E. A. Latkina. The image of Lara in the novel by B. L. Pasternak "Doctor Zhivago"

(Vologda)

Rereading the novel Doctor Zhivago”, revealing the character side of the creative concept, studying and comparing images and prototypes (especially the image of Lara), it is possible to outline several lines along which, in our opinion, it is possible to build a study.

First of all, it is interesting to follow the movement, the development of the image of Lara in the novel: from Lara Guichard - to Lara Antipova - to Antipova's sister - to Lara in her relationship with Yuri Zhivago - to Lara standing at the coffin of Yuri Zhivago, to her disappearance and continuation of Lara in the fate of her daughter Tatyana. There is plenty of material to characterize this image-character in the novel: there are also very accurate self-characteristics of Lara, Doctor Zhivago, Antipov-Strelnikov, Tonya, Yuri Zhivago's wife, and secondary, episodic characters, and, finally, the author himself speak of her.

One of the main characteristics of Lara, which is that " it was immediately clear that she was not like everyone else”, is indicated by the author already before her first appearance on the pages of the novel: “ Girl from another circle"(title of the second part). Her " otherness”On others, it is also emphasized by origin: the father is a Belgian, the mother is a Russified Frenchwoman. Lara had clear mind», « easy temper ' and was ' very pretty". It is noteworthy that even in her youth she herself was aware of this singularity, her chosenness: Why do I have such a fate that I see everything and am so sick of everything?". Later she this her " fate"has already defined more precisely: she" here in order to understand the crazy charms of the earth and call everything by name, and if she is unable to do this, then out of love for life to give birth to her successors who will do it instead of her».

From the very beginning, fate did not spoil Lara: her father died, financial situation the family was shaken, the mother had to take over the affairs herself, open a sewing workshop. " After the death of her father, her mother lived in eternal fear of impoverishment. Rodya and Lara are used to hearing that they are on the verge of death.", and therefore " understood that everything in life would have to be achieved with their own sides», « knew the price of everything and valued what was achieved».

Some of Lara's youthful characteristics are also interesting. Describing her acquaintance with Nika Dudorov, the author writes: “ He was Larina's dozen - direct, proud and taciturn. He looked like Lara" - and therefore (!) - " she was not interested". Lara was very sensitive to everything else, new, unusual, bright. " What a nonentity one must be in order to play only one role in life, to occupy only one place in society, to mean only one and the same thing! she thinks.

When " there were Presnya days"and quite still the boys Antipov and Dudorov" they played the most terrible and adult of games, in a war, moreover, in such a one, for participation in which they hung and exiled", Lara" looked at them like a big one at small ones». « The boys shoot Lara thought. She didn't think so of Nick and Patul, but of the entire city that was being shot. " Good, honest boys, she thought. - Good ones. That's why they shoot". Even then it is her " boys” came from that maternal feeling that Lara always carried in herself in relation to people in general, and especially to those close and dear to her.

Lara " was the purest thing in the world”, the author writes, accompanying this characteristic with the following comment:“ Dirty is just too much". There was nothing in Lara superfluous". From the very beginning, Lara perceived the connection with Komarovsky, her mother’s lover, as something forbidden, terrible, painful, but it took her six months to cope with this, and, once realizing that this dirty thing was just superfluous in her life, cut off this connection with her decisiveness. The consequence of this story was that proud hostility to oneself", which Yury Zhivago will later note in it:" She does not want to be liked, to be beautiful, captivating. She despises this side of womanhood". Lara herself says about the consequences of this connection: I'm broken, I'm cracked for life". But it is with this story of her life that an important author's idea is connected. Zhivago responds to Lara’s story about her relationship with Komarovsky: “ I think I wouldn't love you so much if you had nothing to complain about and nothing to regret. I do not like the right, who did not fall, did not stumble. Their virtue is dead and of little value. The beauty of life was not revealed to them».

This episode of Larina's life and this reaction of Zhivago have, in our opinion, a certain connection with another line of the novel - the gospel line. Christ and Magdalene are a kind of parallel to the images of Lara and Yuri Zhivago. In her youth, Lara was not religious, did not believe in rituals, but sometimes, in order to endure life, it was required that it be accompanied by some inner music". Life makes its own adjustments to this area of ​​Lara's life. One day, it is from Sima’s story about Magdalene that Lara makes not only an excuse, but the hope she needs for herself: “ The fate of the trampled is enviable. They have something to say about themselves. They have everything ahead. This is the mind of Christ". At the coffin of Zhivago, Lara is very sorry that he is not buried. churchly»: « Yurochka is such a grateful occasion! He was so worth it all, so he would have justified and repaid this “tomb sob creating the song of hallelujah”!»

The image of Lara is also associated with the brightest symbolic image novel - the image of a burning candle, unfolding and filled with new meanings throughout the novel. From the candles that Pasha Antipov bought for Lara, knowing that she likes to talk by candlelight, to the candles in their hands during the wedding, when Lara always made sure to keep her candle lower than Pasha's (according to the sign) - to the candle on the table of Lara and Pasha during their Christmas talk”, the same candle, which, as Lara later finds out, he saw from the street through the melted on window glass Yuri Zhivago circle and with which " went in his life his destiny”, - to the words of Lara, addressed to Zhivago:“ And you are all burning, my candle!"- to Zhivago's reflections on the fate of Russia, which burns like" redemption candle", - and to the best lines of his poetic diary:" A candle burned on the table, a candle burned ...».

The material of the novel resists considering Lara as a type, a figurative type. Firstly, the author himself emphasizes the atypicality of the main characters: according to Yuri Zhivago, “ belonging to a type is the end of man, his condemnation. If there is nothing to bring him up to, if he is not indicative, half of what is required of him is available. He is free from himself, a grain of immortality has been achieved by him". This atypicality is partly emphasized, in our opinion, by Lara's surname Antipova (anti-type). Secondly, consider Lara as typical character hinders high degree the connection of this character with his prototype, which means a living and completely atypical person - Olga Ivinskaya, about whom Boris Pasternak said: “ She is the Lara of my work". And yet we will try to overcome this resistance.

