Pasternak Doctor Zhivago Christian motives. Christian motives in verses from the novel by B.L.
Christian motives in verses from the novel by B.L. Pasternak "Doctor Zhivago"
Boris Pasternak considered the poems that make up a separate, final part of the novel “Doctor Zhivago” as the poems of the main character, the doctor Yuri Zhivago, to be his best poems. Here many images are connected with the Gospel. In the opening of the cycle, “Hamlet,” the poet begs God to pass by the cup of suffering, but realizes that
The schedule of actions has been thought out,
And the end of the road is inevitable.
I am alone, everything is drowning in pharisaism.
Living life is not a field to cross.
In another poem, “On Passion,” nature mourns the death of Christ:
And the forest is stripped and uncovered
And at the Passion of Christ,
How the line of worshipers stands
A crowd of pine trunks.
And in the city, on a small
In space, like at a meeting,
The trees look naked
In church bars.
And their gaze is filled with horror.
Their concern is understandable.
Gardens emerge from fences.
The order of the earth is wavering:
They are burying God.
However, according to the poet, the miracle of the Resurrection on Easter night will restore world harmony and overcome death:
But at midnight creation and flesh will fall silent,
Hearing the spring rumor,
It's just clearing weather,
Death can be overcome
With the strength of Sunday.
In one of Pasternak’s most famous poems, in the famous “Winter Night,” a candle lit on the table, like a candle near an icon, likens a love encounter to a prayer:
Shadows lay on the illuminated ceiling,
Crossing of arms, crossing of legs,
Crossing fates.
There was a blow on the candle from the corner,
And the heat of temptation
Raised two wings like an angel
Crosswise.
At Pasternak's true love guarded by angels.
The “Christmas Star” is dedicated to Christmas. Here Star of Bethlehem“rose like a burning stack of straw and hay in the middle of the whole Universe, alarmed by this new star.” And the Magi:
They stood in the shadows, as if in the darkness of a stable,
They whispered, barely finding words.
Suddenly someone in the dark, a little to the left
He pushed the sorcerer away from the manger with his hand,
And he looked back: from the threshold to the Virgin,
The Christmas star looked on like a guest.
And almost all the verses in the cycle that follow “The Christmas Star” are already dedicated directly to Jesus Christ. In “Dawn” the poet again, after a long break, comes to faith in the Lord:
And after many, many years
All night I read Your Testament
And as if he had fainted, he came to life.
In the “Miracle” - the last journey of Christ from Bethany to Jerusalem, and the episode with the fig tree incinerated by lightning:
Find yourself a moment of freedom at this time
At the leaves, branches, and roots, and trunk,
If only the laws of nature could intervene.
But there is a miracle miracle, and miracle there is God.
When we are in confusion, then in the midst of confusion
It hits you instantly, by surprise.
Pasternak puts God's Providence above the laws of nature, miracle above knowledge. In “Earth” he calls “for the secret stream of suffering to warm the cold of existence.” In "Bad Days" to Christ during the solemn entry into Jerusalem
I remember the majestic stingray
In the desert and that steepness,
With which world power
Satan tempted him.
Also, the poet himself had to endure many devilish temptations from those in power in his life, but he did not betray his muse, as Doctor Zhivago proved. In Magdalene, Pasternak hopes
During this terrible interval I will grow to Sunday.
And in the final “Garden of Gethsemane” the gospel landscape, where “gray silver olive trees tried to step into the distance through the air,” conveys state of mind Jesus when
He refused without confrontation,
Like things borrowed
From omnipotence and wonderworking,
And now he was like mortals, like us.
The distance of the night now seemed like an edge
Destruction and non-existence. Space
The universe was uninhabited
And only the garden was a place to live.
Christ addresses his disciples:
The passage of centuries is like a parable
And it can catch fire while driving.
In the name of her terrible greatness
I will go to the grave in voluntary torment.
I will go down to the grave and on the third day I will rise,
And how rafts are floated down the river,
To Me for judgment, like the barges of a caravan,
Centuries will float out of the darkness.
