The poem “Being famous is ugly” is his programmatic work: in it the author expresses his thoughts about what a creative person should be, describes his views on literary creativity. Using brief analysis“Being famous is ugly,” according to the plan for a literature lesson in the 9th grade, you can easily and clearly explain to schoolchildren the essence of these views.

Brief Analysis

History of creation- written in 1956, it was included in the poetry collection “When it clears up,” along with other works written by Pasternak over three fruitful years.

Theme of the poem- the essence of creativity and the poet’s code of life.

Composition– the work can be divided into three thematic parts. In the first, the poet argues that the creator should not strive for public recognition; this is not the goal of creativity. The second part reveals the opinion of how exactly a poet should live, and in the last, concluding part of the composition, Pasternak says that following the code of life will ultimately lead creative person to literary immortality.

Genre- philosophical lyrics.

Poetic size– complex, Boris Pasternak uses transitions from one size to another according to the pattern spondee - pyrrhic - pyrrhic - iambic.

Metaphors – “leave gaps in fate“, “be the talk of the town“,

Epithets- "and whole life“, “living trace“, “in one piece“.

Comparisons – “how the area hides in the fog“.

Antithesis – “ defeat - victory“.

History of creation

The poem “Being Famous is Ugly” was written after a whole series of events in the poet’s life - he was recognized, he became a member of the Writers’ Union, the “leader of nations” died, but the general literary fuss worried him less and less, Pasternak was mainly engaged in translations. At the same time, he thought a lot about the essence of creativity, the result of these thoughts was the hard-won truth, clothed in poetic form in 1956.

There is a hypothesis related to the history of creation that with this work, which can be called programmatic without exaggeration, Boris Pasternak demonstrated his rejection of the creative choice of Vladimir Mayakovsky, who at that time was considered the best poet of our time and an almost inviolable personality.

The poet included the poem in his collection “When it clears up,” which was filled with more than forty poems in the period from 1956 to 1958.

Subject

The general theme is the essence of creativity and the path of a creative person, his purpose, but Pasternak also reflects on death and life, on fate, on the goals of creativity in the broadest sense.

Composition

The compositional structure of the verse is quite simple - it is three-part. In the first part, the poet seems to pour a bucket of ice water on the reader, talking about creators who are the talk of everyone’s lips, without meaning anything.

The second part is a reflection on what a person should be like. engaged in creativity - Pasternak sees him as a person living without impostor, but for the sake of eternity. He must leave his life behind the scenes, showing only the result of his creativity, and not his personality.

And the third part is instructions to other poets on what needs to be done in order to remain in eternity, and not gain only momentary fame. According to Pasternak, for this it is necessary to be alive until the very end. At the same time, his instructions cannot be taken as arrogant moral teachings - the poet himself always followed the commandments that are set out in “Being Famous is Ugly.”

The main motive of the work is knowledge and search for oneself.

Genre

This philosophical work, Pasternak’s message to his contemporaries and descendants, his teaching, where the poet himself acts as a mentor. He shows others the path that he himself considers true - not to recognition by his contemporaries, but to something distant and eternal. Pasternak uses complex transitions from one meter to another, spondee is replaced by pyrrhic, and tom, in turn, by iambic. This allows him to express his thoughts quite freely without feeling constrained by the form. The rhyme is the same in each case - cross.

Means of expression

Pasternak mainly uses verbs to convey movement, the poem is replete with adverbial phrases - all this makes it very energetic. At the same time, the poet does not abandon classical means of expression, such as:

• Metaphors– “to leave gaps in fate”, “to be a byword on everyone’s lips”,
• Epithets- “a whole life”, “a living trace”, “a single slice”.
• Comparisons- “how the area hides in the fog.”
• Antithesis– “defeat is victory.”

All means of expression used as harmoniously as possible - they work to reveal the general idea. Pasternak created a work that is an ideal combination of content and form.

For an artist, the surrounding life is not only a source of inspiration and a subject of aesthetic interest. It is illuminated by his moral feeling, and she herself, in turn, conquering the artist, generates and strengthens this feeling in him. For Pasternak, the artist was always a “hostage”, but also a “debtor”, devoted to art to the end. The awareness of the specialness and chosenness of the poet’s fate also distinguishes the late Pasternak. It is multiplied by life experience, in-depth analysis and therefore truly impressive. It emphasizes and highlights moral aspect- the idea of ​​the artist’s responsibility to the whole world, to art itself and directly to people.

The deep organic nature of the theme of duty and service is confirmed in Pasternak by the variety of options for its expression. It appears in the logic of cultural, historical and evangelical comparisons - in the poem “Hamlet”. Or it suddenly appears, on the crest of a free and broad lyrical wave, in “Earth.” Or - rather unusually - it acquired a melting character almost like a maxim in the poem “Being famous is ugly.”