The task of considering the image of Lara in the context of Russian literature is solved quite easily, since Lara's connections with her literary predecessors of the 19th century are obvious. " Mind, depth, integrity of Tatyana Larina's nature with her textbook " I will be faithful to him forever", High demands on the purity and honesty of Turgenev's girls, the fatal, maddening beauty and brokenness of the heroines of F. M. Dostoevsky, mental strength and ability to endure any trials of Nekrasov's" Russian women”, love as the essence of the life of the heroines of L. N. Tolstoy, the absence of any kind of vulgarity and intelligence in its Chekhovian understanding, the ability to remain a woman, alluring and exciting, inherent in Blok’s Stranger, in conditions that are completely unfavorable to this - all this is in Lara .

Anticipating further reflections on the image of Lara, one of the most striking female literary characters, we note that Russian classical literature until the 20th century was primarily interested in men. Apparently, this is due, on the one hand, to the prevailing in society, and even today largely retaining its positions, traditional, formed in the depths of the patriarchal society gender culture, and on the other hand, one of the essential features of Russian literature generated by her, which consists in the fact that it has always been socially oriented, it was " department", she sought to catch" emerging contemporary phenomena ", she was interested in" heroes of time”, that is, everything for which, again, men have traditionally been responsible and are responsible.

Women's images in the works of Russian writers, they most often performed an auxiliary function. In some cases, they contributed to the manifestation of the character of the protagonist (for example, women in the life of Pechorin or the same Turgenev girls, the meeting and relations with which played the role of a kind of exam for the hero), in other cases they could symbolize some author's ideas: for example, Vera Pavlovna with her dreams about the future, Sonya Marmeladova with the Gospel, Pelageya Nilovna with proclamations. Why are there so few independent female images in Russian literature? What prevented the best, talented male minds from creating heroines equal in importance to male heroes. Most likely, gender stereotypes formed within the same traditional culture. overcome them, at least in part, in literature XIX century, only geniuses succeeded - A. S. Pushkin and L. N. Tolstoy. According to V. S. Solovyov, “ true an ideal person cannot be only male or only female <…> it must be a free unity of masculine and feminine". The genius of A. S. Pushkin and L. N. Tolstoy combined these two principles (here it would be appropriate to recall Flaubert’s “ Emma Bovary is me”) and allowed them to create female images that we perceive as significant, independent, autonomous: Tatyana Larina - “ cute ideal» the author, Natasha Rostova, Anna Karenina.

The global social changes of the 20th century proceeded so powerfully and quickly that culture (always resisting civilization due to one of its main functions - preserving, preserving, stabilizing) did not have time to create new social and cultural stereotypes, including gender ones. They are formed very slowly, they are very difficult to change, because they lie at the level of the subconscious and permeate all spheres of a person's public and personal life.

In our opinion, more than writers of the 19th century, B. L. Pasternak managed to overcome the gender stereotypes of traditional culture in the novel “ Doctor Zhivago”, and the main reason for this is that he lived in a completely different time and in a completely different world, society has already changed significantly and new trends in its development have already been outlined.

Literature, and especially Russian literature of genius, could not fail to feel these changes with its characteristic sensitivity and reflect them with its characteristic accuracy of hitting and the brightness of characters. One of the most noticeable and significant phenomena of the 20th century is feminism, which reflected the ongoing changes in the understanding of the place and role of women in society, in all its spheres. Theoretically, feminism took shape in the second half of the 20th century, it begins to be comprehended and take reasonable (non-aggressive) forms only now, while the ideas produced today within the framework of this comprehension are reflected in artistic images Russian literature by the middle of the last century.

Let us dwell on this in more detail, since, in our opinion, it can be quite productive to consider the image of Lara and the novel as a whole from the point of view of reflecting in them the general cultural trends of the 20th century, including the desire of society to revise the established, but also outdated gender system, to the feminization of culture and society as a whole. Research recent decades show that the use of a gender approach in social and humanitarian knowledge provides ample opportunities for understanding and rethinking culture.

The gender system formed within the traditional (patriarchal) society is a system of power and domination. The two sexes are constituted not only as different, but also as unequal, not only as complementary, but also as being in a hierarchical relationship. The man is associated primarily with social sphere, woman - with natural. The man acts as a positive cultural norm, a woman as negative, as a deviation from the norm, as something Other, Other. Everything masculine (character traits, behavior patterns, professions) is perceived as primary, significant, dominant, everything feminine is secondary, insignificant from a social point of view, subordinate. Hence the traditional cultural and symbolic meanings: God, creativity, strength, light, activity, rationality correlate with a man, nature, darkness, weakness, passivity, submission, chaos correlate with a woman. The cultural metaphor of sex is as follows: a man is a spirit striving for cognition, possession, a woman is nature, cognizable, subjugated and, as a result, becoming the object of an aggressive act of cognition-possession. Here are just two (although many more can be found) examples from " Doctor Zhivago”, entering into direct roll call with these positions.

The first episode is an episode of Yuri Andreevich Zhivago's illness: " All his life he did something, was always busy, worked at home, treated, thought, studied, produced. How good it was to stop acting, to strive, to think, and to leave this work to nature for a while, to become a thing, an idea, a work in her merciful, delightful, beauty-wasting hands.(here, nature is Lara, and her hands are the hands of Lara, who takes care of Yuri Andreevich during his illness).

The second episode - Lara turns to Zhivago: " Inspiration was given to you so that you can fly beyond the clouds on wings, and to me, a woman, to cling to the ground and cover the chick from danger with wings».

In the image of Lara, of course, there is a lot from the traditional understanding of a woman. Lara personifies a type not born in the bowels of the revolution and civil war new woman, most often asexual - forcedly or by choice - but the type of woman in her traditional, classical sense, but in a new way manifested in the new conditions of life.

The heroine, in our opinion, together with two other heroines of Russian literature of the 20th century - the Stranger by A. A. Blok and Margarita M. A. Bulgakov - represent some stages in the development of the ideal female image by the literature of the new century.

Stranger - unearthly, breathing " spirits and mists", unnamed.

Margarita - combining reality and fiction, existing both on earth and in heaven.

And Lara, who lives in the cruel and terrible Russian reality of the first half of the 20th century, Larisa Fedorovna Antipova.

Alexander Blok has a premonition of trouble ...

Boris Pasternak and Mikhail Bulgakov have her terrible face and the devastating consequences for a person of what happened, according to Lara’s apt description, “ a leap from serene, innocent regularity into blood and screams, general madness and savagery of everyday and hourly, legalized and praised murder».

