Artistic features of Pasternak's poetry. Report: Pasternak b. l. What are the features of the depiction of nature in parsnip’s poetry?

The poetic world of Boris Pasternak appears before us in all its richness - a richness of sounds and associations that reveal to us long-familiar objects and phenomena from a new, sometimes unexpected side. Pasternak's poetry is a reflection of the personality of the poet, who grew up in the family of a famous artist and a talented pianist. Boris Pasternak's love for music is known - he was even predicted to have a future as a composer, but poetry became the meaning of his life.

The first publications of his poems date back to 1913. Next year, the poet’s first collection, “Twin in the Clouds,” will be published. Pasternak was part of a small group of Centrifuge poets, close to Futurism, but influenced by the Symbolists. He was critical of his early work and subsequently thoroughly revised a number of poems.

It must be said that Pasternak, in general, tends to view poetry as hard work that requires complete dedication:

Don't sleep, don't sleep, work,

Don't stop working

Don't sleep, fight drowsiness,

Like a pilot, like a star.

Don't sleep, don't sleep, artist,

Don't give in to sleep.

You are a hostage to time

Captured by eternity.

Already in the first years of his work, Pasternak displayed those features of his talent that were fully revealed later: poeticization of the “prose of life”, outwardly dull facts, philosophical reflections on the meaning of love and creativity, life and death:

February. Get some ink and cry! Write about February sobbingly, While the thundering slush burns in the black spring.

Boris Pasternak introduced rare words and expressions into his poems - the less the word was in circulation in books, the better it was for the poet. Therefore, it is not surprising that Pasternak’s early poems may remain misunderstood after the first reading. In order to understand the essence of the images created by the poet, you need to know the exact meaning of the words he wrote. And Pasternak treated their choice with great attention. He wanted to avoid cliches; he was repelled by “worn out” poetic expressions. Therefore, in his poems we can often find outdated words, rare geographical names, specific names of philosophers, poets, scientists, and literary characters.

The originality of Pasternak's poetic style also lies in its unusual syntax. The poet breaks the usual norms. They seem to be ordinary words, but their arrangement in the stanza is unusual, and therefore the poem requires us to read carefully:

In a suburb where no one can go

Never set foot, only sorcerers and blizzards

I set foot in the demon-possessed district,

Where and how the dead sleep in the snow.

("Blizzard")

But what expressiveness does such syntax give to a poetic text! The poem “Blizzard” is about a traveler who gets lost in a suburb, about a blizzard that aggravates the hopelessness of his path. The traveler’s state of mind is conveyed by ordinary words, but the very feeling of anxiety and confusion sounds in the unusual rhythm of the poem, which gives it a unique syntax.

Pasternak's associations are also original. They are unusual, but that is precisely why they are truly fresh. They help the image described by the poet to reveal itself exactly as he sees it. The poem “Old Park” says that “punishing flocks of nines fly away from the trees.” And then we find the following lines:

Contractions intensify with brutal pain,

The wind grows stronger and goes wild,

And nine rooks fly,

Black nines of clubs.

The imagery of this poem is deeper than it might seem at first glance. The poet uses a three-term comparison here: rooks - nines of clubs - airplanes. The fact is that the poem was written in 1941, at a time when the planes not named in it flew in nines, and their formation reminded the poet of nines of clubs and rooks. In complex associative series - the originality of Pasternak's poetry.

M. Gorky wrote to Pasternak about this: “There is a lot that is amazing, but you often find it difficult to understand the connections of your images and your struggle with language, with words, is tiring.” And again: “Sometimes I sadly feel that the chaos of the world overcomes the power of your creativity and is reflected in it precisely as chaos, disharmoniously.” In response, Pasternak wrote: “I have always strived for simplicity and will never stop striving for it.” In the poet's mature lyrics there is indeed clarity of expression, combined with depth of thought: In everything I want to get to the very essence. At work, looking for a way, In heartfelt turmoil. To the essence of the past days, to their cause, to the foundation, to the roots, to the core.

The evolution that happened to the poet was the natural path of an artist who wants to get to the very essence of everything. Comprehension of the spiritual world of man, the laws of development of society, and nature is the main thing in the work of Boris Pasternak. Many of his poems serve as a reason for thinking about issues of life structure.

Recognition of the great literary talent of “Boris Pasternak” was the Nobel Prize awarded to the poet in 1958 “For outstanding services in modern lyric poetry and in the traditional field of great Russian prose.” Then Pasternak was forced to refuse this prize. In 1989, it was returned to the poet posthumously. It’s safe to say that the literary heritage of Boris Pasternak is important not only in Russian, but also in world culture.

The poetic world of Boris Pasternak appears before us in all its richness - a richness of sounds and associations that reveal to us long-familiar objects and phenomena from a new, sometimes unexpected side. Pasternak's poetry is a reflection of the personality of the poet, who grew up in the family of a famous artist and a talented pianist. Boris Pasternak's love for music is known - he was even predicted to have a future as a composer, but poetry became the meaning of his life.
The first publications of his poems date back to 1913. Next year, the poet’s first collection, “Twin in the Clouds,” will be published. Pasternak was part of a small group of Centrifuge poets, close to Futurism, but influenced by the Symbolists. He was critical of his early work and subsequently thoroughly revised a number of poems.

Don't sleep, don't sleep, work,
Don't stop working
Don't sleep, fight drowsiness,
Like a pilot, like a star.
Don't sleep, don't sleep, artist,
Don't give in to sleep.
You are a hostage to time
Captured by eternity.

Already in the first years of his work, Pasternak showed those features of his talent that were fully revealed later: poeticization of the “prose of life”, outwardly dull facts, philosophical reflections on the meaning of love and creativity, life and death:

Write about February sobbingly,
While the rumbling slush
In spring it burns black.