For Pasternak, the evangelical motifs of “verses from the novel” were necessary to emphasize the Christian ethics underlying Doctor Zhivago. The sermon of Jesus illuminates not only all centuries of subsequent history, but also the images of the heroes of the novel. It glows not only in the Universe, but also in the souls of Yuri Zhivago and Lara. Zhivago, in full accordance with his surname, is alive; in Soviet society he is actually buried alive. It is no coincidence that the novel begins with the funeral of Yuri’s father and the prophetic phrase: “Zhivago is being buried.” And in the finale, Doctor Zhivago is destined to “seriously and completely die” - he literally suffocates in a crowded tram. But he resurrects - in his poems that complete the novel.
/ / / Christian motives in Pasternak's novel "Doctor Zhivago"
According to Boris Pasternak, after the difficult years of civil war and revolution, a bright and happy century was about to begin in Russia. And the writer incredibly looked forward to such a time. Of course, the novel Doctor Zhivago was an excellent step towards such a happy age.
In the lines of the work, Pasternak tried to convey the entire tragedy of Russia, to describe all the events that shook the earth. He considered this his direct, civic duty. Boris Leonidovich tried in every possible way not to forget about the truth, about truth, which occupied a dominant role in the life of any person. However, such concepts are always inseparable from cruelty.
Once, commenting on his novel, Pasternak said that in its lines he tried to assess the surrounding events and frankly express his personal understanding of art. In addition, the author of the famous lines described the importance of faith and religion in the lives of ordinary people.
Episode at the Bedside dying Anna Ivanovna Gromenko can explain the views and understanding of Christianity with the thoughts of Pasternak. However, the reader is not watching the author, but the main character of the novel, Yuri Zhivago. According to the hero, resurrection occurs during the birth of a new person. However, we humans live and suspect nothing.
Expresses the idea that one person lives in another person. And even after death we are remembered and honored. Memory is an immortal gift that allows people to continue and live in the minds of other people. It is for this reason that Boris Leonidovich mentions the significance of actions, because only the memories of the people around him depend on them.
Pasternak repeatedly noted his belief in divine power, in the certainty of everything earthly. Only now war times forced people to throw thoughts about God into the background. And the writer pays close attention to this fact. He is trying to change people's attitudes, reconsider life values and restore faith in the Almighty.
Reading the lines of the novel, the reader cannot help but replace the close connection between Christianity and nature. Jesus is depicted as an ordinary shepherd. And the road to the other world, where Jesus went, was covered with flowers. With the help of your famous novel, Boris Leonidovich is trying to convey to the public his understanding of religion and faith. With your lips literary work, Pasternak talks about eternal life, that death does not exist. And what is typical for the novel is that there are no imposing facts or clear positions of the author in its text. The writer tries to reveal a new vision of life and death, a new perception of religion and the existence of Christ.
Pasternak simply expressed and described his personal opinion, and each of us must draw our own conclusions.
The entire plot of the novel with Doctor Zhivago is generally oriented towards the gospel plot. The story, understood by Pasternak as a drama, has already been played out in the Gospel, and its central person is Christ, another center Christian history No. Yuri Zhivago, of course, not Christ, but his fate embodies the drama of the Christian personality. The role of Yuri Zhivago is similar to the role of an artist, a creator who cannot voluntarily intervene in the course of history, but brings into this world his ideal of a Christian understanding of life.
With the hero of Shakespeare's tragedy lyrical hero poem of the same name by B. Pasternak is united by the same desire: to make your own life choice“in mortal combat with a whole sea of troubles” (“Hamlet”, act 1). He, like Hamlet, feels the break in the “connecting thread” of times and his responsibility for its “connection”:
“The connecting thread broke for days.
How can I connect their fragments!..”
(W. Shakespeare. “Hamlet”)
The “axis” of life also affected the fate of Yuri Zhivago: he finds himself in the center of the universe, “at a crossroads,” trying to predict his “role” in the world “drama.”
"Leaning against the door frame,
I catch in a distant echo
What will happen in my lifetime...
The darkness of the night is pointed at me
A thousand binoculars on the axis..."
The image of “a thousand binoculars” expands the artistic space of the poem. Behind this metaphor is an understanding of the essence human existence. The world is a huge space. Thus, the theme of “life-theater”, stated in Shakespeare’s tragedy, in B. Pasternak expands to the Infinite - “the soul would like to be a star” (F. Tyutchev). But the path of chosenness is elevated to the “eternal prototype” and is associated with inevitable suffering, therefore:
“If only possible, Abba Father,
Carry this cup past.”