What these heroines have in common is the role they take on in a crumbling and destructive world. Their purpose is to save, preserve the most important thing, the very essence of life. The saving, saving beauty of the Stranger, not subject to the vulgarity of life, keeping behind " dark veil" mine " enchanted shore and enchanted distance». « Faithful, eternal love» Margarita and the Master: « Behind me, reader, who told you that there is no real, true, eternal love? ». « Crown of Consistency"in the union of Lara and Yuri Zhivago, when," everything gives joy, everything has become a soul».

Lara will say this very accurately: “ Everything derivative, organized, everything related to everyday life, human nest and order, all this went to dust along with the upheaval of the whole society and its reorganization. Everything household is overturned and destroyed. There was only one non-domestic, unapplied force of a naked, stripped-down soulfulness, for which nothing has changed, because it always shivered, trembled and reached for the nearest one, just as naked and lonely. You and I are like the first two people, Adam and Eve, who had nothing to hide behind at the beginning of the world, and now we are just as naked and homeless at the end of it. And we are with you last memory about all that incalculably great that has been done on earth for many thousands of years between them and us, and in memory of these disappeared miracles we breathe, and love, and cry, and hold on to each other and cling to each other».

In the relationship of the Master and Margarita, Lara and Zhivago strong point becomes a woman, or, as B. L. Pasternak accurately formulated, “ abyss of humiliation defying woman". Time itself made her " act, achieve and think instead of a man or together with him. Lara and Margarita save the men they love not only with their love, but also with their life force. Not at all the Spirit cognizing Nature, but, on the contrary, the idea of ​​this nature, the thing in her hands, Yuri Zhivago feels himself during his illness - and how vitally important and how sweet it is for him to feel it. Talking about her relationship with her husband, Lara says that he " did not appreciate maternal feelings", which was mixed into her attitude towards him, he did not even guess," that such love is more than ordinary female". This created an artificiality that tormented both of them in their relationship, and this motherly feeling of Lara did not prevent Yuri Zhivago from loving her, and that was why their closeness was " so easy, unforced, self-understood”, according to Lara herself. " I am your battlefield!”- Yuri Zhivago writes in his poetic diary. Bulgakov's Margarita fights for her Master.

If you still try to characterize this type, then perhaps its most accurate definition is “ Master's girlfriend". Everything is in her - she is a lover, and a wife, and a mother, and a friend, and a muse, and the first reader, and the most demanding and enthusiastic connoisseur of her Master's work. How Yuri Zhivago surprises and admires Lara's ability to be everything: “ she reads as if she were carrying water or peeling potatoes", She and " carries water, reads accurately, easily, without difficulty', and when she was washing, ' in this prosaic and everyday form <…> she almost frightened with her regal, breathtaking appeal».

A more accurate description of this happy ability of Lara and Margarita may look like this: she sacrifices herself to a man, but does not feel herself a victim. She herself chooses this path, this way to love and live. " Being a woman is a big step”, writes Zhivago-Pasternak, as if a woman can choose whether to be her or not. Maybe (!) if we are talking about being a woman not only in the traditional (natural) sense of it - there really is no choice here, but also in a higher sense, revealed in the thoughts of the characters " Doctor Zhivago- about the equality of God and life, God and personality, God and women, and therefore, Men and Women.

comply with the concept women"In the traditional sense (arranging a man's life, raising children) for people like Lara, it is not work at all, her mission and her main work is to be the spiritual support of a man, to save him from despair in moments of his weakness. To do this, she must be strong, she must be " equal”, she should not only feel, but also understand, think, be a valuable, independent person. " Their conversations in an undertone <…> were full of meaning, like Platonic dialogues». « How do you understand everything, what a joy to listen to you”, says Lara Zhivago. The main feature of the relationship between the Master and his girlfriend is her dedication to his spiritual life. This is exactly what Boris Pasternak writes about Olga Ivinskaya, the prototype of Lara: “ She is privy to my spiritual life and all my writing". This, in our opinion, was also one of the reasons for the general appearance of Olga Ivinskaya in the life of the writer. After all, in his relationship with E. N. Neuhaus, in their love that went through serious trials, he lacked just this. During one of the first meetings with Boris Pasternak, Evgenia Nikolaevna said: “ I don't understand your poetry at all". The writer (seriously or jokingly) promised that he would try to write " clearer, they lived together long years, were happy, but become " dedicated' She didn't succeed. Regarding the sacrifice, which is made easily and is not felt as a sacrifice, in the same Pasternak letter about Olga Ivinskaya we read the following: “ She is the personification of cheerfulness and self-sacrifice. It doesn't show what she's been through in her life.».

The philosophy of Pasternak's novel and its main characters is largely based not so much on the echo of traditional gender stereotypes as on their overcoming and rethinking. Perhaps this is also one of the reasons (although probably not the main one) for the success of the novel. Doctor Zhivago" in the West.

The reflections of modern researchers of gender relations led them to the conclusion that the traditional gender system that persists in society is aggressive, primarily against men themselves: science records such negative facts as low level the life expectancy of men, the decrease in the protective forces of the male body, the loss of the general physical and psychological stability of men, the crisis of family relations. The existing gender model of culture, which limits the opportunities for women, negatively affects men and society as a whole, and it must undergo changes towards its feminization. The creation of a theoretical model of the gender system, corresponding to the current level of development of society, is perceived as the most urgent, most urgent task.

And if today on " frontier of feminist thought»is an attempt to acquire « political and personal understanding of what it means to be a woman in modern world ", then you can look for the answer to this question in the novel by B. L. Pasternak" Doctor Zhivago».

As has happened more than once in the history of Russian literature, its insights the best representatives are perceived and comprehended, and therefore live in " big time» not only Russian, but also world culture. And Lara is definitely one of those insights.

love in Doctor Zhivago

The action of the novel "Doctor Zhivago" covers half a century from the summer of 1903 to the early 1950s. Pasternak raised whole layers of history in his book: the life of Russia before the First World War, the revolution of 1905, World War, revolutions of 1917, Civil War and hunger, NEP, Great Patriotic War and several years after its completion - and created a historical novel. "Doctor Zhivago" is not a novel about perversion revolutionary idea, "historical surgery". B. Pasternak showed how the initial moral sense revolution came into conflict with revolutionary reality.

Circle philosophical problems is analyzed on 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 revolutionary events in their tragic complexity, in all their inconsistency, 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 keenly feeling hero. And this task was brilliantly accomplished. The novel is unusual, it is read in one breath, and Yuri Zhivago's poems are an excellent means of even deeper disclosure inner world the hero and his relationship 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.

