Mela blizzard in all limits. Pasternak - between life and death. "Winter night" B. Pasternak

"Winter night" B. Pasternak

Melo, Chalot throughout the Earth
In all limits.
Candle burned on the table,
Candle burned.

As in the summer, Roy Moshcar
Flame flies
Floored flakes from the yard
To the window frame.

Blizzard looked on the glass
Mugs and arrows.
Candle burned on the table,
Candle burned.

On the illuminated ceiling
Laid the shadows
Hand crosses, leg crosses,
Fate crossed.

And fell two shoes
With a knock on the floor.
And wax tears from night light
On the dress drip.

And everything was lost in a snowmall
Gray and white.
Candle burned on the table,
Candle burned.

On the candle a blow from the angle,
And heat temptation
Raised as an angel, two wings
Crosswise.

Chalk all month in February
And that's the point
Candle burned on the table,
Candle burned.

Boris Pasternak is considered to be one of the brightest Russian poets and literators of the 20th century. It is he who owns the idea to combine in one product prose and poems that caused a flurry of criticism from contemporaries, but it was appreciated by descendants.

This, in particular, is about the famous Roman "Dr. Zhivago", the last part of which is devoted to the poems of the main character. The fact that Yuri lived is a thin lyrics and an amateur of rhymed phrases, the reader will know in the first chapters of the novel. However, Boris Pasternak tries not to distract readers lyrical retreats, therefore it decides to combine all the poems of Yuri Zhivago in a separate collection.

The first poem attributed to the authorship of the main character, is called the "Winter Night". Later, it was often published as an independent literary work called "Candle" and even was shifted to music, having replenished the repertoire of such performers, as the queen of Astrada Alla Pugacheva and the ex-leader of the Gorky Park group Nicholas Soskov.

Above the novel "Dr. Zhivago" Boris Pasternak worked for 10 years, from 1945 to 1955. Therefore, to accurately establish when it was that the poem "Winter Night" was written, today it is already impossible. Although some researchers of Creativity Pasternak claim that immortal lines were born during the war, which by the author spent them in evacuation, having lived for more than a year in the city of Chistopol. However, given the letter of writing and maturity of thoughts, critics tend to the fact that the poem still was created shortly before the end of the novel, when Boris Pasternak, like the main hero, has already premeditated his death.

It is the subject of death and life that is the key to the poem "Winter Night", it is not necessary to understand it literally, and you should read between the lines, since each quatrain is a bright metaphor, so contrasting and memorable, which gives the poem an amazing grace. Considering the "Winter Night" in the context of the struggle for survival, you can easily guess that the blizzard, the February stop and the wind symbolize death. And the flame of the candle, uneven and barely warm, is a synonymous life that leaves not only a deadly patient Dr. Zhivago, but also Boris Pasternak himself.

In favor of the version that the poem was written in 1954-55, testifies to the fact that in 1952, Boris Pasternak experienced his first heart attack, on his own experience that he means being between life and death. However, it is possible that, possessing the gift of foresight, Pasternak in the "Winter Night" predicted not only physical, but also creative death. And it turned out to be right, since after the publication of the novel "Dr. Zhivago" abroad and awarding the work of the Nobel Prize, a well-known writer was persecuted. He was stopped publishing and excluded from the Union of Writers of the USSR. Therefore, the only source to the existence for the Pasternak during this period was literary translations, which were still in demand and fairly paid.

The author himself wrote the letters several times in the name of the CPSU General School Nikita Khrushchev, trying to convince the head of state in his political trustiness, but it did not help. Moreover, the opponents of Pasternak appealed not to the novel itself as a whole, but to its poetic part, and, in particular, to the "Winter Nights", calling the poem with a sample of falnses, decades and vulgarity.

Only a few decades later, when in 1988, Roman "Dr. Zhivago" was first published in the USSR, the poem "Winter Night" was recognized as one of the most successful and penetrating works of love lyrics belonging to Peru Boris Pasternak.

Analysis of the poem B. Pasternak "Winter Night"

The poem "Winter Night" is one of the most famous works by B. Pasternak and is more known on the first line "Melo, Melo throughout the land ...".

This poem enters the poetic cycle, which completes Roman B. Pasternak "Dr. Zhivago". He is dedicated to O. Ivinskaya. The poem is written under the impression of a meeting meeting of the poet with O. Ivinskaya at his dacha in Peredelkino. Already then they realized that they could not live with each other.