The image of the cup is an open gospel reminiscence: “Let this cup pass from me!” This appeal is a paraphrase of Christ’s prayer in the Garden of Gethsemane before “they laid hands on Jesus Christ and took him. And going away a little, he fell on his face, prayed and said: “My Father! If it is possible, let this cup pass from Me” (Matthew 26:39). The lyrical hero’s prayer for a change of fate, for softening the blows of life is an eternal human appeal to God, but at the same time the hero feels that “the end of the path is inevitable”:
“But the schedule of actions has been thought out,
And the end of the road is inevitable.”
Here is a premonition of complete destruction as the price for the “role-playing” purpose of the creator, the artist. A motive of sacrifice for free creativity appears. It is realized in the last quatrain. This quatrain represents the “end of the road” - that is, the “crucifixion”, the sacrifice “for many<...>for the remission of sins."
“I am alone, everything is drowning in pharisaism.
Living life is not a field to cross.”
The Pharisees are the personification of hypocrisy, lies, and lawlessness. In Jesus' instruction about the Pharisees it is said: “ Woe to you, scribes and Pharisees, hypocrites, because you close the kingdom of heaven to men!” Thanks to this reminiscence one can understand real role and the lyrical hero, and Yuri Zhivago, and Boris Pasternak. Proof of this is also the semantic coloring of individual words: the stage in the first stanza seems to actualize the theatrical destiny of fate. However, the following words: role, drama, routine deprive the right of choice, but they all turn out to be reduced to one formula - “living life is not a field to cross.” And this is no longer from acting: life wisdom does not tolerate hypocrisy. Life itself is a choice, living it means making this choice.
“I love your stubborn plan, but this time (“And this time fire me”) I know my fate and go to meet it, coordinating my choice with folk wisdom“Living life is not a field to cross.” That's how it is true face a hero courageously marching toward an inevitable end. 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.
Boris Pasternak admitted that the basis of the poems for the novel is “a new state of mind.” This state is love. Love in two forms: as an intimate feeling and as a broader feeling - love for life, for God.
The image of a candle frames the stanzas, becoming, as it were, the center of the universe. The flame is initially lost in the snowstorm (“Chalk, chalk all over the earth // To all limits”). “Like a swarm of midges in summer,” in winter flakes of snow fly towards the flame, and the blizzard directs its arrows towards it. Before us is a comprehensive picture of a blizzard that is raging across the entire earth. And against the background of this rebellious element - a lonely burning candle.
Love seems to the lyrical hero to be a creation spiritual world, a central event in life, like “baptism.” “A candle was burning on the table” in the lovers’ room, illuminating the picture of their meeting. Love resists the blizzard, and it is she, and not the blizzard, that penetrates “to all limits.” In love, the carnal and the spiritual, the temporary and the eternal, the human and the angelic “cross.”
In Christian symbolism, a candle means faith in God. In the poem " Winter night“The image of a candle is multi-valued: it is both a symbol of an idyllic world and a symbol of meeting, hope, faith, love.
There are clearly tangible details in the poem. Snow flakes fly “to the window frame from the yard” and appear on the glass snow patterns- “circles and arrows”, “two shoes” fall “with a knock on the floor”, “wax” drips “on the dress”, “on a candle” blows “from the corner”. All this only confirms that the poetry of love is the poetry of living life, the poetry human soul, which is not alien to any heart interruptions, any dissonance. Therefore, the image of a candle ascends from the disharmony, chaos reigning in the world, to the Eternal world in time. “Winter Night” is about moments of instant and eternal happiness; love illuminates the heroes with inner light, carrying them to the piercing heights of the Spirit.
The poem “Fairy Tale” occupies a special place in Yuri Zhivago’s poetry notebook. The poem is based on the legend of how St. George the Victorious kills a dragon-serpent who is strangling a girl. The legend reflects the ancient idea of good and evil. Name Georgiy Greek origin, in Rus' it took the forms Yuri or Egor. Thus, in the poem and in the novel, the parallel between St. George and Yuri Zhivago is obvious.
There are clear parallels in the poem: the girl is Lara, Saint George is Yuri Zhivago, the dragon is Komarovsky. And again Komarovsky appears in the lives of the heroes and destroys all dreams of happiness, oh quiet life. But Yuri-Georgiy cannot save his beloved, he gives her into the power of the dragon. That’s why it’s a fairy tale, because in reality everything is much more complicated and confusing. A fairy tale can only exist in dreams.
