th century in two directions: towards the bourgeois ideal of the family and towards the revolutionary-democratic one. The first ideal finds expression in American model cyclical marriage (T. Dreiser, R. Kent, E. Hemingway), the second - in the model of communist marriage. In both cases, love (close to romantic) is assumed, and the family is built precisely on its basis. Dreiser's hero, financier Frank Cowperwood, as you remember, each time passionately and deeply loves his next chosen one. He leaves one family and creates a new one; the family left behind receives a certain allowance. The wife in the American model of marriage not only runs the household, the house, and raises children, she is the beloved woman. She has both rights and independence. But if the love ends or the contractual relationship is broken, the marriage breaks up.
In the communist model of marriage, legal and economic relations stands for cooperation, consciousness, morality, morality. The family life of K. Marx is an unattainable example in this regard: passionate, romantic love to Jenny von Westphalen, carried throughout her life, a large family, mutual assistance and cooperation of spouses, unity of views and ideals. This model assumes that the family is built not only on love, but also on conscious humanistic and even communist principles. Another question is to what extent such a model of marriage could be implemented in practice. Our parents sometimes succeeded in this, but today they succeed only as an exception. It is clear that the communist model of marriage allows for divorce and the formation of a new family.
The theme of love is key theme in the work of every writer, but each of them perceives it in his own way. In the novel "Doctor Zhivago" b. Pasternak reveals his view of this feeling. His love is contradictory and diverse in its manifestations.
The main character of the novel is Yuri Andreevich Zhivago, a Russian intellectual. He accepts the revolution not without hesitation. The tragedy of this hero lies in the constant doubts that arise in him in relation to the women he loves.
A blizzard, a blizzard, a blizzard, appearing already on the first pages of the work, accompany all the events of the novel. This is the cleansing November snow falling on the newspaper with the first decrees Soviet power, which Yuri Zhivago reads avidly on the corner of Arbat. This is a snowstorm in which he, not yet familiar with Lara, as if anticipating their meeting, for the first time sees from the street a circle thawed from a candle on the window. In this house there is a conversation between Lara and Pasha Antipov: “Through this hole a candlelight shone through, penetrating into the street almost with the consciousness of a glance, as if the flame was spying on those traveling and waiting for someone.” This is the frosty Christmas night, on the eve of which the dying Anna Ivanovna blessed Yura and him future wife I'm drowning.
Love, according to Pasternak, is as contradictory and changeable as all life of that time, like a blizzard, a blizzard, a blizzard. Speaking about the relationship between Yuri Andreevich and Tonya, the author most often refers to the concepts of love and duty. First of all, it was a duty to Anna Ivanovna, who bequeathed to the “children” not to separate. The words of this woman greatly changed Yuri Andreevich: “Tonya, this old comrade, this clear, self-explanatory obviousness, turned out to be the most inaccessible and complex of all that Yura could imagine, turned out to be a woman.”
No, we cannot say that Zhivago is indifferent to his wife. But his love is not at all the same as what he feels for Lara. In the novel, the “naturalness” of this love is constantly emphasized by the author. Lara at Zhivago’s tomb thinks: “They loved each other because everything around them wanted it so much: the earth under them, the sky above their heads, clouds and trees... Never, never, even in moments of the most royal, unforgettable happiness, did the highest and most intense happiness leave them. exciting."
Lara appears before Yuri Andreevich either in the form of a swan or a mountain ash, and, in the end, it becomes clear that for the main character Lara is the embodiment of nature itself: “As if the gift of a living spirit was flowing into his chest, crossing his entire being with a pair of wings came out from under the shoulder blades..."
The doctor instinctively strives for this woman, as if she were part of the universe. He and Lara are a single whole, this is what nature requires, this is what his soul requires. But love for Lara is fruitless, it is subject to a storm of passions. Pasternak portrays his heroes from such “angles” that the reader involuntarily has to think about what love is, what the truth is. Yuri Andreevich and Tony will have a child who will be very similar to Zhivago’s mother. What is this? Why is the relationship with Lara empty, although they suit each other like no one else? And what is in in this case true love? The author does not give a specific answer, leaving the reader to find the truth for himself.
It is worth noting that Pasternak further aggravates the situation by introducing the image of Marina into the novel. Love for her is a kind of compromise with life: “Yuri Andreevich sometimes jokingly said that their rapprochement was a novel in twenty buckets, as there are novels in twenty chapters or twenty letters.” This woman was distinguished by humility and submission to the fantasies of Yuri Andreevich. Marina forgave the doctor all his oddities, “by this time the quirks that had formed, the whims of a man who had fallen and was aware of his fall.”