There are many motives in the novel: biblical, philosophical, fate, various elements, beauty, homeland, etc. But we are interested in this work love theme.

We will find out life story a relatively small circle of people, several families united by relationships of kinship, love, personal intimacy. Their destinies are directly connected with the historical events of the country. Through the interweaving of many destinies, the dramatic story of Doctor Zhivago's unhappy love for two women, Tonya and Lara, is shown. Sincere love for his wife, mother of his children, keeper hearth, 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 reflect the attitude of the writer himself to the world (it is known that Olga Ivinskaya was the prototype of her, 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, letting millions go to the wind. The boy was orphaned early. The boy grew up in the family of Professor Gromeko, together with his daughter Tonya. Relatives helped him get an education and upbringing. He graduated from the medical faculty of Moscow University and became an excellent doctor. But even in high school he dreamed of writing fiction At a young age, he began to write poetry. Late creativity became his main passion. Doctor and writer - a combination known in Russian literature. This combination is rare, predetermining an extraordinary personality, especially if we take into account that Yuri Zhivago in the novel is shown as a poet of genius, in addition, also a religious philosopher.

The central image of the book (and the book of poems by Yuri Zhivago, and Pasternak's book about Yuri Zhivago) is the image of a burning candle from the poem " Winter night", that candle,

with which Yuri Zhivago began as a poet. This symbol is drawn through the entire novel, the flame and light of a candle - the element of fire:

It's snowy, it's snowy all over the earth,

To all limits.

The candle burned on the table

The candle was burning.

• ("Winter night")
• (The image of the candle has in Christian symbolism special meaning. 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 that everything around obeys. 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 a professor of chemistry Gromeko. Marrying Tonya was his inner urge. It seemed to him that it was better for Tony - kind, understanding, never to find a wife-friend. Family presents for Yuri highest value. 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 obedient and weak-willed person, in the face of life difficulties he is able to make his own decision, to defend his convictions, not to break down. Tonya feels his spiritual strength, she understands that the lack of will is more than covered by the inner strength, spirituality, talent of Yuri Andreevich, and this is much more important for her. She writes to her husband:

"I love you. Oh, how I love you, if you could only imagine. I love everything special in you, everything profitable and unprofitable, all your ordinary sides, dear in their unusual combination, a face ennobled by inner content, which without this may seem ugly, talent and mind, as if taking the place of a completely absent will. All this is dear to me, and I do not know a person better than you.

On the one hand, Yuri is a weak-willed person, he does not oppose, 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 in 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 unequivocal decisions that eliminate doubts” , - this is how 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 when it comes to his personal honor or convictions, while maintaining his deep spiritual essence. Yuri does not object to the decisions of other people, especially those dear and close to him, making 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, against a trip to the Urals: “However, why argue? You have 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 began. Zhivago leaves his young wife and son. Military reality puts Yuri Zhivago in conditions that contradict his inner essence. Zhivago perceives the First World War as a terrible destructive force, destroying, first of all, physical world. The civil war appears as a mass psychosis, an obsession with people who have lost the idea of ​​humanity and who are involved in a monstrous process of mutual destruction. After February Revolution The Zhivagos 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, to survive, are engaged agriculture. Thus a year passes, perhaps the best of Zhivago's life. And then the revolution began, which Yuri at first accepted as a renewal. 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 the lawyer Komarovsky, who was left without a father early. While still a high school student, Yura accidentally witnesses a suicide attempt by Lara's mother. And then for the first time he sees Lara. Yura, still a boy, who saw Lara for the first time - a girl in a student's dress, understood, felt all her charm, all her femininity, all the strength of her love, her passion.

From the first meeting, she cast a “light of charm” into him, as he himself says:

“Then at night, a high school student of the last grades in a coffee-colored uniform, in the semi-darkness behind the number partition, you were exactly the same as now, and just as stunningly good ... When you stepped out of the darkness of the number recess as a shadow in a student’s dress, I, boy , who knew nothing about you, understood with all the torment of the strength that responded to 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 it or touch it with your fingers, a spark will light up the room and either kill you on the spot, or electrify the magnetically attracted, complaining craving and sadness for life ... My whole being was surprised and asked: if it hurts so much to love and absorb electricity, how it probably hurts even more 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 obeys him. Lara dreams of an orderly life and marries Pasha Antipov (first a gymnasium teacher of mathematics, then a cruel, straightforward revolutionary who took the pseudonym Strelnikov and was nicknamed Rastrelnikov).

If there hadn't been a 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 Christmas tree at the Svetnitskys, when Lara shot at Komarovsky.

During the World War, Zhivago was sent to the South-Eastern Front as a doctor, wounded, and in the hospital Lara came to his ward as a nurse. In a letter, he informs his wife about this. Already then, according to her husband’s letter, Tonya felt, felt that thin, transparent, like a gossamer, but already strong intercom Yuri and Lara. With her instinct alone, the woman realized that Yuri and Larisa were destined to be together. Their life is connected by some kind of coincidence. And she knows this and writes about it to Yuri, who still does not understand this, does not believe, opposes. Zhivago did not take this seriously at first. The duty of fidelity and love still overpowers this connection:

“In this letter, in which sobs broke the construction of periods, and traces of tears and blots served as dots, Antonina Alexandrovna urged 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 coincidence of circumstances, with which her, Tonin's, modest life path cannot be compared.

Shortly before Lara and Yuri left the hospital, an 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 part with Lara, and his feelings for her only intensify.

Yuri is trying to figure it out, to resist this, he hopes that something will destroy this connection, because he “... loved Tonya to adoration. The peace of her soul, her tranquility were dearer to him than anything in the world. He stood a mountain for her honor, more than her father and than herself. In defense of her wounded pride, he would have torn 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 life itself for him:

“They loved each other not out of inevitability, not “scorched by passion”, as it is falsely portrayed. They loved each other because everything around them wanted so much: the earth below them, the sky above their heads, clouds and trees. Their love was liked by others, maybe more than by themselves ... Oh, this, this, after all, was the main thing that united them and united them! .

The 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, annihilating punishment dislike, I would unconsciously beware of realizing that I do not love you. Neither I nor you would ever know. My own heart would hide this from me, because dislike is almost like murder, and I would not be able to strike 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 become the cause of the break, understanding and feeling the pain inflicted. Love brings suffering, gives moments of joy, but then makes you pay a hundredfold for them, sending trials. Tonya and Lara love the same person, but they are the exact opposite of each other.