“And they didn’t even really say goodbye, only Yuri Andreevich waved his hand and turned away, trying to swallow the pain that had become like a stake in his throat<...>“Goodbye, goodbye,” anticipating this moment, the doctor silently and unconsciously repeated, pushing these barely breathing sounds out of his chest into the evening frosty air. “Farewell, my only beloved, forever lost!” Lara for Yuri Zhivago is the sphere of soul, creativity, spirit. Lara is a symbol of life, a symbol of the pricelessness of her gift.
The separation of loved ones has taken place. Metaphorical images seas, waves evoke associations with the “storm of life”, with the “wave of fate”. In prose, they show the meaning of the historical, social storm that threw Lara and Zhivago to different shores, sometimes connecting them, sometimes separating them. In the poem, these same images acquire the features of universal loneliness, when “the light of God is not visible.” Here separation becomes a metaphor for a destroyed world, common destiny. The motif of destruction, the devastation of the house (“There are traces of destruction everywhere”; “Everywhere in the rooms there is chaos. // He is the measures of ruin...”) becomes perhaps the main thing in the poem. In prose we read: “I will put your features on paper.” “On paper” there were no features left of her: “Her features and forms have gone to the bottom of her soul.” There remains a melancholy that “will devour you to the bones.” And yet, behind the crying and longing for Lara, there is something higher - “his betrothal to the spirit of creativity and transformation.” And therefore... “There will be no death...”
Themes of love and creativity run throughout the novel. Love and creative gift, given to Yuri Zhivago from above, become a source of life, and only thanks to them the “drama of life”, the tragedy of existence, is overcome. The Artist, the Creator, according to Zhivago-Pasternak, is called upon to unite the “torn connecting thread of days” and restore meaning and eternal harmony to life. This is the task of art. The key to this understanding of creativity are the poems collected in the second part of Yuri Zhivago’s poetry notebook.
If you pay attention to the selection of “Poems of Yuri Zhivago”, you will notice that it is in the second part that poems on gospel subjects are collected: “The Christmas Star”, “Miracle”, “Magdalene I”, “Magdalene II”, “Dawn”, “ August", "Garden of Gethsemane". They show the poet the “image of the world,” appearing as a kind of bridge from earthly existence to immortality. If we consider the poems not in chronological order, then their lyrical plot is built on the following key texts: “Christmas Star”, “Dawn”, “Miracle”, “August”, “Garden of Gethsemane”.
"Christmas Star"
The image of the Christmas star by Pasternak is very significant and interesting. The Gospel says: “The star that they saw in the east walked before them...” Moving, it pointed the way to the Child. The poet develops this idea further:
"The growing glow glowed over her
And it meant something
And three stargazers
We hurried to the call of unprecedented lights.”
The strange guiding sign, unlike other stars, not only generates a “growing glow”, but also moves purposefully. The star resembles a flaming haystack:
“She was burning like a haystack, to the side
From heaven and God,
Like the glow of arson,
Like a farm on fire and a fire on a threshing floor.”
In this quatrain, all images appear away from “heaven and God.” Why is that? Is it because the poet feels the involvement of a transcendental phenomenon in earthly everyday life, in real life, in human destinies. The poet equates the luminary who announced the birth of Christ with the people who accepted this Divine sign. It is no coincidence that the subsequent sublime lines (by the way, this is the only fragment in the poem with elevated pathos) are broken off in the next phrase by the prose of earthly drifting snow:
"And a strange vision of the coming time
Everything that came after stood up in the distance.
All the thoughts of centuries, all dreams, all worlds,
The whole future of galleries and museums,
All the pranks of fairies, all the deeds of sorcerers,
All the Christmas trees in the world, all the dreams of children.
All the thrill of warmed candles, all the chains,
All the splendor of colored tinsel...
...The wind from the steppe blew angrier and more fiercely...”
The image of the future in this fragment of the poem appears in a festive atmosphere: “all thoughts of centuries, all dreams, all worlds” will be associated with one of their main biblical symbols. As solemn as it will be in the future, so mundane now, in the present...