Boris Pasternak introduced rare words and expressions into his poems - the less the word was in circulation in books, the better it was for the poet. Therefore, it is not surprising that Pasternak’s early poems may remain misunderstood after the first reading. In order to understand the essence of the images created by the poet, you need to know the exact meaning of the words he wrote. And Pasternak treated their choice with great attention. He wanted to avoid cliches; he was repulsed by “worn out” poetic expressions. Therefore, in his poems we can often find outdated words, rare geographical names, specific names of philosophers, poets, scientists, and literary characters.
The originality of Pasternak's poetic style also lies in its unusual syntax. The poet breaks the usual norms. They seem to be ordinary words, but their arrangement in the stanza is unusual, and therefore the poem requires us to read carefully:

In a suburb where no one can go


Where and how the dead sleep in the snow
("Blizzard")

But what expressiveness does such syntax give to a poetic text! The poem “Blizzard” is about a traveler who gets lost in a suburb, about a blizzard that aggravates the hopelessness of his path. The traveler’s state of mind is conveyed by ordinary words, but the very feeling of anxiety and confusion sounds in the unusual rhythm of the poem, which gives it a unique syntax.
Pasternak's associations are also original. They are unusual, but that is precisely why they are truly fresh. They help the image described by the poet to reveal itself exactly as he sees it. The poem “Old Park” says that “punishing flocks of nines fly away from the trees.” And then we find the following lines:

The wind grows stronger and goes wild,
And nine rooks fly,
Black nines of clubs.

The imagery of this poem is deeper than it might seem at first glance. The poet uses a three-term comparison here: rooks - nines of clubs - airplanes. The fact is that the poem was written in 1941, at a time when the planes not named in it flew in nines, and their formation reminded the poet of nines of clubs and rooks. In complex associative series - the originality of Pasternak's poetry.
M. Gorky wrote to Pasternak about this: “There is a lot that is amazing, but you often find it difficult to understand the connections of your images and your struggle with language, with words, tires you out.” And again: “Sometimes I sadly feel that the chaos of the world overcomes the power of your creativity and is reflected in it precisely as chaos, disharmoniously.” In response, Pasternak wrote: “I have always strived for simplicity and will never stop striving for it.” In the poet's mature lyrics there is indeed clarity of expression, combined with depth of thought:

I want to reach everything
To the very essence.
At work, looking for a way,
In heartbreak.
To the essence of days gone by
Until their reason,
To the foundation, to the roots,
To the core.

The evolution that happened to the poet was the natural path of an artist who wants to get to the very essence of everything. Comprehension of the spiritual world of man, the laws of development of society, and nature is the main thing in the work of Boris Pasternak. Many of his poems serve as a reason for thinking about issues of life structure. Here, for example, is an excerpt from the poem “Station”:

Station, fireproof box
My separations, meetings and separations,
A proven friend and guide,
To begin is not to count the merits.
It used to be that my whole life was in a scarf,
The train has just been delivered for boarding,
And the muzzles of the harpies flutter,
The pairs covered our eyes.
It happened that I would just sit next to you -
And the lid. Prinik and retreat.
Goodbye, it's time, my joy!
I'll jump off now, guide.

The picturesque and sound expressiveness of the verse, the individual uniqueness of the figurative system - these are the characteristic features of Pasternak's poetry. This poet is recognizable. He is a talented artist, an intelligent conversationalist, and a poet-citizen. It is known that his creative path was not easy; he was condemned by herbs (after writing the novel “Doctor Zhivago”). In those days Pasternak would write:

I disappeared like an animal in a pen.
Somewhere there are people, will, light,
And behind me there is the sound of a chase,
I can't go outside.
What kind of dirty trick did I do?
Am I a murderer and a villain?
I made the whole world cry
Over the beauty of my land.

Boris Pasternak’s great literary talent was recognized by the Nobel Prize awarded to the poet in 1958 “For outstanding services in modern lyric poetry and in the traditional field of great Russian prose.” Then Pasternak was forced to refuse this prize. In 1989, it was returned to the poet posthumously. It is safe to say that the literary heritage of Boris Pasternak is important not only in Russian, but also in world culture.