This winter is 1945-1946. was a swivel in his fate. Pasternak began working on the novel "Dr. Zhivago", which will play a fateful role in his life. At this time, he meets the employee's editorial board "New World" by Olga Vsevolodovna Ivinskaya. He was then 56, she - 34 years old. O. Ivinskaya has become commaful love of the poet, the last 14 years of life Pasternak was his flour and passion. Now their relationships are only part of the story, but the candle lit by the power of love of the poet, burning to all February blizzards.

This poem is loved and recognizable also because it has repeatedly laid on music. This is not surprising, since the work has unique musicality. No wonder M. Tsvevaeva claimed, admired by the talent of Pasternak, that he came from music. Pasternak brought to the poetry "all infancy", reading his poems, go "Skin, at random".

Music poems give repeated rows repetitive: "The candle was burning on the table, the candle was burning." In the sound shell of the work, alliteration can be distinguished on the sonorous consonants [M] and [L], which give the poem additional hazelnics and melodiousness.

Music is a poem and its size is a four-stranded jamb, alternating with two-axis. This form reflects the features of the key image of the poem - candles. Strings of verse, like a flame of candles hesitate on paper and create the illusion of movement.

It is especially necessary to note the features of the rhymes. It is crossed, and thus, already on the sound and structural level of the poem, makes itself felt the motive of the cross, crossed the fate. It is also important that we are dealing with the grinding of the male and female rhyme. This coincidence is not accidental. The author shows the reunion of heroes, the intersection of their fate not only in the plot of the poem, but also in its structure.

However, if we turn directly to the lexical component of the poem, then we will pay attention to the fact that the author never mentions the literal sense of two main characters. He, as if he says about anything and everything at the same time. The picture of what is happening we understand the hints: shadows, crossed hands, legs, feet, fell two shoes, wax on a dress of a drip.

What happens to two people, lost in the darkness of the night: This is a sin or it is God's grace. B. Pasternak gives an unambiguous answer. Let us turn to the fourth stanza.

Contrary to the laws of physics, the shadows are not at the floor, as we are accustomed, but on the ceiling, and this ceiling is illuminated. Thus, it turns out that two shadows rushed to heaven, illuminated by some kind of grace. Love is born in sin, the sound of the fall of shoes, and the cry of night light, and the incomprehensible breath on the candle from the angle, and the heat temptation. But this heat temptation is like an angel who takes under the wing of lovers gives them wings and allows you to tear away from the sinful land to take off to the illuminated ceiling.

It is in these four strangers (from IV to VI), which describes the merge of the liner appears the motive of the cross. In the context of this poem, the cross is not a symbol of flour and suffering. Here the cross as an intersection of two life roads, two destinies in one.

Obviously, there are two leading images in the work: the image of the candle and the image of a snowstorm, in fact, they are antipodes of each other and create two parallel, not similar to each other in the world.

The poem begins a blizzard manner. Its spatial characteristic is given: it is ubiquitous, the field of its activity is the whole universe. Everything is lost in a snowmall - on the street dark, impexually and frosty. The blizzard sculpts its patterns on the window glass, which means it is outside the house, beyond.

The world of the candle is extremely small - this is just a table, the candle is somewhere inside the house, on the other side of the window frame. The candle carries the heat ("and the heat temptation // took up as an angel, two wings // Conducting").

Let's try to go to the assay of the poem to go after the author.

In the first stanza, the absolute antithesis: on the one hand, "Melo, Chalno throughout the Earth in all limits", and on the other - "Candle burned on the table, the candle burned."

In the second stanza, the situation is changing. A certain center appears - the candle fire, on which "as in the summer Roy Moshcar, flies on the flame, flames from the courtyard to the window frame". And the reader together with the snow begins to strive for this center.

The third storm: "The blizzard looked on the glass of mugs and arrows." And we, together with a blizzard, look into the window and observe what is happening.

It is worth paying attention to what kind of figures are bluing on the glass: mugs and arrows. What associations arise.

Circles like wedding rings - the symbol of the union of two in love with one. However, the blizzard draws not only mugs, but also arrows, and in biology there is a sign denoting the reunion of a man and a woman.

And then - "the candle is blowing from the corner" - the blizzard penetrates into the room, it helps even brighter the heat of temptation. Thus, it becomes an accomplice of all that is happening. This opinion is confirmed in the last stanza:

Chalk all month in February

And that's the point

Candle burned on the table,

Candle burned.