Note that the entire poem is built on centrifugal force: the radius is expanding all the time. Gospel story goes beyond given topic- Nativity of Christ. This world is much bigger. Everyday details of the landscape in the first part of the poem are built like arches - circles go from them:
“In the distance there was a field in the snow and a churchyard,
Fences, gravestones,
Shaft in a snowdrift,
And the sky above the cemetery is full of stars.”
In all these sounding [O] there is a huge ascending space. If combined with Christian symbolism, then this is, of course, an icon. All the time, the halos are building and expanding, and the final line of the poem (“...from the threshold to the maiden, // Like a guest, the star of Christmas looked”) completes these circles. It is noteworthy that the Christmas star, which at first twinkles “more shyly than a bowl,” then flares up suddenly and incomprehensibly, thereby signifying the holiness of the event.
"Dawn"
Remember the parable of the resurrection of Lazarus and relate it to the hero of the poem. Read the poem by F.I. Tyutchev “I don’t know whether grace will touch...” (1851), find similar motives.
At “dawn,” that is, in his youth, the hero of the poem lived, following the moral precepts of Christ. “Then came war, devastation,” the Christian religion faded and died out. In the terrible historical upheavals, the “eternal” voice was not heard; it was drowned out by the sounds of “war”, circumstances external life. But now, after many years, faith appeared again, the hero “came to life as if from a swoon,” reading the “testament.” This is the beginning of the poem. Compare with F.I. Tyutcheva:
“I don’t know whether grace will touch
My painfully sinful soul,
Will she be able to resurrect and rebel?
Will the spiritual fainting pass?..”
The lyrical hero of Pasternak's poem is looking for a path to renewal of life. In Tyutchev’s “painfully sinful soul” cannot find peace on earth, it strives for the Infinite, while Pasternak’s hero is reborn with his soul in the “morning excitement” of the crowd, on the streets, in the city, along with the blizzard, snow, in the morning - with the whole world. “Everywhere they wake up, lights, comfort, // They drink tea, hurry to the trams.” The hero perceives the world so sensitively that he not only sees how at dawn “at the gates a blizzard knits a net // Of thickly falling flakes,” but he himself “melts” like snow and frowns like winter morning. Thus, the poet spiritualizes nature: the images of the poem consistently represent the inanimate as animate, humanizing nature. The hero does not walk - he “runs” to people, he is interested in everything in this world, his gaze penetrates everywhere, he tries to recreate the world, to gain “victory” over it.
The perception of the world has changed from “war” to “comfort”, from “fainting” to “revival”. “And the extinct pavements rise up everywhere” - the movement of life itself is conveyed here. “With me are people without names, // Trees, children, homebodies.” The hero (Yuri Zhivago), having come into contact with this world, strives to bring it to the poetic symbol of “living life”, the symbol of the Resurrection.
The lines sound somewhat paradoxical against this background: “I’m ready to smash everything into pieces // And bring everyone to their knees.” They must be understood in the biblical context of the poem: “to bring them to their knees” means to force them to listen to a sermon, a prophecy. The biblical context will help us understand what kind of “victory” we are talking about. Victory over lost faith in life. The coming dawn clarified not only the fate of the lyrical hero, but also common features existence, brought man closer to God, God to man, man to nature, nature to man.
The acceptance of life as a miracle of the Resurrection is the main pathos of the poem. Only in the fusion of past and present, general and personal, momentary and eternal, reason and feeling, “everyday life” and “truth” is a miracle born real life capable of defeating death. But time mercilessly brings the inevitable “end of the road” closer.
"August"
“One morning at the end of August, Yuri Andreevich got into a tram car from a stop on the corner of Gazetny. Yuri Andreevich was out of luck. He got into a faulty carriage, which was constantly beset by misfortunes. And suddenly I felt an unprecedented, irreparable pain inside and realized that I had broken something in myself, that he had done something fatal and that everything was lost.” Yuri Zhivago “visited this world in its fatal moments” and became a “field” for the “battle” of history and personality, life and death. Even in the coming death there was “something fatal, irreparable.” The poet dies when he can no longer breathe, but the feeling of the “fateful hour” appears much earlier; it appeared to the poet in a dream, in the poem “August”. In a dream, he hears both his own voice and at the same time “someone’s” voice, coming as if from another world.