Boris Leonidovich Pasternak is one of the greatest poets who made an irreplaceable contribution to Russian poetry of the Soviet era and world poetry of the 20th century. His poetry is complex and simple, refined and accessible, emotional and restrained. It amazes with its richness of sounds and associations.
Long-familiar objects and phenomena appear before us from an unexpected side. The poetic world is so bright and original that one cannot remain indifferent to it. Pasternak's poetry is a reflection of the personality of the poet, who grew up in the family of a famous artist. From his first steps in poetry, Boris Pasternak discovered a special style, a special structure of artistic means and techniques. The most ordinary picture is sometimes drawn from a completely unexpected visual angle.
The first publications of his poems date back to 1913. Next year, the poet’s first collection, “Twin in the Clouds,” will be published. But Pasternak was critical of his early work and subsequently thoroughly revised a number of poems. In them he often misses the unimportant, interrupts, breaks logical connections, leaving the reader to guess about them. Sometimes he does not even name the subject of his narration, giving it many definitions, using a predicate without a subject. This is how, for example, his poem “In Memory of the Demon” was constructed.
It must be said that Pasternak, in general, tends to view poetry as hard work that requires complete dedication:
Don't sleep, don't sleep, work,
Don't interrupt your work.
Don't sleep, fight drowsiness,
Like a pilot, like a star.
Don't sleep, don't sleep, artist,
Don't give in to sleep.
You are a hostage to time
Captured by eternity.
Already in the first years of his work, Pasternak showed those special sides of his talent that were fully revealed in the poeticization of the prose of life, philosophical reflections on the meaning of love and creativity:
February. Get some ink and cry!
Write about February sobbingly,
While the rumbling slush
In spring it burns black.
Boris Pasternak introduced rare words and expressions into his poems. The less often the word was used, the better it was for the poet. In order to understand the essence of the images he created, you need to have a good understanding of the meaning of such words. And Pasternak treated their choice with great attention. He wanted to avoid cliches; he was repulsed by “worn out” poetic expressions. Therefore, in his poems we can find outdated words, rare geographical names, specific names of philosophers, poets, scientists, and literary characters.
The originality of Pasternak’s poetic style lies in its unusual syntax. The poet breaks the usual norms. They seem to be ordinary words, but their arrangement in the stanza is unusual, and therefore the poem requires us to read carefully:
In a suburb where no one can go
Never set foot, only sorcerers and blizzards
I set foot in the demon-possessed district,
Where and how the dead sleep in the snow...
But what expressiveness does such syntax give to a poetic text! The poem is about a traveler who gets lost in a suburb, about a blizzard that aggravates the hopelessness of the path. The traveler’s state of mind is conveyed by ordinary words, but the very feeling of anxiety and confusion sounds in the unusual rhythm of the poem, which gives it a unique syntax.
Pasternak's associations are also original. They are unusual, but that is precisely why they are truly fresh. They help the described image to reveal itself exactly as he sees it. The poem “Old Park” says that “the croaking flocks of nines scatter from the trees.” And then we find the following lines:
Contractions intensify with brutal pain,
The wind grows stronger and goes wild,
And nine rooks fly,
Black nines of clubs.
The imagery of this poem is deeper than it might seem at first glance. The poet uses a three-term comparison here: rooks - nines of clubs - airplanes. The fact is that the poem was written in 1941, when German planes flew in nines, and their formation reminded the poet of nines of clubs and rooks. The originality of Pasternak's lyrics lies in the complex associative series. Here, for example, are the precise and at the same time complex, extraordinary strokes that convey the feeling of warm air in a coniferous forest:
The rays flowed. The beetles flowed with the ebb tide,
The glass of dragonflies scurried across the cheeks.
The forest was full of painstaking shimmer,
Like being under a watchmaker's tongs.
Pasternak's poetry is the poetry of roads and unfolding spaces. This is how Pasternak defines poetry in the book “My Sister is Life.”
This is a cool whistle,
This is the clicking of crushed ice floes,
This is the leaf-chilling night,
This is a duel between two nightingales.
This is a sweet spoiled pea.
These are the tears of the universe in the shoulder blades,
This is from consoles and flutes -
Figaro Falls like hail onto the garden bed.
All. what nights are so important to find
On deep bathed bottoms,
And bring the star to the cage
On trembling wet palms...
“The Definition of Poetry”
In Pasternak's poems you always feel not feigned, but deeply natural, even spontaneous lyrical pressure, impetuosity, dynamism. They have the ability to sink into the soul, get stuck in the corners of memory. Pasternak’s landscape exists on equal terms with man. For him, natural phenomena are like living beings: the rain lingers at the threshold, a thunderstorm, threatening, breaks through the gate. Sometimes the rain itself writes poetry for the poet:
The shoots of the shower are dirty in clusters
And for a long, long time, until dawn
They sprinkle their acrostic poems from the roofs.
Blowing bubbles in rhyme.
In Pasternak’s poems, the Urals (“On a Steamboat,” “Ural for the First Time”), the North, and the poet’s native places near Moscow with their lilies of the valley and pines, violent thunderstorms and swifts appear before us with pristine purity. Subsequently, in books such as “On the Early Trains”, “When It Goes Wild,” strings of landscapes will invade the poet’s poems, expressing his delight in the natural world.
Throughout his life (especially in his mature and late years), Boris Pasternak was extremely strict with himself, demanding and sometimes unjustifiably harsh in his car characteristics. This is understandable. The poet always worked, thought, created. When we now read and reread his poems and poems written before 1940, we find in them a lot of fresh, bright, beautiful things.
Pasternak's early poems retain clear traces of symbolism: an abundance of nebulae, detachment from time, a general tonality reminiscent of early Blok, Sologub, or Bely:
The day cannot rise in the efforts of the luminaries,
Do not remove the Epiphany veils from the earth.
But, like the earth, the experienced one is exhausted,
But, like snow, I fell to the dust of days.
These lines are the original version of the poem “Winter Night,” radically revised in 1928:
The day cannot be corrected by the mouths of the lights,
Do not lift the shadows of Epiphany veils.
It's winter on earth, and the smoke of the fires is powerless
Straighten the houses that lay flat.
Everything is different here. True, the poet is still busy here with “extraneous wit,” but the step has been taken, and it is an important step.
Over time, Pasternak's poetry becomes more transparent and clear. The new style is felt in such major works of his as “Nine Hundred and Fifth”, “Lieutenant Schmidt”, “Spektorsky”. Achieving simplicity and naturalness of the verse, he creates things of rare power. His verse seemed to be purified, acquiring a minted clarity. What happened with the artist, evolution was a natural path that sought to get to the very essence of everything.
I want to reach everything
To the very essence.
At work, looking for a way,
In heartbreak.
To the essence of the past days.
Until their reason,
To the foundations, to the roots,
To the core.
The artist believed that the image should not distance what is being depicted, but, on the contrary, bring it closer, not take it to the side, but force one to focus on it:
In the ice there is a river and a frozen volcano,
And across, onto bare ice,
Like a mirror on a mirror glass,
A black firmament has been set.
The inspired objectivity of the “prose of a close grain” (“Anne Akhmatova”), introduced into the poetic fabric, the desire in one’s art to “be alive” (“Being famous is ugly...”), historical truth, supported by dynamic pictures of nature - all this testifies about Pasternak’s desire to move away from schools marked by “unnecessary mannerisms.”
Being famous is not nice.
This is not what lifts you up.
No need to create an archive,
Shake over manuscripts.
And should not a single slice
Don't give up on your face
But to be alive, alive and only,
Alive and only until the end.
The world of B. Pasternak's poetry was expanding all the time, and it is difficult to imagine the extent and form of further expansion if the poet had lived for more years and continued the best that was contained in his last book, “When it clears up.”
Nature, peace, hiding place of the universe,
I will serve you for a long time.
Embraced by an intimate trembling
, I stand in tears of happiness.
However, the subjunctive mood “if” is inappropriate and unproductive. We have a complete destiny before us. Throughout his life, the poet went through several creative cycles, made several turns up the spiral of comprehension of society, nature, and the spiritual world of the individual. B. Pasternak's great talent was recognized when he was awarded the Nobel Prize in 1958.
The legacy of Boris Pasternak is legitimately included in the treasury of Russian and world culture of the 20th century. It has won the love and recognition of the most demanding and strict connoisseurs of poetry. Knowledge of this heritage becomes an urgent necessity, delightful reading and a reason for thinking about the fundamental questions of human existence.

What are the features of the poetry of B. L. Pasternak? D. S. Likhachev wrote: “Pasternak’s words are well known: “Being famous is ugly.” This meant that poetry, the creativity of the poet, was separated from the human poet. Only poems should be famous and “famous”. In the same way, the manuscripts of poems are separated from the poems themselves. There is no need to fuss over manuscripts or store them. Pasternak exists in poetry, and only in poetry: in poetic poetry or prose poetry. Pasternak’s poetry is... that world that again and again returns him to real reality, newly understood and increased in its meaning for him.” The poem “In everything I want to achieve...”, in my opinion, expresses Pasternak’s creative and life credo.

I want to reach everything

To the very essence.

At work, looking for a way,

In heartbreak.