"I must sincerely admit that she good man, but I do not 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, to complicate it and lead astray, ”- this is how Tonya writes about Lara in her farewell letter to her husband.

The love of Lara and Yuri complicates their lives, but they live this love:

“Their love was great. But everyone loves, not noticing the unprecedented feeling. For them, - and this was exceptional - the moments when, like the wind of eternity, in their doomed human existence a breath of passion flew in, were moments of revelation and learning everything new about oneself and about life, ”Pasternak writes.

Exactly quivering love Yuri Zhivago and Lara Guichard are the core of the novel, its soul.

She is the pinnacle tragic life Yuri Zhivago, the rise of all his feelings. Description of this love - best places in the novel. Pasternak endows his hero with passionate love for Lara. It is in love for a woman that he finds his sincere vocation:

And I am before the miracle of women's hands, Backs, and shoulders, and necks And so with the affection of servants All the time I am in awe.

("Explanation")

Lara and Yuri met as they meet once in a lifetime and forever, and it doesn't matter if they stay together or not. It was metaphysical love, on some other level, incomprehensible to the human mind. The novel has amazing lines about love, which have become its formula:

“Never, never, even in the moments of the most bestowing, forgetful happiness, did the highest and most exciting leave them: the enjoyment of the general molding 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” .

Heroes different tempers but kindred spirits. Lara - the only woman, which is so close to Zhivago, so similar to him, thinks so alike with him. Although she is half-French by blood, she is Russian in spirit and feelings. Lara higher education. She subtly feels art, very feminine. Larisa almost idolizes Yuri Zhivago.

“Lara was the purest creature in the world,” says B. Pasternak about her.

“We are with him [with Pavel Antipov] people are as different as I am the same with you”, - this is what Lara herself says. Yuri and Lara are absolutely indifferent to material wealth, internally free and generous by nature. The author writes about it this way:

“Even more than a common soul, they were united by the abyss that separated them from the rest of the world. Both of them equally dislike everything fatally typical in modern man, his learned enthusiasm, noisy elation and that mortal winglessness, which innumerable workers of sciences and arts so diligently spread so that genius continues to be a great rarity. .

But, unlike Yuri, Lara is firm and resolute, she opposes life, does not accept its conditions, fights with herself: understanding the dirt 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 encroaches on him. She makes decisions herself, and sometimes even dictates her will to the weaker ones. 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 ​​remaking it seems wild to him. Life, according to him, is not material, but an active principle. Lara is the embodiment of this life.

Love for the heroes was not something ordinary, something earthly, that it brings together, unites. Love for Yura and Lara is a kind of art, moreover, high art. Yuri idolizes Lara, and even jealousy in him can only cause something low and distant. He accepts the love of only people who are close in spirit, he rejects vicious, vile love:

It seems to me that strongly, mortally, with passion, I can only be jealous of the lower, the distant. Rivalry with the higher causes 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 dispute and litigation. Of course, I would not have been able to share with him the object of my adoration for a minute. But I would back away with a feeling of a very different misery than jealousy, not so smoky and bloody. The same thing would have happened to me in a collision with an artist who would have conquered me by the superiority of his powers in works similar to me. I probably would have abandoned my search, repeating his attempts that defeated me, -

these words show the strength and height of Yuri's feelings for Lara. Zhivago is not jealous of 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 loyalty. I would sacrifice everything, even the most expensive. by you. And my intimacy 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 characters. He shows them inner strength, willingness to sacrifice their love, their 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 tempting offer Komarovsky, sacrificing his love for Lara. He can't compromise his beliefs, so he can't go with her. Yuri is ready to give up his happiness for the sake of the salvation and peace of his beloved woman, and for this he even goes to deceit).

At that moment, when Dr. Zhivago decides to open up to Tonya and break with Lara, he is taken to a partisan detachment. Yuri captured by partisans in captivity, in mortal fear for loved ones. But he, all the same, embraces happiness at the sight of a forest pierced by the rays and reflections of the evening dawn. And his whole being is directed towards one thing: towards Lara. She is everything for him: his life, the whole of God's earth, everything that stretches out before him, the space illuminated by the sun.

While Zhivago was a prisoner of 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, was expelled from Soviet Russia. Antipov - Strelnikov fell out of favor with the revolutionary authorities and, fleeing from execution, hid somewhere. Zhivago flees from the partisans to his Lara, and in the half-forgetfulness of a serious illness he 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 own faces!

This is what Lara is. You can’t talk to them, but she is their representative, their expression, the gift of hearing and words, bestowed by the silent beginning of existence! - thinks

about Lara Yuri, returning from the 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, as it were, a blessing in their lives, and a formidable element that threatens to destroy this life. But the love of the heroes is sent down to them from above, they are destined for each other by the decision of heaven:

“The gift of love,” says Lara, “is like any other gift. He may be great, but without a blessing he will not appear ... ". Yuri and Lara were left alone. In the midst of universal hunger and destruction, they breathe and love and cry and hold on to each other. They are almost one. That is why their love is so unique, so piercing:

Do I weak woman, to explain to you, such a smart one, what is being done now with life in general, with human life in Russia, and why families are collapsing, including yours and mine? - Lara says to Yuri. - Ah, as if the matter is in people, in the similarity and dissimilarity of characters, in love and dislike. Everything derivative, organized, everything related to everyday life, human nest and order, all this went to dust along with the upheaval of the whole society and its reorganization. All household items were overturned and destroyed. There was only one non-domestic, immutable force of a naked, stripped-down spirituality, for which nothing has changed, because at all times it shivered, trembled and reached for the nearest one, just as naked and lonely. You and I are like the first two people, Adam and Eve, who had nothing to hide behind at the beginning of the world, and now we are just as naked and homeless at the end of it. And you and I are the last memory of all that incalculably great thing that has been done in the world for many thousands of years between them and us, and in memory of these disappeared miracles we breathe and love, and cry, and hold on to each other and cling to each other.

In an abandoned, dilapidated, snow-swept house, Larisa suffers, her thoughts rush about in search of a non-existent way out of the trap into which life has driven her, her little daughter, and her beloved (Lara asks Yuri to write down the poems that he used to read to her on memory, thus, we, the readers, receive a cycle of "Poems by Yuri Zhivago", unique in its integrity, with which B. Pasternak completed his philosophical novel"Doctor Zhivago", which took a special place in the treasury of world poetry of the twentieth century. Each of these poems fascinates us with its poetic beauty, depth of meaning, melodiousness, riot of elements and philosophy of human existence).