The love presented in the novel is very different in its essence. Here we can talk about the “multipolarity” of this feeling. Zhivago loved Lara passionately, and Tonya out of a sense of duty. He loved Marina because fate decreed it so. However, Yuri Andreevich never finds happiness in love, and all that remains for him is to compromise with life, to come to terms with reality.
Love always accompanies heroes famous writer Boris Pasternak. Therefore, the main theme of the work “Doctor Zhivago” was the theme of love, amazing stories, which the author told about on the pages of his novel. All these amazing and different love stories happened to the main character. In his novel, Pasternak created Various types heroines, but there is only one main character - Yuri Andreevich Zhivago.
Therefore, all love stories with different women weave together around him. It is known that Pasternak initially planned to name his work differently. In the first edition, the novel is titled “Boys and Girls.” The reason for this is that the action of the novel begins with the main characters represented by female characters: Nadya, Tonya. But the author called the other, second part of the work “A Girl from Another Circle,” in which the image appears completely new heroine- Larisa Guichard. At the end of the whole action, when the novel is slowly coming to a conclusion, another one appears female image– Marina Zhivago, wife of the main character.
Yuri's first wife was Tonya Gromenko. They grew up together and were friends from early childhood. One day Zhivago was able to discern a girl in his friend, who turned out to be some kind of complex, incomprehensible, inexplicable creature for him. Yura fell in love, thought that Tonya, so close since childhood, dear and well known, was destined by fate. But this was not the only thing that pushed young people towards marriage. The girl's dying mother blessed them. Anna Pavlovna instilled in them the idea that they were created for each other, so they should not part. The words of a woman leaving for another world made childhood friends look at each other completely differently. And then, quite unexpectedly, a new feeling arose - love. Both experienced this for the first time, and this also connected them, united them. But Yuri did not perceive his wife emotionally, he loved her for the feelings and smells that she was filled with.
Yes, of course, he was grateful to her for the fact that she was not only always sincere with him, she was quiet, calm and pure, but also turned out to be a reliable support in his life. But this wonderful feeling was mixed with Yuri himself and another - a feeling of guilt for loving another woman.
Another woman whom the hero fell in love with was Lara Guichard. Brought up in humble and poor surroundings, she was the purest being. She had a very difficult time in life. Since she was forced to endure the caresses of the rich man Komarovsky, who was rude and insolent. In addition, she cared for her sick and suffering mother, and in order to survive, she gave private lessons. Zhivago and Larisa meet sometimes, completely by chance, in passing, practically without noticing each other.
Time passes and life brings heroes together dinner party. Symbol new love there becomes a candle burning every evening in Lara’s room, and Zhivago, who needed to escape and hide in this small room, one day sees it and goes to her. Love for Lara is spiritual, it is saving. The first close meeting and acquaintance was interesting, and caused Zhivago a real shock. A young girl, right at the ball, shoots the annoying and hated Komarovsky.
But this love must go through many tests that fate has prepared for them. First of all, these are terrible and harsh events in the country: civil war, coups, revolution, strikes. Yes, and their personal life is complex and difficult. So, Yuri is married, he has children, and he does not want to cause them pain and suffering. Lara is also married. It is clear that their connection will definitely happen, since they are drawn to each other.
Each time Larisa appears before Zhivago in a different way. She looks like a swan, and sometimes the author compares her to a mountain ash. This author’s technique is used to show how necessary these people are to each other, that the girl is the embodiment of nature and perfection. And for Yuri Andreevich, Larisa Fedorovna is the ideal of femininity and beauty. The heroine herself experiences tragedy: she is broken and was early and criminally made a woman.
Larisa thinks not only about Zhivago. Expecting an imminent arrest, she tries to take care of her daughter. And it opens before the reader new image: A loving woman turns into a wonderful mother. She chooses to escape with an unloved person, saving her daughter. Upon returning, Lara learns that Zhivago has died, and she could never forgive herself for this act. Her life ends tragically: one day the woman left home and never returned, and no one saw her. It can be assumed that she was arrested right on the street, and she died in one of the northern women's concentration camps.
But in the hero’s life there was another, third, woman. Another wife Marina. Submissive and silent, she completely obeyed Yuri Andreevich, accepted her husband with all his oddities, quirks and whims. He sank lower and lower, but Marina endured and accepted everything. And maybe this is her feat, as a wife, as loving woman. In his novel, Boris Leonidovich Pasternak showed three women, whose images he created completely different. But they have one thing in common - Yuri Andreevich Zhivago. They were able to give him the greatest thing - their love.