The hero wants to get “to the essence of the past days,” to their cause, so that all the time he “grabs the thread” of events and destinies. He wants to “live, think, feel, love, / Make discoveries,” understanding their causes and consequences. Then, perhaps, he would have been able to deduce some pattern of what was happening.

I would plant poems like a garden.

With all the trembling of my veins

The linden trees would bloom in them in a row,

Single file, to the back of the head.

I would bring the breath of roses into poetry,

Breath of mint

Meadows, sedge, hayfields,

Thunderstorms rumble.

He cites the example of Chopin, who managed to put the life of “farm farms, parks, groves, graves” into his sketches.

Pasternak is a poet of associations. Already in the early poems (1910s), the main features inherent in Pasternak’s poetic vision of the world appear - a world where everything is so intertwined and interconnected that any object can absorb the signs of another, and events and feelings are conveyed using a seemingly random set unexpected associations, permeated with emotional tension, with the help of which they merge:

And the more random, the more true

Poems are composed out loud.

Pasternak's discovery is that he captures a world in which the beauty of God's plan is embodied, a world that was given to him “for eternal envy,” a world that must somehow be embraced and embodied.

The image of the surrounding world and the method of its transmission find their most complete embodiment on the pages of the third book of poems, “My Sister is Life,” dedicated to the summer of 1917, between two revolutions. This book is a kind of lyrical diary, where behind the poems on the themes of love, nature and creativity there are almost no concrete signs of historical time.

But the poet himself claimed that in this book he “expressed everything that can be learned about the most unprecedented and elusive revolution.” As the poet believed, the revolution should not be described by a historical chronicle in poetic form - it should be conveyed in lyrics by reproducing the lives of people and nature, engulfed in events on a universal scale.

According to Pasternak, the poet’s task is to capture a moment that is comparable to eternity, into which eternity is projected. The poet must depict the inexhaustibility of the moment:

There will be no one in the house

Except at dusk.

One Winter day in the through opening

Undrawn curtains.

Only white wet lumps

A quick glimpse of moss,

Only roofs, snow, and, except

Roofs and snow, no one.

And the more random, the more true
Poems are composed out loud.
B. Pasternak

I understand Pasternak’s aphoristic phrase “In everything I want to get to the very essence” as the poet’s goal to capture and convey in poetry the authenticity of his mood, state of mind. To achieve this, of course, a superficial glance is not enough. Let me give you an example that surprisingly accurately conveys the feeling of warm air in a coniferous forest:

The rays flowed. The beetles flowed with the ebb tide,
The glass of dragonflies scurried across the cheeks.
The forest was full of painstaking shimmer,
Like being under a watchmaker's tongs.

This is what it means to get to the poetic essence of a phenomenon! Nature is controlled by the Master. It is undergoing a constant process of updating. The poetic substance conveys the delight of solving yet another mystery of the universe.
True talent is always appreciated even by poets working in a different vein. Mayakovsky, for example, is quite far from Pasternak in spirit, but in his famous article “How to Make Poems” he called one quatrain of Pasternak’s “Marburg” brilliant.

Pasternak's admiration for the natural world was enormous. It was Pasternak and only Pasternak who could give us a sense of the Value of everything on earth:

And cross the road beyond the tyn
It is impossible not to trample the universe.

The poet said that Poetry “lies in the grass under your feet, so you only have to bend down to see it and pick it up from the ground.” He could, with great skill, paint a garden blooming and convey the state of the flowers doomed to death. And the work of a pilot who soared into the clouds gave him the opportunity to embody in light, flying lines his own thoughts about a person’s lifelong work, about his dreams, about his connection with the era. And all this with a clear sense of the Universe against the backdrop of cities, train stations, and boiler houses viewed from a great height.

It seems to me that after the passing of Blok and Yesenin, not a single poet in Russia wrote such significant poems. For example, the poems “Living Fresco” and “Pines” are absolutely beautiful. “August”, “Night” and others. Most often, as in the poem “Pines”. - these are reflections on time, on the truth of life and death. & the nature of art and the miracle of human existence;

It gets dark, and gradually
The moon buries all traces
Under the white magic of foam
And the black magic of water,
And the waves are getting louder and higher.
And the audience is on the float
Crowds around a post with a poster,
Indistinguishable from a distance.

The essence of this poem, the last two stanzas from which I quoted, is a deep faith in life, in the future.

Already at a respectable age, the poet did not age in soul. Anna Akhmatova admired the youth of his soul: “He, who compared himself to a horse’s eye, squints, looks, sees, recognizes.”

Pasternak also gave me, the reader, Shakespeare’s Hamlet. It is his translation of Shakespeare’s drama that, in my opinion, conveys the essence of Hamlet more than others. Pasternak, and in the tragedy of a distant era, was able to “get to the very essence,” or rather, to grasp the very essence. In his eternal striving towards the center of the human spirit, he will always be a little ahead of himself and of our time, because the poet’s day is greater than the century of the sleeping soul:

And half-asleep shooters are lazy
Tossing and turning on the dial
And the day lasts longer than a century,
And the hug never ends.

Pasternak is a unique lyricist. His poetry helps people with an intelligent heart to reach the very essence of existence.

Music

The house rose like a tower.

Along the narrow coal stairs

The piano was carried by two strong men,

Like a bell on a bell tower.

They were dragging up the piano

Over the vastness of the city sea,

Like a tablet with commandments

On a stone plateau.

And there's an instrument in the living room,

And the city is in whistling, noise, din,

Like underwater at the bottom of legends,

Below remained underfoot.

Sixth floor tenant

I looked at the ground from the balcony,

As if holding it in your hands

And ruling over it legally.

Back inside he started playing

Not someone else's play

But my own thought, chorale,

The hum of the mass, the rustle of the forest.

The boom of improvisations carried

Boulevard in the rain, the sound of wheels,

The life of the streets, the fate of loners.

So at night, by candlelight, in return

The simple naivety of the past,

Chopin wrote down his dream

On the black cutting of the music stand.

Or, ahead of the world

For generations four,

On the roofs of city apartments

The flight of the Valkyries thundered like a thunderstorm.

Or conservatory hall

With hellish roar and shaking

Tchaikovsky shocked me to tears

The fate of Paolo and Francesco.

Features of the late lyrics of Boris Pasternak

In many studies related in one way or another to Pasternak’s work, I have come across the judgment that the poet’s “early” work is complex, while his “later” work is simpler; The “early” Pasternak was looking for himself, the “late” one found himself; In his early work there is a lot that is incomprehensible, deliberately complicated, but later it is filled with “unheard-of simplicity.”