Novel "Doctor Zhivago"(survey study with fragment analysis). History of the creation and publication of the novel. Genre originality and the composition of the novel, the combination of epic and lyrical principles in it. The system of images of the novel. The image of Yuri Zhivago. Women's images. Cycle "Poems of Yuri Zhivago" and its connection with common issues novel. Traditions of Russian and world classical literature in the work of Pasternak. Theory of Literature. Lyrical hero. Poetics. epic and lyrical. Poetry cycle. The development of speech. Preparation of an essay plan and selection of quotes on one of the "eternal" topics. Analysis of the intertextual connections of the poem "Hamlet". Report on the work of B. L. Pasternak. Extracurricular reading. B. L. Pasternak. "Nobel Prize".

anti-romantic

in everyday, ordinary terms

in a purely everyday form, with the help of household parts, sketches

Lara's appearance through the eyes of Yuri Zhivago

“ How well she does. She reads exactly like this

Not higher activity a person, but something simple ... It’s as if she carries water or peels potatoes ”

“ And vice versa, she carries water, accurately reads, easily, without difficulty.

How is love shown?

Antiromantic: in everyday, ordinary terms. Love, beauty are depicted by the writer in a purely everyday form, with the help of everyday details, sketches. Here, for example, how we see the appearance of Lara through the eyes of Yuri Andreevich:

1) “How well she does everything. She reads as if this is not the highest human activity, but something simple... It is as if she is carrying water or peeling potatoes” (part 9, ch. 12, p. 302).

2) “And vice versa, she carries water, accurately reads, easily, without difficulty” (part 9, ch. 13, p. 305).

3) “He returned from all these positions by night, exhausted and hungry, and found Larisa Fedorovna in the midst of household chores, at the stove or in front of the trough. In that prose... she almost frightened her with her regal, breathtaking attractiveness, more than if he suddenly found her before leaving for the ball, who had become taller and seemed to have grown on high heels, in an open dress with a cutout and wide, noisy skirts” (part 13, ch. 16, p. 411).

4) Yura and Tonya at the Christmas tree at the Sventitskys (part 3, ch. 4, p. 97).

Life is also just a moment Only dissolution ourselves in all others, As if they were a gift .

2) The symbolism of the name. Larisa Fyodorovna Guichard: Larisa - “The Seagull” (association with Chekhov's seagull), Fedor - “God's gift”, Guichard - “lattice” (French). The name supports the metaphor “Lara - Russia”: Russia spiritualized, humiliated, dying behind bars.

“… found Larisa Fedorovna in the midst of household chores,

behind the stove or in front of the trough. In this prosaic form... she was almost frightening with her regal, breathtaking appeal, more,

than if he suddenly caught her before leaving for the ball,

taller and as if grown up on high heels,

in an open dress with a cutout and wide, noisy skirts”

With life at home, family, marriage union with both Tonya and Lara

Tremulous, careful. Like rebirth to life

“ The first true event after a long break was

it's a dizzying train ride home

which is intact and still exists in the world and where every pebble is precious.

That's what life was, that's what experience was,

that's what the adventurers were chasing,

that's what art had in mind - a visit to relatives,

return to yourself

renewal of existence"

What is love for Yuri Zhivago connected with?

With life at home, family, marriage (both with Tonya and Lara).

What is Zhivago's attitude towards home?

Tremulous, careful. As a rebirth to life: “The first true event after a long break was this dizzying train approach to the house, which is intact and still exists in the world and where every pebble is precious. That's what life was, that's what was an experience, that's what adventurers were chasing, that's what art had in mind - coming to relatives, returning to oneself, resuming existence ”(part 5, ch. 16, p. 174).

Life is also just a moment Only dissolution ourselves in all others, As if they were a gift .

Y. Zhivago (from verse No. 11)

What does love for a woman mean in the understanding of Pasternak?

Reverence for the other person. From the poem (No. 11) by Y. Zhivago "Wedding":

Life is also just a moment Only dissolution ourselves in all others, As if they were a gift .

Interestingly, Yuri Andreevich equally loves Tonya and Lara. Why? Is it possible?

Tonya personifies a family hearth, a family, a circle of life native to a person. With the advent of Lara, this circle of life moves apart, this includes reflections on the fate of Russia, about the revolution, about nature. Tonya herself writes to Yuri in a letter: “Antonina Alexandrovna urged her husband not to return to Moscow, but to follow this amazing sister straight to the Urals, walking through life accompanied by such signs and coincidences that her, Tonin’s, modest life path cannot be compared with” (part 5, ch. 2, p. 142).

The chapters dedicated to Lara are warmed with special lyrical warmth. What did this woman mean for Yuri Andreevich?

1) From a letter from B.L. Pasternak to the writer R. Schweitzer: “After the Second World War, I met a young woman, Olga Vsevolodovna Ivinskaya, and soon, unable to bear the split and the quiet, full of sadness, reproach of my life, I sacrificed a barely beginning intimacy and broke with pain with Olga Vsevolodovna . Soon she was arrested and spent five years in prison, in a concentration camp. They took her because of me, and because in the eyes secret agents she is closest to me, apparently, they hoped, through cruel interrogations and threats, to obtain evidence from her sufficient to ruin me at the trial. I owe her heroism and stamina to the fact that I was not touched in those years. She is the Lara of that novel that I had just begun to write at that time... She is the personification of the joy of life and self-giving.”

Olga Ivinskaya and Boris Pasternak

After the return of Olga Ivinskaya from the camp in 1954, the

her personal and business relationship with Pasternak.

She became his assistant, took over the publishing chores, supported him during the persecution,

that unfolded after the publication of Doctor Zhivago abroad.

After the return of O. Ivinskaya from the camp in 1954, her personal and business relations with Pasternak resumed. She became his assistant, took over the publishing chores, supported him during the persecution that unfolded after the publication of Doctor Zhivago abroad.

) The symbolism of the name. Larisa Fyodorovna Guichard: Larisa - “The Seagull” (association with Chekhov's seagull), Fedor - “God's gift”, Guichard - “lattice” (French). The name supports the metaphor “Lara - Russia”: Russia spiritualized, humiliated, dying behind bars.

