Boris Pasternak Poetry: World Poets Analysis
Although Boris Pasternak would refuse to equate music with poetry, his verse is inseparable from the music it embodies. D. L. Plank has studied the music of Pasternak in great detail and speaks of his “sound symbolism” and “phonetic metaphors.” With its unusual rhythms and internal rhymes, alliteration, and evocative word patterns, Pasternak’s poetry has a resonance that most translators have despaired of capturing. At all times he uses classical patterns and regular meters, never attempting the free verse of the Futurists, whose daring use of vocabulary, however, he does share. Perhaps one of the best examples of Pasternak’s sound patterns is “Oars at Rest,” brilliantly analyzed by Plank and Nils Nilsson.
It is not surprising that Pasternak’s last work should be called Zhivago, which means “life,” for his entire literary creation is a celebration of life. In My Sister, Life, he wrote, “In all my ways let me pierce through into the very essence. . . .” Although his sensitive nature suffered greatly during the personal and national upheavals in which he participated, he was basically positive and optimistic, a poet of hope and exultation. He frequently wrote of birth; one of his volumes of verse is titled Second Birth; the sight of the Urals for the first time is the vision of the great mountains in the pangs of childbirth and joy of new life. He frequently wrote of the change of seasons, implying life...
(The entire section is 2890 words.)
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