The creative path of writers, poets, and artists passes through several stages. And this is not always the path from simple to complex, from superficial

to the deep or vice versa.

“Late” Pasternak (“On Early Trains” - “When It Goes Wild”) is Pasternak who found new means of creating expression. If in early creativity imagery was largely created through the use of individual linguistic means, then in the late period the poet uses general linguistic units to a greater extent.

The stanza of the verses is very diverse: a stanza can include from four (which is most typical, up to ten verses. The originality of the stanzas lies not only in the number, but also in the combinations of long and shortened verses. United by a common idea, the stanza is not necessarily complete and sometimes has syntactic and semantic the duration is as follows. For example, I noticed this in the poems “Waltz with Devilry,” “Spring Again,” “Christmas Star.” The size of the stanzas and their combinations are different here: in “Waltz with Devilry” - -6-8-6- 7-10 verses. The most interesting thing is that it is extremely difficult to trace the connection between the size of the stanzas and the theme of the poem. It is also difficult to derive any pattern in correlating the size of the stanza with the syntactic structure of the sentences filling it. For example, the second part of the poem “Waltz with Devilry” is an octave consisting of two sentences, each of which is “situated” on four verses:

Magnificence beyond strength

Ink, and sickles, and whitewash,

Blue, crimson and gold

Lions and dancers, lionesses and dandies.

The fluttering of blouses, the singing of doors,

The roar of toddlers, the laughter of mothers,

Dates, books, games, nougat,

Needles, tricks, jumps, runs.

This passage provides an example of one of the features of the late Pasternak's syntax: the use of a long chain of one-part sentences. Here the author uses an interesting stylistic device: a combination of polyunion and non-union in one stanza. The entire stanza imitates the rhythm of a waltz (the musical meter is “three quarters”), and if in the first half of the stanza (due to the polyunion) the tempo is calm, then in the second – non-union – half of the stanza the “waltzing” accelerates, reaching a maximum in the last two verses. In the third stanza:

In this ominous sweet taiga

People and things are on an equal footing.

This boron is a delicious candied fruit

The hats are selling like hot cakes.

Stifling from delicacies. Christmas tree in sweat

He drinks the darkness with glue and varnish, -

The first and fourth sentences are two-part, the second is indefinitely personal, the third is impersonal.

The syntax of the late Pasternak is characterized by constructions of enumeration of homogeneous members of a sentence. The latter have an external resemblance to the mentioned names. For example:

Here he is with extreme secrecy

The bend has gone beyond the streets,

Lifting up stone cubes

Blocks lying on top of each other,

Posters, niches, roofs, chimneys,

Hotels, theaters, clubs,

Boulevards, squares, clumps of linden trees,

Courtyards, gates, rooms,

Entrances, stairs, apartments,

Where all passions are played

In the name of remaking the world.

("Drive").

In my opinion, this example of sustained non-union is similar to the technique of enumeration used by the poet to create expression. Externally, a multifunctional technique is internally subject to one pattern: the combination of things of different orders in one row.

The boom of improvisations carried

Night, flames, thunder of fire barrels,

Boulevard under the rain the sound of wheels,

The life of the streets, the fate of loners.

(" Music").

Various concepts combined in one row create a multifaceted picture of reality and activate different types of perception.

A similar effect of increasing expression and semantic diversity is observed not only when using (stringing together) dissimilar concepts in one row, but also with the appearance of anaphora, which is one of the leading stylistic figures in Pasternak’s late lyrics. For example:

All the thoughts of centuries, all dreams, all worlds,

The whole future of galleries and museums,

All the pranks of fairies, all the deeds of sorcerers,

All the Christmas trees in the world, all the dreams of children.

(“Christmas Star”).

In the poetry of the “late” Pasternak one also encounters the use of isolations, introductory and inserted constructions, which is so characteristic of early lyric poetry:

When your feet, Jesus,

Lean on your knees,

Maybe I'm learning to hug

Cross tetrahedral beam

And, losing my senses, I rush to the body,

Preparing you for burial.

(“Magdalene I”).

The syntactic construction can be complicated by an extended comparison or metaphor:

The sun goes down and the drunkard

From afar, for transparent purposes

Reaching through the window

With bread and a glass of cognac.

(" Winter holidays").

This is a typical stanza for Pasternak. The metaphorical nature in it is distributed unevenly. In the first sentence - The sun is setting - designation of reality, in the second - an expanded metaphor. The result of this trope organization is a cumbersome syntactic construction. The first sentence is a designation of the object of metaphorization; it sets the theme of the metaphor.

But neither the stanza nor the syntax are self-sufficient in Pasternak, which is confirmed by the lack of patterns in the construction of stanzas and sentences.

The central theme that runs through all of B. Pasternak’s work is the real world of objects, phenomena, feelings, and surrounding reality. The poet was not an outside observer of this world. He thought of the world and himself as a single whole. The author's “I” is the most active part of this indissoluble whole. Therefore, in Pasternak’s work, internal experiences are often given through an external picture of the world, and the landscape-objective world - through subjective perception. These are interdependent types of expression of the author’s “I”. Hence the personification so characteristic of Pasternak’s work, which permeates most metaphors and comparisons.

The “early” Pasternak was reproached for the complexity of metaphors and syntax; in late creativity the complexity is primarily semantic.

Pasternak's poetry has not become simpler, but has become more filigree. In such poems, when attention is not hampered by multi-stage paths, it is important not to miss the metaphors that are “hidden” behind the outwardly familiar language.

In the lyrics of the late period, phraseological units, colloquial everyday vocabulary and colloquial syntax are often found. This is especially typical for the cycle “On Early Trains,” with which, according to researchers, the “new,” “simple” Pasternak began.

In the early period of creativity, the use of colloquial everyday vocabulary in a poetic context against the general background of cross-style and book vocabulary enhanced expressiveness and unexpectedness of perception; in the later cycles, the use of colloquial and everyday vocabulary is determined thematically, most often to recreate the realities of the situation or the speech characteristics of the hero.

Phraseological phrases used by Pasternak in his late lyrics can be divided into two groups: changed and unchanged. Both groups include phraseological units of different stylistic layers.

Modified phraseological units according to Shansky

Pasternak individualizes phraseological units as much as possible, which is expressed in a significant change in their lexico-grammatical and syntactic structure in accordance with certain artistic goals.