3) Likhachev D.S. Reflections on the novel by B.L. Pasternak “Doctor Zhivago”: “And what about Lara herself? .. In the traditions of the Russian classic novel there are several images, as if personifying Russia.

4) V. Shalamov: “... The purest, like crystal, sparkling like the stones of her wedding necklace, - Lara Guichard. You succeeded very well in her portrait, a portrait of purity, which no dirt "will blacken or stain." She is alive in the novel. She knows something higher than all the other characters in the novel, including Zhivago, something more real and important.”

5) “And this distance is Russia, its incomparable, sensational across the seas, famous parent, martyr, stubborn, crazy, naughty, idolized, with eternally majestic and disastrous antics that can never be foreseen! Oh, how sweet it is to exist! How sweet it is to live in the world and love life! Oh, how always it is tempting to say thank you to life itself, to existence itself, to say it to their own faces! This is what Lara is” (part 13, ch. 7, p. 397).

In Doctor Zhivago, Boris Pasternak portrayed amazing story love. This love is fateful, destined for heroes from above. This feeling became an expression of real joy, overcoming the fear of death. It is noteworthy that at the beginning the novel was called "Boys and Girls". Indeed, from the very first episodes, boys appear: Yura Zhivago, Misha Gordon, Nika Dudorov, Pasha Antipov - and girls: Nadia, Tonya.

The second part opens with the chapter "A girl from another circle" - this is Larisa Guichard. “Lara was the purest creature in the world,” the author says about her. Together with boys and girls, the novel includes themes of teenage perception of life, sensitive, naive, vulnerable, maximalistly impatient for falsehood and injustice. Heroes share distances, social status, but they are simply destined to meet.

Lara is brought up in a poor family. She is forced to give lessons, take care of her mother, endure the caresses of an impudent rich man. Yura Zhivago lost his mother early. Since childhood, he felt a lack of warmth, love. Therefore, he valued care and friendship so much. Heroes still meet only fleetingly, casually, by chance, without noticing each other. Moreover, each new meeting takes place on a new life stage heroes. Time passes. It turns out that "the boys have grown up and that's all - here, in the soldiers." As adults, they meet at a dinner party. The moment is significant when, in a snowy, frosty winter, Yura sees a candle in an unfamiliar window and cannot take his eyes off it. It was Lara's room. And the candle will later become a symbol of their love - a sign of eternal spiritual, saving fire, the sacred passion of two souls. Therefore, the refrain of the entire novel is the lines from Yura's poem: "The candle was burning on the table, the candle was burning." During a meeting with Lara at the ball, Yura is shocked by her act: the exhausted girl shoots not only at the rich man she hates, but also at the existence she hates, imposed from the outside. Heroes immediately find themselves drawn into broad historical events. World War I, three revolutions, civil war - these are experiments that were started in the name of the purest, noblest ideals. But in relation to the usual human life they are artificial and contrived. For Pasternak, they are associated with games - grown-up boys continue to play. For example, Yuri Zhivago, in an enthusiastic boyish way, tells Larisa about the revolution: “Do you think what time it is now! And we live in these days! After all, only once in eternity does such an incredible thing happen. Just think: the roof was torn off from all of Russia, and we all found ourselves as a people under open sky. And there is no one to watch over us. Freedom!". Yuri's soul is receptive to goodness, harmony, beauty, and at the same time he sensitively reacts to historical events. The creatively gifted hero of the novel strives to do his own thing (healing not only human bodies but also hearts). His gaze, by the force of circumstances, becomes a measure and a tragic assessment of circumstances. Yuri's poems are support and confirmation of hopes and faith in the long-awaited enlightenment and liberation of the individual. He finds spiritual freedom and liberation from painful earthly contradictions in a feeling of love for Lara. Both heroes are not free: Yuri has his own family, children, whom he dearly loves. Lara is married. But their connection is inevitable, their souls are drawn to each other in search of salvation from horrors and disasters. scary world. About the days of the February Revolution, Pasternak writes the following: “Every day, without end, like mushrooms, new positions grew. And they were all chosen. They filled posts in the city government, served as commissars in small places in the army in the sanitary department and treated the alternation of these activities as entertainment on fresh air like a game of burners." During the years of the revolution, it began to seem to people that they could deviate from Christian commandments, they longed to rule own life. In fact, they believe in false, temporary values, are in the grip of transient temptations. But the games of adults have serious consequences.

This is proved by the fate of Strelnikov, the herald and active participant in the revolution. His ideas and actions are destructive. They reflect the mood of the era: disregard for the personality of a person, the loss of the significance of spiritual ideals in the name of speculative equality, artificial unity. These games bring blood and death to the same boys, no matter which side they fight on. Projects to remake the world have turned into cruel experiments. The result is a terrible reality that is hostile not only to spiritual life, but to human existence itself. These are the results of playing with history. "Playing people" is unnatural, says Boris Pasternak. She can't replace normal ordinary life. The hero finds an outlet in love for Lara. She gives him light, supports him, burns without fading, like the candle he saw many years ago. The characters have changed a lot, told a lot. But their hearts did not grow dim, they felt, recognized each other. Their meeting after the revolution in the library of a small provincial town is far from accidental. Most of The novel is filled with the expectation of love, the image of its different hypostases. But finally, their eyes meet. ... And they can no longer part for a minute. Both heroes went to this light all their lives. And hope did not deceive them. They are born for each other. In their words, deeds there is no game, lies, violence. On the contrary, they seem to have taken refuge from the dark troubled days. Their relationship is very harmonious, because the love of Yura and Lara is colored by tenderness, care, mutual understanding. Only now the heroes begin to live true life. Only now they fully feel the whole flavor of life. Their love is light, warmth, peace. It is an organic combination of biological, spiritual and eternal. Only in love, in life in the name of another, they find consolation and meaning. This is the true bliss and great destiny of man. Yura and Lara sculpted a huge bright world. It was he who helped them save their souls. The relationship of the heroes was secret, but it was in them that the whole meaning of the life of the heroes was contained. Violent human intervention in nature and history has grave consequences. Yura and Lara are alien to selfishness, narrow-mindedness, vulgarity of the world around them.