The poem “Being Famous is Ugly” was written by a recognized master during the period of his “last songs.” It conveys the poet’s internal perception of his role, the very essence of his existence on earth.

Late Pasternak is academic. He spends sparingly artistic media, which are in his arsenal, but this does not make his poems drier, but only emphasizes the skill of the poet, faithful to his image of the world, different from what Soviet literature offered:

Being famous is not nice.

This is not what lifts you up.

No need to create an archive,

Shake over manuscripts.

In this poem, Pasternak contrasts his creative path with the path of Vladimir Mayakovsky, immoderately glorified after Stalin declared him “the best poet of our time.” Well, the leader needed a “court” poet who would carry the ideological guidelines of modernity to the masses, and by the will of fate, his choice fell on famous futurist. But Pasternak was disgusted by the fate of the “famous” that befell Mayakovsky; he could not imagine life outside of secrecy and invisibility, and he always separated true poetry from near-literary vanity.

Let us note for now: it is contraindicated for a poet, as Pasternak believed, to be famous, to “keep archives”; success is detrimental to his talent

and hype. In addition, the public's love is fleeting, sometimes unfair, and often subject to fashion. The poet, of course, creates for people; this is precisely the essential meaning of any creative act. But precisely, for and in the name of the people, and not for the sake of their enthusiastic assessments, and especially not for the purpose of pleasing the tastes of those in power. Pasternak treats fame as a worldly vanity; his art is akin to the mercy of the celestials who give people benefits without demanding anything in return. The poet experiences joy from creativity itself. It is his element and way of existence. He cannot help but compose; for him it means to live, pouring out his soul in sounds, filling the world with beauty.

The poet formulates the maxim: “The goal of creativity is dedication.” In the first place for Pasternak is the highest receptivity, responsiveness to moral impressions, and not the transformation of life into the life of a poet. Actually, in Pasternak’s later poems, with their lofty, preaching assertion of duty, a decisive activation of the “I” is visible, no longer so much an eyewitness to the world process, but rather its direct accomplice. And in the poem “Being Famous is Ugly,” this activation is taken to the limit. In the subtext of the poem there is the same desire for unity characteristic of Pasternak, but, being complicated by a feeling of incomprehension, the subjective moment in the poem is obvious - it expresses itself not directly, but indirectly, through conflict. All this introduces new accents into the artist’s philosophical and aesthetic concept, but does not destroy its foundation - the affirmation of unity with the world as a life-giving and morally formative principle.

In general, the poem requires thoughtful reading in the context of all of Pasternak’s lyrics, its thematic features, philosophical orientation, specific features. About how dangerous it is to draw conclusions regarding the works of a great poet, how difficult it is to penetrate art world it is evidenced by Mandelstam’s arrogantly expressed opinion that “It’s not beautiful to be famous” “sounds like an official report.” Mandelstam was wrong: what the poem does not have is “officiality”; rather, it creates the impression of a teaching message, but confidential, sincere, honest, like an intimate conversation between good friends.

Pasternak's signs attract attention colloquial speech: “to shake over manuscripts”, “to be a byword on everyone’s lips”, “in the end”, “not in sight”, “an inch away”. The poet uses phraseological units and colloquial expressions, which impart special expressiveness to speech with a small volume of words and convey conversational intonation.

There is another important aspect of interpreting the poem. Although the exceptional eight verses cannot be assigned to any specific place Holy Scripture, it should be noted that they, like the entire text, consist of biblical words. “It’s Ugly to Be Famous” is focused in content and poetics on the gospel apostolic epistles. Pasternak, a deeply religious man who fell into the trap of atheistic Russian literature Soviet period, nevertheless, remains true to his moral principles and religious beliefs and formulates those moral laws and ethical dogmas without which a true artist cannot imagine the life of a true artist.

Boris Leonidovich Pasternak is a poet-philosopher, a thoughtful artist who peers with interest at the life around him. The inquisitive mind of the poet wants to penetrate into the very essence of things, understand them and tell the world about his discoveries. In essence, the poet sums up his work with the poem “Being Famous is Ugly.” But summing up does not mean putting an end to it. The last book lyricism is not the end of Pasternak’s poetry, always looking to the future, tuned to the perception of its call:

Others on the trail

They will pass your path by an inch,

But defeat comes from victory

You don't have to differentiate yourself.