“When it clears up” - a book of poems as a whole

The book of poems “When it clears up” (1956-1959) completes the work of B.L. Pasternak. The more important and interesting is its linguistic understanding in terms of the work of the poet, his predecessors and contemporaries.

In connection with the problem posed, I will be interested in two factors: the compositional orderliness and thematic unity of the book, as well as the unity of the poetic world and its artistic system.

In November 1957, B. Pasternak determined the order of the poems and added an epigraph. This is direct evidence that the poet viewed the book as an independent organism. The poet himself pointed out the organizing role of the three poems: this is the initial credo poem “In everything I want to achieve...”; then the culminating “When it clears up...”, the title of which is used to name the entire book, reflecting a turning point in the life of both the poet and the country, and in which the worldview of the late Pasternak is revealed; the final one is “The Only Days,” in which the theme of time, one of Pasternak’s main ones, is dominant. In the first poem, all the themes of the book are pulled together into one nerve knot; it is connected figuratively, lexically with each of the poems in the book.

The sequence of all other poems is also significant. In the complex multi-level composition of the book, there is an obvious symmetrical division into such combinations of verses, in each of which any part of the dual unity “creativity - time” is actualized. In the center are 6 poems, united by the theme “creativity”: “Grass and Stones”, “Night”, “Wind”, “Road”, “In the Hospital”, “Music”. These 6 poems are framed by landscape cycles: non-winter and winter. They, in turn, are surrounded by poems where the future is brought to the fore in the theme of time, and the last 9, the theme of which is formulated by the poet himself: “I think, despite the familiarity of everything that continues to stand before our eyes and that we continue to hear and read, there is nothing more of this, it has already passed and happened, a huge, unprecedented period that cost unheard of forces has ended and passed. An immeasurably large, currently empty and unoccupied place has been freed up for something new and not yet experienced...”

Each of these cycles has an internal structure, internal dynamics of themes and images. And this whole complex structure obviously reflects a certain real sequence of biographical events.

Two principles seem to us to be the main ones that organize Pasternak’s poetic world and the figurative and linguistic system of the book. Both of them are indirectly formulated by the poet. The first principle is the bifurcation of a phenomenon, image, word; the second principle is connection, bringing together different, distant, dissimilar things.

A phenomenon, event, thing, object bifurcates. They can have contrasting, sometimes mutually exclusive properties. Time moves non-stop ( Maybe year after year follows like snow falls, or like words in a poem), and even a moment can stretch to eternity ( And the day lasts longer than a century). Space, like time, is limitless and infinite ( This is how they look into eternity from the inside In the flickering crowns of insomnia, Saints, schema-monks, kings...), but it is also enclosed within certain boundaries, frames, and has a form.

The image bifurcates either visually or verbally: the same thing is called twice, as if dividing, and to achieve this effect the trope can be duplicated, either expressively or stylistically.

A word or phrase is bifurcated, used in two or more meanings at the same time.

The word form is bifurcated, which can simultaneously have two grammatical meanings.

The second principle is manifested in “convergence”:

Phenomena of reality separated in everyday consciousness (which underlies the construction of tropes)

Language phenomena separated in everyday consciousness (prose and poetic speech; various stylistic layers)

Poetic phenomena divorced in everyday consciousness.

I. Man and the world in Pasternak’s paths are brought together not only traditionally, but also in a special way: personified phenomena, like people, wear clothes, experience the same physical or psychological state as a person; Moreover, this may be a condition that the phenomenon itself usually causes in a person. Phenomena enter into human relationships not only with each other, but also with a person, sometimes starting a direct dialogue with him, evaluating a person, and this can be a mutual assessment, and a person feels the state of nature from the inside. The ethereal materializes, takes shape, or becomes unsteady and viscous. Poems also materialize, acquiring the status of a natural phenomenon or structure. The rapprochement is especially acute if it is based on a feature that is not inherent in the object, but is initially attributed to it and then only serves as a basis for comparison.

II. The rapprochement of prose and poetry in Pasternak is mutual: “His poetry is directed towards prose, just as prose is towards poetry” (Likhachev)

The utmost intensity of feeling in prose comes from the lyrics, the reliability of details, the simplicity of syntactic structures comes from narrative prose.

The rapprochement with prose is manifested, in particular, in the fact that lyrical verse freely includes colloquial vocabulary, vernacular, obsolete or regional words. All these reduced layers do not contrast with bookish, poetic or highly expressive vocabulary, but “are placed in one general layer of lyrical utterance,” with a clear predominance of “not high” vocabulary.

Behind the simplicity and “intelligibility” lie the most skillful language “errors” that seem to have gone unnoticed by the poet. However, the fact that they literally permeate the poems indicates that for Pasternak they were a conscious device. These are “mistakes” associated primarily with a violation of the usual compatibility.

Violation of semantic compatibility is most constant in cases of replacement of a dependent word with a phraseologically related meaning of another word, and the substitute word is freely selected from words of the same semantic series with the one being replaced, and from other series. There is also such a construction of a homogeneous series when, with a word with a phraseologically related meaning, one dependent word meets the norm, the other violates it.

Violation of syntactic compatibility is most consistently associated with the omission of a dependent noun or the placement of a dependent noun with a word that usually does not have such control.

III. The convergence of traditional and non-traditional poetic phenomena can be traced through examples of poetic images and ways of connecting words in a poetic line. Pasternak also continued the tradition of constructing a poetic line based on the usual or associative connection of words. However, an asemantic connection also becomes active, which can be considered as figurative: each of the words in the line, not connected by a seme with the others, “works” on the image.

Thus, the unity of the book grows from its compositional integrity, from the unity of the principles considered. It is also based on the unity of the actual visual techniques. Literary studies have noted the kinship of Pasternak's poetics with the plastic arts: sculpture, architecture, painting. Pasternak’s creative workshop is a dyehouse; the laws of perspective are reflected in the movement; the point of movement, the direction of which is usually oblique, at an angle, is precisely indicated. Visual detail is drawn: a separate gnarled maple branch bows, one acorn dangles on a branch, one bird chirps at a branch, rings of yarn crawl and curl. Recording a fact and detail is significant. The visual picture also includes theatrical associations: scenery, costumes, poses.