First, in the poem of 8 unions, there is not a single confirctive, moreover, all eight are represented by the writing union and (if we replace: "But two shoes fell // with a knock on the floor, // and wax with tears from the night light // Dress Capal "- the content will change dramatically). And the expression "that matter" builds a combination of phenomena data into pattern. After all, if, the action is transferred to the rainy autumn evening and illuminated by electricity room, the romantic halo will disappear, dissolve the holiness of the winter night into oblivion.

In other words, two poles intersect: blizzard and flame, cold and warmth, man and woman. The motive of the cross, the crosses again makes itself felt.

Thus, the poem "Winter Night" is a poem about the extraordinary uniformity of a man and a woman, man and nature, the unity that is difficult to convey in prose, and which is so impossible, but so fully expressed in a small poem.

Melo, Chalot throughout the Earth
In all limits.
Candle burned on the table,
Candle burned.

As in the summer, Roy Moshcar
Flame flies
Floored flakes from the yard
To the window frame.

Blizzard looked on the glass
Mugs and arrows.
Candle burned on the table,
Candle burned.

On the illuminated ceiling
Laid the shadows
Hand crosses, leg crosses,
Fate crossed.

And fell two shoes
With a knock on the floor.
And wax tears from night light
On the dress drip.

And everything was lost in a snowmall
Gray and white.
Candle burned on the table,
Candle burned.

On the candle a blow from the angle,
And heat temptation
Raised as an angel, two wings
Crosswise.

Chalk all month in February
And that's the point
Candle burned on the table,
Candle burned.

Analysis of the poem "Winter Night" Pasternak

Nowadays, B. Pasternak is considered one of the talented Russian poets. Recognition in his homeland came to him after death. After publication in the west of the novel, "Dr. Zhivago" Creativity Pasternak in the USSR was banned. In his most famous work, the writer paid most of the poetry, which is the fruit of the creativity of the main character. This philosophical and love lyrics becomes an organic part of the novel explaining and connecting various parts. In this lyricist, one of the central poems is "Winter Night". Subsequently, it went out as an independent work. The exact date of writing is unknown, since the writer worked over all novel about ten years.

The central image of the poem is a burning candle, symbolizing the saving light among the surrounding gloom. She is able to heat and calm the exhausted soul. This way will penetrate the whole novel in general. The candle becomes for the loving center of the Universe, who pulled them to himself and gave the refuge among the "Snow Magnus." Love relationships are planned only by a few drops of strokes: "crossed hands", "crossed legs", "heat temptation". They are not as important in the general philosophical sense. It is much more important than "destiny crossed", i.e. the connection around the life-giving true source of light of two single hearts.

In the context of the novel, the image of the candle symbolizes human life, and the surrounding bad weather is inevitable death. The trembling light is easy to pay off with a careless movement, it reminds man that death can come suddenly at the most unexpected moment. On the other hand, the flame of the candle is immeasurably weaker than rigid blizzards, but continues its unequal struggle. The philosophical meaning of this symbolic contraction - a person should never give up and use the time allotted to the end.

Pasternak uses a variety of expressive means in poem. The refrain "Candle of Grown" repeats several times, emphasizing the importance of the image. Epitts are used mainly in the description of February bad weather: "Snow", "gray and white". Almost everything that surrounds the main characters is endowed with human features through the personification ("Lepila's blizzard", "the shadows were laid"). The comparisons used are very expressive: "like moshcar", "wax tears", "as an angel".

The poem has become very popular in the post-Soviet space. His words were laid on music.

For the block, everything is not easy even in these first months of the revolution. There are things that confuse him: he cannot not notice them and stay indifferent. In Ukraine, Russian soldiers are broken with the Germans, but north, in the Riga Front, the Germans are rapidly coming. There is not enough bread, they shoot at night, the gun rumbles away.

In the summer of 1912, Meyerhold and his troupe gave several ideas in terokers - a small Finnish water resort in two hours of riding on the railway from St. Petersburg. Artists removed the spacious country house for all summer surrounded by a huge park. It is here almost every week the block comes to his wife. Playing Strindberg, Goldoni, Moliere, Bernard Shaw. Lyubov Dmitrievna charged responsible roles, she is delighted. She loves society, fun, moving, opera, wagner, dance evening Duncan, all sorts of life and movement. Her happiness pleases the block. It is honored in terokers, but he felt fatigue more and more.