Love in Pasternak's novel is closely connected with history. On the one hand, the author shows violence and confusion, and on the other hand, a simple but sacred life in love and creation. He shows that the power of an ideological scheme, a far-fetched system, destroys everyone, turning into a tragedy for those who profess and apply it. Genuine, earthly, human concerns of people are much more important than revolutionary games. So the significance social history decreases, and a high eternal meaning acquires a person's life, his love, his great deeds and small chores, without which a person's life is impossible. Love breathes the entire subtext of the novel. The symbol of love and harmony is here not only a candle, but also nature. Nature in the novel is an embodied miracle, a miracle of life: “The miracle came out. Water ran out from under the shifting snow veil and screamed. The true miracle in the world is the man himself, in whose heart lives a wise, all-penetrating love.

Element. Yuri and Tony's love is a restrained element, it's like a candle flame - it shines and warms. Around her is warm and cozy. Yuri Andreevich loves Antonina Alexandrovna in his own way, he is attached to her. But this flame breaks free and captures the hero. And he begins to burn with passion not for his wife, but for Lara - stranger. The 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. 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 become the cause of the break, understanding and feeling the pain inflicted. And all because the element broke out, now it's not a small candle flame, the love of Yuri and Lara is a raging element, a flame bursting free,

threatening to destroy, burn everything and everyone. Love is an element that brings suffering, it gives moments of joy, but then it makes you pay a hundredfold for them, sending trials. But love, like any other element, cannot be avoided. She will come anyway, capture, whirl in her whirlpool, mix grief and joy together. This element collides completely different people as if wishing

find out what will come of it. Tonya and Lara love the same person, but they are complete opposites 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, to complicate it and lead astray, ”Antonina Alexandrovna writes about Lara to Yuri Andreevich in her farewell letter.

And yet love illuminates and warms life path heroes, especially Lara and Yuri. Yes, it complicates their life, but they live this love.

“Their love was great. But everyone loves, not noticing unprecedentedness

feelings. For them, - and this was exceptional - the moments when, like a breath of eternity, a breath of passion flew into their doomed human existence, they were moments of revelation and learning everything new about themselves 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 at that. Yuri Andreevich idolizes Larisa Fedorovna, and even jealousy can only cause him something base and distant. He accepts the love of only people who are close in spirit, he rejects vicious, vile love. “It seems to me that strongly, mortally, with passion, I can only be jealous of the lower, the distant. Rivalry with the higher causes 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 dispute and litigation. Of course, I would not have been able to share with him the object of my adoration for a minute. But I would back away with a feeling of a very different misery than jealousy, not so smoky and bloody. The same thing would have happened to me in a collision with an artist who would have conquered me by the superiority of his powers in works similar to me. I probably would have abandoned 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. she is not jealous of 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 whom

lazily crawled ”to their house. “Everything would have stirred up in me. I would not resist the call of the past, the call of loyalty. I would sacrifice everything, even the most expensive. by you. And my intimacy with you, so easy, not forced, self-evident ... This is the same voice of duty that drives you to Tonya.

Yura, still a boy, who saw Lara for the first time, still a girl in a student's dress, understood, felt all her charm, all her femininity, all the strength of her love, her passion, spontaneity. From the first meeting, she cast a “light of charm” into him, as Yuri Andreevich himself says. “When you, like a shadow in a student’s dress, stepped out of the darkness of the license plate recess, I, a boy who didn’t know anything about you, understood with all the flour of the strength that echoed to you: this puny, thin girl is charged, like electricity, to the limit, with all conceivable femininity in the world. If you come close to it or touch it with your fingers, a spark will light up 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 probably hurts even more to be a woman, to be electricity, to inspire love.

Larisa Fedorovna illuminates the path of Yuri Andreevich. From childhood, she planted a “light of charm” in his soul, she shared with him the hardships of life in his mature years, and she stood at the “end of his life” - Lara came to see Yuri on his last journey.

The love of Larisa Feodorovna and Yuri Andreevich was what united them, made them related. Their love was "free, unprecedented, unlike anything! .."

Through this element, through the love of Yuri and Lara, the author reveals many wonderful character traits of the characters. He shows their inner strength, their willingness to sacrifice their love, their happiness for the sake of salvation, for the sake of peace and well-being of each other. Heroes could not help but love. Dislike is a disease. Yuri, Lara, Tonya - are they afraid of this disease?

“From the mere fear of what a humiliating, annihilating punishment dislike, I would unconsciously beware of realizing that I do not love you. Neither I nor you would ever know. 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, ”Antonina Aleksandrovna writes in a letter to Yuri Andreevich.

But Yuri, Lara, Tonya, Marina are not afraid of this disease. Personalities rich in soul like them cannot but love, love is in the blood of heroes. For them, love is life. Their love is a lofty, burning, sacrificial feeling. It ennobles them and the object of their love. The pages that depict the love of Yuri, Tony and Lara are, in my opinion, one of the most beautiful, touching, exciting pages of the novel.

But love is not the only element in Doctor Zhivago. At the very beginning, we already talked about natural elements - a blizzard, a snowstorm, a snowstorm. These elements run through the entire work, and they are opposed by the element of fire, the candle. They arise at the very beginning of the novel (a storm after the funeral of Yuri's mother, a beckoning candle in the window of Kamergersky Lane) and accompany the characters to the end (a thunderstorm at the time of Zhivago's death, the image of a candle in Yuri's poem that survived and resurrected him). Andrey Voznesensky in his article “The Candle and the Blizzard” writes: “We see how in the process of life, in the spiritual turmoil of the author, the hero of the novel, the flame of a candle, seen through frosty window... Then the night, sensual candle becomes a symbol of his love for Lara. A blizzard, a symbol of history, blows out this lonely stub, the personality, spirituality, the intellectual perish - and, finally, at the end of the novel, the miracle of the classic poem “The Candle Burned” blooms, without the light of which it is no longer possible to imagine our spiritual culture.

Throughout works is coming as if opposition: a candle - a blizzard, light - darkness, heat - cold, life - death. The light of a candle, as a symbol of passion, is the element of fire, which brings warmth, goodness, light, life, love. Snow, blizzard, blizzard - the element of cold, bringing evil, darkness, suffering, death.

Revolution is an element. It cannot be avoided, it cannot be intervened in its events, because nothing can be changed anyway. Inevitability makes people weak-willed. The element subjugates everyone and everything, it does not release anything from its snow whirlwind. Indeed, the main symbol of the revolutionary element is a blizzard. A blizzard sweeping, sweeping everything around. Snowflakes are like people flying into the light of an unknown hearth and dying countless.

Melo, melo all over the earth

To all extent...

Melo... Blizzard. It is the blizzard that is the symbol of the revolution in Blok's The Twelve.