Boris Pasternak World Literature Analysis
Pasternak’s creative work is traditionally divided into two periods, with the break coming around 1932-1934. In the earlier period, he was a full-fledged member of a school of writing that demanded innovation in poetic form above all. Innovation could come at the price of obscure or difficult work. In the later period, Pasternak openly repudiated much of his earlier work, claiming that it had been unnecessarily obscure, and that simplicity and clarity were indispensable characteristics of all meaningful writing.
In the years before World War I, Pasternak took part in the heated arguments among Russia’s poets about the future of art. Like mathematicians of the late nineteenth century, who had started to examine shapes that exist not in three but in four or more dimensions, or atomic physicists who claimed that matter is made up of many essentially empty submicroscopic particles, poets and other artists no longer felt that merely reproducing the outward appearances of things, the goal of realism, was an ambitious enough task. Pasternak for a time was drawn to the Futurists, a group of poets who believed that the so-called great writers of the past should be discarded along with their way of writing poetry. In Russia, this would mean the end of well-wrought lyrical sentiments or philosophical statements expressed in elegantly rhymed and measured verses. Pasternak was especially drawn to one of the leaders of the Futurists, Vladimir Mayakovsky, who by...
(The entire section is 2557 words.)
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