“Early in the morning” he is awakened by the rising sun. It throws “saffron” rays from the window onto the “curtain”, “sofa”, “bed”, “wet pillow”. The picture of the dream is just as real, even the date is indicated: “Suddenly someone remembered that today is // the sixth of August as before, // the Transfiguration of the Lord.”
Let's remember the result earthly path Yuri Zhivago. Having gone through the “abyss of humiliation”, the bitterness of losses, failures in life in the difficult years of “timelessness”, while preserving the culture Christian soul, he did not have the honor of being buried by religious custom: “What a pity, after all, that he is not having a church funeral service! Funeral rite so majestic and solemn He was so worth it all...”
He recalls both the “years of timelessness” and the “abyss of humiliation,” but at the same time, “flying free perseverance” in creativity, admires the “azure”, “gold” of nature. Images of heaven, signs, the Transfiguration of the Lord, the second Savior. “A Sign from Heaven” is a confirmation of the thoughts of Jesus Christ about the truth of spiritual life and death as a sacrifice for it:
"Usually light without flame
Coming from Tabor on this day,
And autumn, clear as a sign,
It draws everyone's attention to itself."
Gospel reminiscences help to understand the meaning of the comparison of the two worlds of the poem: on the one hand, the physical, real world, on the other, the Divine world. And the satisfaction from the creation of this “image of the world” by a Christian person is so clearly palpable at the end of the poem.
Goodbye, wingspan spread,
Flight free perseverance,
And the image of the world, revealed in words,
Both creativity and miracles.
"Garden of Gethsemane"
“The Garden of Gethsemane” completes the poetic notebook of Yuri Zhivago, together with the poem “Hamlet” it builds a ring composition of both the entire novel and the cycle of poems.
The Garden of Gethsemane, according to the Gospel, is the place where Jesus Christ spent last hours. These were the moments of His farewell to earthly life. The Garden of Gethsemane is a metaphor for the immensity of time and the inevitability of the high mission of redemption in the name of triumph high love Spirit, in the name of the approach of the kingdom of the Holy Spirit.
“I will go down to the grave and on the third day I will rise,
And, as rafts are floated down the river,
To my court, like the barges of a caravan,
Centuries will float out of the darkness."
In the poem "Garden of Gethsemane" the gospel myth is interpreted as way of the cross God-man. For Zhivago, following Jesus Christ means following the chosen path of suffering and gaining Eternity.
EAT. Lintovskaya
Orenburg State University, Russia
Vocabulary of religious themes in the novel by B.L. Pasternak "Doctor Zhivago"
The great Russian culture is the heritage of all Russians. Religion is an integral part of culture. R religiosity Russian Orthodox man is a complex and diverse phenomenon. By religiosity we mean faith in God, which includes a set of norms and types of behavior. The aspects of studying this phenomenon are no less diverse: historical, philosophical, social, etc. The subject of our research is the linguistic and cultural aspect of Russian religiosity.
From the point of view of N.A. Berdyaev, “the soul of the Russian people was formed by the Orthodox Church, it received a purely religious formation. And this religious formation has survived to this day...” [Berdyaev, 1990].
The word “religion” in Russian is used from the first half XVIII century. In the Old Russian language it was identical to the lexeme “faith” (consciousness of divine law). Language and religion, being two different content forms of expression of the spiritual culture of an ethnos, reveal a close connection [Mechkovskaya, 1998]. So, V.K. Zhuravlev in his work “Russian Language and Russian Character” notes that “following the path of Christ’s commandments, the Russian person carries within himself deep religiosity, love for Christ, sincere love for his neighbor and even his enemy, sincere respect for another people, their language and culture , to his faith. And this is reflected in the Russian language" [Zhuravlev, 2002].
K.A. Timofeev identifies three groups of religious vocabulary. The first group contains general religious vocabulary.It includes words denoting concepts common to all monotheistic religions (God, soul, righteousness, prayer, etc.). The second group consists of words denoting concepts common to all major Christian denominations(Holy Trinity, Holy Spirit, Savior, Apostle, Gospel, Church, confession, etc.). The third group is formed by words characteristic of individual Christian denominations (for example, the names of clergy: priest, pastor, priest, curé, abbot, cardinal; divine services: mass, matins, all-night vigil, mass, lithium, litany; parts of the temple: iconostasis, porch, porch and etc.)[Timofeev, 2001].