In contrast to the way the world is presented, the lyrical hero is not visually represented, his presence is conveyed through an assessment of events, situations, landscape, expressed by the prevailing vocabulary of high intensity, particles, conjunctions, introductory constructions with modal-evaluative meanings, syntactic elements indicating causal event connections. “The kingdom of metonymy, awakened to independent existence,” Jacobson called Pasternak’s poetry. And we find an essential explanation of the metonymic structure of the image of the lyrical hero from Pasternak himself: Never, never, even in moments of the most gift-giving, unmemorable happiness, the highest and most exciting things left them: the pleasure of the overall sculpting of the world, the sense of responsibility they themselves had for the whole picture, the feeling of belonging to the beauty of the whole spectacle, to the whole universe. ("Doctor Zhivago").

Brief biographical information.

February 10, 1890 - birth into the family of the artist L. O. Pasternak. Mother – pianist R.I. Kaufman. In childhood - music lessons, acquaintance with the composer Scriabin.

1909 – admission to the Faculty of History and Philosophy of Moscow University.

1908-1909 - takes part in the poetry group of the poet and artist Yu. P. Anisimov. During these years, there was serious communication with circles that were grouped around the Musaget publishing house.

1912 spring – a trip for one semester to Germany, to the University of Marburg to study philosophy with Professor Hermann Cohen.

1913 – graduation from Moscow University.

1913 - in the almanac of the Lyrics group, Pasternak’s poems were published for the first time.

1914 – the first collection “Twin in the Clouds”, with a foreword by Aseev.

Pre-revolutionary – participates in the futuristic group “Centrifuge”.

1917 – the second collection “Over Barriers” was published.

1922 - the collection that brought Pasternak fame is published - “My Sister is Life.”

20s – friendship with Mayakovsky, Aseev, partly thanks to this relationship with the literary association “LEF”.

1916-1922 – collection “Themes and Variations”.

1925-26 - poem “Nine hundred and fifth year.”

1929-27 - poem “Lieutenant Schmidt”.

1925 – the first collection of prose “Childhood Grommets”.

1930 – autobiographical prose “Safety Certificate”.

1932 – a book of poems “Second Birth” is published

1934 - Pasternak’s speech at the first All-Union Congress of Soviet Writers, after which the time for Pasternak’s long publication follows. The poet is engaged in translations of Shakespeare, Goethe, Schiller, Kleist, Rilke, Verlaine.

1945 – collection “On Early Trains”.

February 1946 - the first mention of the novel.

August 3, 1946 - Pasternak reading the first chapter of the novel at his dacha in Peredelkino.

1954 – 10 poems from the novel “Doctor Zhivago” were published in the magazine “Znamya”.

End of 1955 – the latest changes have been made to the text of the novel “Doctor Zhivago”.

1957 – the novel “Doctor Zhivago” was published in Italy.

1957 – creation of autobiographical prose “People and Positions”.

1956-1959 – creation of the latest collection “When it clears up.”

October 23, 1958 – the decision of the Nobel Committee to award Pasternak the Nobel Prize;

the writer's refusal to receive a prize due to bullying in the country.

1987 - the writer was posthumously reinstated in the Writers' Union of the USSR.

1988 – the novel “Doctor Zhivago” was published in our country for the first time in the magazine “New World”.

Introduction

The 19th century sought order, harmony, and perfection in the world, even in the person of Lermontov, who started a “personal lawsuit” with God, even in the person of Tyutchev, who carried his soul in the elysium day and night, looking at the world from the heights of God. To comprehend the perfection of the world - what a task! In the 20th century, everything seems to be the other way around... The boundaries have been shifted. Order... Who invented it? The mind moves off the usual, well-worn rails; I wanted to turn it over, turn everything upside down. Knowledge gives strength. We are strong. Where are the limits of our strength? Who has the right to name this limit? And how terrible it is to get caught in this wave. And how can you avoid falling into it if you are born again? And you can re-fashion your perfection... How could you live without it? Where would we be without him? The world is beautiful!

Pasternak, by the will of his word, connects the chaotic world of the city, the planet, the Universe. The world is chaotic because it is developing and at the same time being destroyed. Pasternak's poetry connects the fragments. She is the stream of seams that prevent the ice floes from spreading. His poetry does not flow, but flies in jerks, like blood from the arteries, but behind all this one can feel the rhythm of the universe, its pulse. The closer you hear this rhythm, the clearer it is, the more intoxicated you are with the world around you and with yourself. The energy of the world is pointed at you, you absorb it and transform it into the energy of words.

Pasternak – a synthesis of the 19th and 20th centuries. Its forest boundaries, enchanted thickets, sleeping distances, the darkness of the night are not the monumentality of Mayakovsky and not the weaponization of the masses. It's detail and detail. The fraction of drops and thin icicles cannot be compared with a giant column, with the iron of trains. Pasternak’s detailed world is not the fragility of Fetov’s world, where the smell of roses spreads in the “gentle breath of grass and flowers,” and whispers of the delight of a date are heard in the azure night. Pushkin's faded joy and Lermontov's alienness to everything are canceled out by Pasternak's crazy clicking of birds, a raging, stupefied ravine, a splash of a wave, a flap of a wing, a conversation about everything.

The purpose of my work is to consider the features of Pasternak’s late lyrics, find differences between the periods of the poet’s work, and also describe in detail the stylistic and thematic aspects of his last cycle of poems, “When it clears up.”

Brief analysis of the poem “Music”

Few have read Pasternak’s poems, because he is considered a “difficult” poet. However, I will try to analyze one of the poet’s later poems - “Music”.

Pasternak's world is initially musical; it is known that his first vocation is music, he wanted to devote his life to it as a child, and, obviously, if it were not for Pasternak’s categorical demand for the absolute, some of Scriabin’s arrogance towards the young musician, the poet’s fate could have been different. 15 years of his life devoted to music and writing not only objectively presuppose the musicality of his further work, but are constantly present in Pasternak’s poetry and prose. Based on his musical themes in poetry, one can see in a separate line and trace the changes in his poetic images and ideas. For this reason alone, music is not an independent theme of creativity, it is consonant with love, suffering, it marks the ups and downs of creativity, the state of inspiration; Pasternak’s music voices steps in cultural space and time.

