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The material for the essay.
Zhivago a characteristic of a literary hero (character)
Zhivago
ZHIVAGO is the hero of the novel by B. Pasternak "Doctor Zhivago" (1946-1956).
About the prototype of Zh.
Pasternak himself in 1947 reported the following: "I am currently writing a big novel in prose about a man who makes up some resultant between Blok and me (and Mayakovsky, and Yesenin, perhaps).
He will die in 1929.
He will be left with a book of poems, which makes up one of the chapters of the second part.
The time embraced by the novel — 1903-1945.
In spirit it is a cross between Karamazovi and Wilhelm Meister".
O. Ivinskaia shows that the very name "Zhivago" appeared Pasternak, when he accidentally in the street "stumbled on round iron tile with "autograph" manufacturer — "Zhivago"... and decided that he will be here, unknown, came not from a merchant, not that of palaentologists environment; this man will be his literary hero".
According to the memoirs of Marina Tsvetaeva, Pasternak in 1918 dreamed of "a great novel: with love, with the heroine".
In the manuscripts of early prose sketches of the early 10s, in a fragment called "Death of the Relics of Ni", there is a variant of the name the poet Pur vit (from iskazh. frantz. - pour vie for the sake of life).
In the 30s, Pasternak created fragments of a novel called "Notes of Patrikiy Zhi Vulta" (the semantic meaning of this name can be understood as "knight of life").
All these names — Purvit, Zhivult, Zhivago make up an emblematic triad, symbolizing the "philosophy of life" implemented in Pasternak's work (the most famous collection of poems by the poet is "My Sister, Life").
There is also a "historical and grammatical" interpretation of the name Zhivago — as an adjective in the Church Slavonic language in the genitive case.
The title of the novel in this case also acquires a symbolic connotation: "doctor of the living", "doctor of life","treating life".
The spiritual prototype of Zh.
Pasternak himself appears, while the novel is "an autobiography not of external circumstances, but of the spirit".
It is impossible not to take into account the fact that the beginning of work on the novel coincided with the completion of Pasternak's translation of Shakespeare's Hamlet.
(February 1946 is the date of the first version of the poem "Hamlet", which opens the" Notebook of Yuri Zhivago".)
The process of writing the novel itself was almost synchronous with the process of translating Goethe's" Faust".
(Faust — doctor Zhivago — doctor.)
The image of J. -- this image of a man living in an era when "the time", he loved hamlet, understand Pasternak as a victim ("the drama of duty and self denial"), by fate elected "judges of his time, and as a servant of a more distant".
But unlike Hamlet, he has no desire to "die, fall asleep" — he realizes himself as a person who needs to bear the whole burden and joy of life — not to "step in step", but to treat the sick in spirit and body.
Many researchers of the novel raise the question: was Zh.
a "weak" or "strong" hero, a person?
From the point of view of "physical activity", pressure on the world, Zh., of course ,is a "weak" hero (for example, Anna Akhmatova reproached Pasternak that his Zh. is a "ball between historical events").
However, Pasternak himself, apparently, proceeds from a philosophical and religious understanding of power — as a force primarily of moral opposition to evil, a force that requires awareness and decision making.
In this regard, J. a "strong" hero.
He survives in two wars, without allowing anything immoral, after three attempts, he still leaves the red partisan detachment, writes books that no one ordered for him (A. Gazizova).
Pasternak, who believed that "nothing but the moving language of images... can express itself to a force that lasts only at the moment of appearance," when creating an image, J. turns to the word, the magical and inexplicable power of which, as he believed, helped Goethe create the image of his Faust.
Pasternak, like Goethe, wants his hero to" ... by instinct, by his own will " break out of the impasse."
The temptation here is not Mephistopheles, but the danger of confusing "his own, personal" revolution with the revolution of "another, universal".
This temptation is given to the hero of the antipode of Zhivago the Antipodes of the Shooters, who plunges into the chaos of hatred and revenge, leading to suicide.
(Some scholars see in the image Antipova Parallels with Pasternak's assessment of the "late" by Vladimir Mayakovsky.)
The image of J. Pasternak expresses the concept of "vitalism", "vitality" ("vitalism" — Guy de Mallac).
J. perceives life through the lives of every person, every thing, every place — and the whole universe, "And not that said only the people.
Stars and trees converge and converse, night flowers philosophize and stone buildings rally."
In this sense, Zh.
— not only an epic, but also a lyrical hero.
In the novel Zh.
he is also a poet, "a man with a very strong creative beginning, like the doctor A. P. Chekhov".
But Zh.
he believes that " art is not suitable for a vocation, just as innate gaiety or a tendency to melancholy cannot be a profession."
In a special way, the author reveals the character of his hero in his relationships with women.
The main factor here is not love, but the irresistible desire of Zh.
to the life arrangement, to the creation of an atmosphere of home, family (in the actual, not in the formal sense), to the appearance of children (he has children from his wife Antonina, and from Lara, and from Marina).
The very death of J. it comes exactly after he leaves Marina at the instigation of his" mysterious " cousin Yevgraf Zhivago (his image has obvious parallels with the image of Goethe's Mephistopheles).
Zh.
it becomes a generalized image of the Russian intelligentsia in the revolution and after it, it embodies its continuation and death.
It reflects both religious and philosophical searches in the spirit of L. N. Tolstoy, and the duality of the rushing soul, according to F. M.Finally, to Dostoevsky, he is a type of "Chekhov's doctor" (G. Gachev).
Zh.
it became a kind of final image, closing the chain of heroes of Russian classics: Eugene Onegin, Pechorin, Myshkin, the brothers Karamazov, Andrei Bolkonsky, Pierre Bezuhoe, Levin, Oblomov, the heroes of Chekhov and Bunin.
Lit.: Wilmont N. N.
About Boris Pasternak: memories and thoughts.
Moscow, 1989; Ivinskaya O. Years with Boris Pasternak.
In captivity of time.
Moscow, 1992; Ga zizova A. A. Synthesis of the living with meaning (Reflections on the prose of Boris Pasternak).
Moscow, 1990; Fleishman L. Boris Pasternak.
L., 1990; Mallac G. Boris Pasternak: His life and art.
1981.
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