Let's turn to the novel by B.L. Pasternak "Doctor Zhivago".
It is necessary to note the author’s frequent use of religious vocabulary. Thus, in the speech of Yuri Zhivago there are lexemes: “resurrection”, “Christ”, “God”, “soul”, “Christmas”, “Lord”. Nikolai Nikolaevich’s speech is also rich in religious vocabulary (God, Gospel, reward after death, preacher, commandments, Christ).
Having analyzed the vocabulary used in the novel, we found it possible to divide it into ten thematic groups.
The first group of studied vocabulary includes different names God, names of saints and biblical heroes (Christ, God, Lord, Jesus, dear God, Jesus, Holy Mother of God, deity, holy spirit, mother of God, saints, apostles, God's angels, Our Lady, Magdalene, Paul, Judas the traitor, Adam, Eve, Patriarch Moses, Apostle, Magi) .
The second group contains nominations for church services (matins, mass, requiem service, funeral service, mysteries, sermons, service, Orthodox worship, litany, prayer for health, funeral service).
The third group contains the names of actions related to religion (pray, sing a psalm, confess, get married, prayed, swear, be baptized,resurrect, cross herself).
The fourth group represents lexemes denoting conceptscharacteristic of the Christian worldview (immortality, afterlife, kingdom of God, soul, sin, reward after death, newly worshiped saint, Resurrection, Satan, repentance, conscience, chastity, curse, monastic monastery, Christianity, martyr, cherub, hell, apocalypse, heavenly punishment , scourge of God, procession, shroud, Passion of Christ, guardian angel, servant of God, right hand of God).
The fifth group consists of the names of church holidays (Easter, Trinity, Christmas, Trinity Day, Spiritual Day,Maundy Thursday, Day of the Twelve Gospels, Holy Feast, Annunciation, Great Tuesday, Holy Week, Holy Saturday, Transfiguration of the Lord, Savior).
The sixth group includes the names of prayers and sacred sources (psalm, gospel,commandments, holy scripture, nine beatitudes, Revelation of John, Old Testament, Psalter, God's story, ninetieth psalm).
The seventh group includes lexemes denoting clergy (preacher, psalm-reader, church warden, priest, priest).
The eighth group consists of the names of holy places and buildings intended for worship (Mount Athos, Tabor, Bethlehem, Jerusalem, monastery, synod, church, monastery, Church of the Holy Mother of God, little church, temple, monastery walls, church parishes, Cathedral of Christ the Savior, porch, Vozdvizhensky Monastery, bell tower).
The ninth group includes the names of believers (praying, theosophist, pilgrims, Christians, prayer books).
In the tenth group we identified phrases, sentences, fragments of statements, fragments of prayers (“Angel of God, my holy guardian…», « heaven, where the faces of saints and righteous women shine like stars...», “Bless the Lord, my soul, and His holy name,” “Blessed are the poor in spirit... Blessed are those who weep... Blessed are those who hunger and thirst for righteousness...”, “Blessed are the mocked, blessed are the entangled. God bless you...", "Holy God, holy mighty, holy immortal, have mercy on us", "Speak in tongues and prophesy. Pray for the gift of interpretation,” “Pray diligently to Your Son and Your God,” “And my spirit rejoiced in God my Savior. As if you look at the humility of your servant, behold, from now on all your people will bless me”, “For the mighty one, create greatness for me”, “Rejoice at the picturesque cross, an invincible victory for piety”, “Great intercession for the sad, pure Mother of God, quick helper, protection for the world”, “ Alive in the help of the Most High”, “Fear not...from the arrow that flies in the days”, “For I have known my name”, “I am with him in sorrow, I will destroy him...”, “You have cast me away from Thy presence, the unstoppable light, and covered I am the alien darkness of the accursed”, “the Lord is coming to free passion”, “Having enslaved the dignity of my soul, the cattle became a beast”, “Having escaped from paradise, we strive to enter through the abstinence of passions”, “Resolve the debt, like I have hair”, “Like night I have intemperance intemperate fornication, the dark and moonless zeal of sin”, “May I kiss your most pure nose and rip off this hair from my head; their Eve will go to paradise, having filled her ears with noise in the afternoon, hiding with fear”, “But she, imagine, there is a heli-grader...", Amen, Abba Father).