From a high hill, where there is once among the forest, on the shore of a small pond, the Chekhmatovo estate was standing on the shore, the outstanding, the outstands are opening the scent of the middle Russia. Fast, then hiding alder and willh and willow hiding in the braided hop, then the icy river of the Lutosnya ice river disappears somewhere away in the dark more often of the forest.

1.	Melo, Chalot throughout the Earth In all limits. Candle burned on the table, Candle burned.
2.	As in the summer, Roy Moshcar Flame flies Floored flakes from the yard To the window frame.
3.	Blizzard looked on the glass Mugs and arrows. Candle burned on the table, Candle burned.
4.	On the illuminated ceiling Laid the shadows Fate crossed.
5.	And fell two shoes With a knock on the floor. And wax tears from night light On the dress drip.
6.	Gray and white. Candle burned on the table, Candle burned.
7.	On the candle a blow from the angle, And heat temptation Crosswise.
8.	Chalk all month in February And that's the point Candle burned on the table, Candle burned.

With the siever-motive structure of the poem "Winter Night" is quite simple. In the first three stanches is planned and the rod opposition "Misel-Candle" is fixed. In the plot generated by the confrontation of these contextual antonyms, it is not dominated by an event (objective), but a persistent (associative-symbolic) plan. The 1st and 2nd verse 1st stanza is a poetic generalization that turns the real february blizzard into a symbol of a comprehensive winter element:

Melo, Chalot throughout the Earth
In all limits ...

Top 2nd stanza - a few unexpected associative-metaphorical approach in this context (blunt "flakes") of the Summer Moshcar:

As in the summer, Roy Moshcar
Flame flies
Floored flakes from the yard
To the window frame.

But the "summer" comparison is unexpectedly only at first glance. In a meaningful plan, this is a "descending" metaphor. The apparent absolute and eternal power of the blizzard (\u003d cold / death / evil) is not absolute and not at all forever: in the end, it will destroy the fire opposing her (\u003d warm / life / good). Those signs that are visible in the frost patterns ("The blizzard looked on the glass / mugs and arrows ..." - 3rd stanza), apparently, go to the archetypical symbolism of sunlight and, because of this, can be considered as an omnant of the coming blizzard, t . e. As a kind of iconic paraphrase of the Old Testament "Mene, Mene, Temk, Urasin" - prophetic words, "calculated" the kingdom of Valstasar and those who have established the limit of his reign (Dan., 5: 5-28).

Starting with the following, the 4th stanza (and to the end of the poem), the attention of the "lyrical author" will be alternately focused on what is happening in the room (through a number of subject associations), and then rush to the limitless blurred space:

On the illuminated ceiling
Laid the shadows
Hand crosses, leg crosses,
Fate crossed.

And fell two shoes
With a knock on the floor.
And wax tears from night light
On the dress drip.

And everything was lost in a snowmall,
Gray and white.
Candle burned on the table,
Candle burned.

Fire (flames) of candles generates "crosses" of shadows / fate. Without a doubt, this symbol should be considered a rod. In the 7th stubborn, it is variable transformed into the "heat temptation", in turn, like an angel, whose figure (with raised wings) resembles the scene of the cross:

On the candle a blow from the angle,
And heat temptation
Raised as an angel, two wings
Crosswise.

Chalk all month in February
And that's the point
Candle burned on the table,
Candle burned (IV, 533-534).

The cross (the root of the words "crossed" and "cruciform") arises here not by chance - it closes the plug-insulating associative metaphorical chain:

The "crossed of the fate" of the hero and heroine are their cross, that is, fate in high, tragic understanding. A. Lileev quite rightly notes in this regard: "In the Christian tradition, a cross is a symbol of suffering and holiness. This allows you to allocate in the words "crossed", "cruciform" not only to the physical intimacy of a man and a woman, but also hidden Svyatness. Love, passion in the poem of Pasternak - it is not only the crossed of bodies and destinies, but also the suffering that brings atonement and salvation. "

Lileeva A. G. Poetry and Prose in Roman B. L. Pasternak "Dr. Zhivago" ... P. 33.

I. Smirnov not without reason, it believes that Klintov-Pulletted - not only "caricature on an anarchist", but also "Retroper": depicting it, "Pasternak was calculated with his anarchofuturistic past." "In this highlight, the deafness of the chaphering can be conjugate<…> from lack of absolute hearing Pasternaku, "which caused the collapse of his composer career. See: Smirnov I. P. Roman Tyne "Dr. Zhivago". Pp. 146, 147, 148 and next.