“Music” is one of those poems that only fully reveals itself to a thoughtful and knowledgeable reader. Of course, just take and see what the words “chorale” (a musical play in the form of a religious polyphonic chant), “mass” (a choral work based on the text of a Catholic service), and “improvisation” (creating music at the time of performance) mean. But you need to read a lot, be familiar with serious music, love it - in a word, be an educated person in order to understand the last stanzas of the poem. Only if you know that "Ride of the Valkyries" is an episode from the musical drama of Richard Wagner, one of the world's greatest composers, will you understand what it is about: "ahead of the world by four generations." Only if you have heard Wagner’s music, you will find its echo in two lines: “The flight of the Valkyries thundered across the roofs of city apartments,” where it is no coincidence that the poet collected so many solid “GKs” and so many rolling “Rs.” If you know that, inspired by reading Dante, Tchaikovsky wrote a symphonic fantasy “Francesca da Rimini” on the theme of an episode from “Inferno” - “The Divine Comedy”, you will be able to grasp in the word infernal not only the meaning “very strong”, but also the direct meaning of this adjective: "hell's roar and crack" is "the roar and crack of hell."

This poem is amazingly constructed. At first there is no music - there is only a piano, an inanimate object (and the fact that it is carried and dragged only confirms its “objectivity, cumbersomeness”). However, comparisons give us a feeling of some kind of mysterious power contained in it: it is carried “like a bell to a bell tower” (Lermontov immediately comes to mind “... like a bell on a veche tower”); they drag him along like “a tablet with commandments,” that is, like a slab of those on which, according to legend, the laws given to people by God were written... But now the piano is raised up; both the city and its noise remained below (“like underwater at the bottom of legends”). The first 3 stanzas are over. In the next stanza the musician appears. And although he is named simply and casually: “tenant of the sixth floor,” it is under his hands that the piano will sound, come to life, and cease to be a dead object. But pay attention to the fact that the pianist does not start playing right away. The game is preceded by a moment of silence, contemplation, and a look from above at the ground. These reflections on the earth and the power of music should make clear a very unusual combination: “play your own thought” (its unexpectedness is emphasized by the fact that it comes after the completely ordinary “play a piece”). Thought, music embraces and contains everything - the life of the spirit and the life of nature. Nara becomes the strength and power of sounds. “The roll of improvisation” is again an unusual combination, but it evokes another, familiar one – a roll of thunder. Music absorbs everything: sounds, colors, light, darkness, the whole world and every person. Look how a new series of homogeneous terms - very specific words (night, flame) - unexpectedly ends with two nouns of a completely different series, with a completely different meaning: “the life of the streets, the fate of single people.”

But the man sitting at the piano is not alone. The last three stanzas are about this. They push the boundaries of time and space. Chopin, Wagner, Tchaikovsky – the world of music is huge and immortal.

“Music” is a poem that is a perfect example of the clarity and simplicity that B. Pasternak strived for. The sounds of the piano are the “roar of improvisation.”

For Pasternak, the ability to improvise is a necessary sign of a musician, which is probably explained by the time when he developed ideas about creativity, then - in music, a little later, in his youth, among the futurists, at meetings of a poetry circle, when Pasternak, sitting at the piano, musical improvisation commented on the newcomer.

The idea of ​​the poem “Music” is similar to that heard in the poem “Improvisation” of 1915 - the world is in sounds, but now these are clear sounds rushing over the city.

In my opinion, the meaning of musical images is not only that the world sounds like music. This is a sign of disharmony or harmony of human life, fate - with the world. For Pasternak, this music is something like an absolute criterion of universal coherence. And the one who feels this music of life as his own or, while performing it, improvises, acts as a co-creator.

For Pasternak, music is also the incessant sound of time passing without stopping, like the sound of a bell - the longest musical sound; it is not for nothing that in the poem the piano is compared to a bell:

The piano was carried by two strong men,

Like a bell on a bell tower.

I defined the meter in which the poem was written as a 4-foot iambic with a pyrrhic in place of the 2nd and 3rd feet. Moreover, the rhyme is precise, male-female, cross, which is very typical for the “late” Pasternak.

And I would like to finish my analysis with the words of Pasternak himself: “We drag everyday life into prose for the sake of poetry. We involve prose in poetry for the sake of Music."

Bibliography

1. J. “Russian language at school”, M., “Enlightenment”, 1990.

2. E. “Who is who”, volume 2, “Enlightenment”, 1990.

3. J. “Russian language at school”, M., “Enlightenment”, 1993.

4. E. “One Hundred Great Poets of Russia”, M., “Drofa”, 2004.

5. Book of poems by Pasternak “When it clears up”, R., 1992.

6. M. Meshcheryakova “Literature in diagrams and tables”, M., “Iris”, 2004.

Conclusion

“The gift of eternal youth”, “individual”, “lonely”, “ardent”, “strange”, “spirit of youth”, “contemplator”, “seeker”, “culture”, “talent”, “in its own way”, “ subordinated to art”, “detached from everyday life”, “poems and speech”, “intuitive understanding of life” - the dominant words characterizing Pasternak’s personality, taken from many responses about the poet scattered in the press, containing, like a code, his fate.

There are always many reasons for any truly talented artist to be incomprehensible. In the case of Pasternak, the question of understanding his poems and his prose has some kind of fatal aftertaste. The question of the perception of B.L.’s creativity Pasternak for the reader of the twentieth century, like any question about the perception of art by an individual, in my opinion, in its “broadest foundations” is connected with the question of mentality, freedom, and the horizons of our consciousness. There is no doubt that these elements, which largely determine the perception of art and its direction, change over time, are intricately transformed in the individual consciousness, interacting with the ability to perceive beauty given from nature, from ancestors, and circumstances, details, signs, the spirit of reality.

I would like to conclude my work with the words of Chukovskaya: “I said that poets are very similar to their poems. For example, Boris Leonidovich. When you hear him speak, you understand the perfect naturalness of his poetry. They are a natural extension of his thought and speech.”

Municipal educational institution

"Secondary school No. 99"

Abstract on the topic

“The late lyrics of B.L. Pasternak"

Work completed:

Nekrasova Ekaterina,

student of 11th grade "A".

Checked:

Romanova Elena Nikolaevna,

literature teacher

Kemerovo

1. Introduction………………………………………………………...3 pages.

2.Features of Pasternak’s late lyrics………………………….....4-7 pp.

3. “When it clears up” - a cycle of poems as a single whole…………..8-11 pp.

4. Brief analysis of the poem “Music”……………………....12-13 pp.

5. Brief biographical summary………………………………….14-16 pp.

6. Conclusion……………………………………………………...17 p.

7. List of references……………………………….18 pages.

8. Review……………………………………………………………19 p.

Review