It is not uncommon in the novel to turn to God for one purpose or another, to use His name in the most emotionally intense moments of life (“Lord!”“to pray to God forever”, “Lord, Lord...”, “You are my God...”, “God”, “God willing”, “Oh, God...”, “Lord, your holy will!”, “for Christ’s sake”, “Good God”, “God is with you!”, “Heavenly powers”, “My God”, “glory to God”, “But God forbid!”, “There is no cross for you!”, “Fear God!”).
The lexeme “God” is used most often as part of well-known phraseological units (“ God knows...", "God knows...", " Only God knows...", « ...one must be faithful to Christ!"). Also, heroes, trying to assure their opponent of the sincerity of their words, refer to God (“By God!”, “Christ’s opinion,” “ The Word of God "). Wishes for good things are not complete without mentioning God’s name (“Christ save you”, “God grant you...”, “God help you”, “God help you”, “God save you”). Let us also note the names of religious realities (crosses, lamp, bell,lamp oil, shrine, censer, cross, amulet, icon, prosphora). There are also frequent lexemes denoting church rituals (mourning, fasting, church funeral).
We also tried to classify the above vocabulary according to its stylistic affiliation. In the novel, one can distinguish high-style vocabulary (chastity, retribution, apocalypse), stylistically neutral (priest, commandments, angels) and vocabulary belonging to the colloquial style (church, little god, father).
The most frequent lexemes in the text are those with roots -god- (-god-), -church-, -cross-, -holy- (-holy-), -mol-.
Yes, root -god- (-god-) occurs in the text of the work 141 times (God, little god, God's, divine service, venerate, Mother of God, deity, gods, pilgrims, theology, God-saved, knowledge of God, divine, piety), root -churches- 30 times (church, church, little church), root -cross- 22 times (cross, cross, godfather, be baptized, crossed, baptizing, baptized, baptized), root -sacred- (-holy-) 41 times (sacred, priest, holy, holy, holy, shrine, holy), -they say- 41 times (prayer, supplication, pray, prayed, pray, praying, pilgrims, prayer books, pray).
The most frequent religious vocabulary used by the author is the lexeme “God” (73 times). This word in the novel is used in a nominative meaning, maintaining its sacredness.
There is a close connection between the two forms of expression of the spiritual culture of an ethnic group - language and religion, which is determined by their interpenetration and mutual influence. The language is reflected and religious ideas, forming the religious picture of the world.
Thus, we can conclude that in the novel B.L. Pasternak reflected the Orthodox religious worldview, as evidenced by a large number of religious vocabulary different styles and topics (from names Christian holidays and attributes to philosophical concepts) in the speech of the main and episodic characters. The vocabulary of religious themes in the novel acts as an ethical counterbalance to the newspeak that spread in post-revolutionary times, when “a room is called living space”, and “food and firewood” was replaced by “food and fuel issues.”
Literature:
1. Berdyaev N.A. Origins and meaning of Russian communism. – M.: Nauka, 1990. – 224 p.
2. Zhuravlev V.K. Russian language and Russian character. – M.: Lyceum of Spiritual Culture, 2002. – 255 p.
3. Mechkovskaya N.B. Language and religion: A manual for students of humanities universities. – M.: Agency “FAIR”, 1998. – 352 p.
4. Pasternak B.L. Doctor Zhivago. – M.: “Book. Chamber", 1989. – 431 p.
5. Timofeev K.A. Religious vocabulary of the Russian language as an expression of the Christian language.– Novosibirsk, 2001. – 88 p.
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. It's a powerful influence Christian tradition 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.” Higher sphere Where such an 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? 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 motifs 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 very good man- 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 biblical history about the life, works, death and resurrection of Jesus Christ. This parallelism forms the key structure of Pasternak's novel. This parallelism is formed in the phases of the 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 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 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 constant updating 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 learned through everyday life, and human image 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 was founded by Christ, that the Gospel 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, reflected in his poetry, in which the theme of Christ is repeated, and again in new interpretation. Like Vedenyapin, Simushka is clearly influenced by Hegel in assessing the significance 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 teaching Orthodox Church about the transformation of man into God. According to this teaching, a person must strive to repeat the life of Christ, to become like him, to work to return sinful nature to a state of paradisiacal pristineness, to return Divine meaning to it.
The main things for Yuri Zhivago in life are: noble culture and 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 fate, 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.