A true artist is always a pioneer. Others will follow him, perhaps without even remembering whose footsteps they are following. But can this have any significance for a poet who devotes himself entirely to creativity, without reserve, and in his self-giving is likened to Jesus Christ, performing the feat of the cross? Living like this is hard, sometimes unbearable, but such is the fate of a poet. Only then is a masterpiece of art born when the human soul is alive, when it is open to the world and people:

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.

This is how Pasternak’s poem ends, and his final book of lyrics is imbued with the same sentiments. This is his last - no, constant, everlasting and forever living - poetic word.

Boris Pasternak’s lyric poem “It’s not beautiful to be famous...”, ironically, is as famous as its author himself. The first line, which has long become an aphorism, is an example proving how important it is that the beginning literary work instantly captivated the reader and forced him to greedily read the text further until the very end. In fact, already in the first line of his programmatic poem, the author formulates an artistic and personal position, which is very unusual for a poet. After all, it is known that creative people at all times have been in dire need of understanding and success. Often doubting everything, it is thanks to their enthusiastic attitude towards themselves that they understand that what they are doing is not in vain. However, Pasternak clearly distinguishes between the concepts of “hype” and “love of space” (“the call of the future”). This is the main antithesis of the poem, and it is intonationally reinforced by cross rhyme.

The poet emphasizes: recognition, if it has come, should be a natural consequence of “dedication” in art, and not “impostor.” He seems to foresee the future glory of the real creator:

Others on the trail
They will pass your path by an inch,

- and immediately insists that a person “should not distinguish” between “defeat and victory.” He needs complete acceptance of everything that happens to him as a sign of fate.

Modesty and dignity - this is what Boris Pasternak teaches his reader. And it seems that at the same time he is turning to himself, his inner voice and possible impulses of ambition in his own soul. Is this true? ... Let's see at what time and under what circumstances in the poet’s life this poem was created.

Dated 1956, the work was born in late period life and work of Boris Pasternak. By this time, the “great leader” had already passed away Soviet people"I. Stalin, who was glorified by a romantically minded poet a few years ago. Pasternak's short period of public recognition in the Soviet Union and membership in the Writers' Union has already been left behind. The poet moved away from the general literary bustle and increasingly devoted himself to translations of works foreign authors and risky activities to protect and support disgraced friends, among whom were Akhmatova and her son. The writer’s life included a rethinking of the events of past years and his path, and in this sense, it would not be wrong to assume that “Being famous is ugly...” is a reminder to both himself and his fellow writers about true values and, of course, to the readers, who, in fact, create destructive hype around their idols.

Literary critics suggest that in this poem Boris Pasternak openly dissociates himself from creative path another famous contemporary and former like-minded person - Vladimir Mayakovsky. By that time it was customary to praise him without knowing the measure, as “ best poet modernity." The words belonged to Stalin, which for a long time determined the “inviolability” of Mayakovsky, who had already become a cult poet in the eyes of the people. In this “court path” Pasternak saw a terrible danger for a creative person. And yet lyrical hero his poems do not at all drool with slander and do not hide in their words and intonations resentment towards the whole world for their own lack of recognition.

In every phrase one hears a conscious and hard-won truth. This is a stern sermon addressed to those who have the divine gift of inspiring and “lifting up” and who have forgotten or may forget their purpose on earth. “There is no need to start an archive,” writes the author, “to tremble over manuscripts.” And openly passes judgment

Shameful, meaningless
Be the talk of everyone.

Some exaggeration of the denial of the gift in this case should work like a tub cold water. This began the awakening from sleep, and it is expressed compositionally in the first two stanzas. Next, the author nevertheless moves on to discussions about what a poet should be like (both in the narrow and broad sense of the word).

A poem written in a complex, ever-changing poetic meter(spondee - pyrrhic - pyrrhic - iambic), has no external plot - only internal. This is the movement of the poet-philosopher’s thought from the denial of glory to the affirmation great power gift

...leave spaces
In fate, not among papers.

The metaphor “gaps” here takes on the meaning of understatement, a motive for knowledge and self-discovery, and the lexical repetition of the word “living” convinces the reader of the need to strive for spiritual life - “and nothing more”!

Morozova Irina

Boris Pasternak is not only a famous, but also a socially recognized Russian poet of the 20th century. He wrote more than 500 works. There was a time that he wrote in the direction of futurism, which is very similar to Mayakovsky, but the author got bored with the complexity of the language and the rejection of tradition, so his position changed. The style has become light and relaxed. In the poem “Being Famous is Ugly,” he talks about his point of view about literary creativity and about people who devoted themselves to art.

The poem “It’s Ugly to Be Famous” by the famous Russian poet Boris Pasternak was created in 1956. It's in the middle of it creative works from the poetry collection “When it clears up.” Then the author was subjected to numerous attacks in the press, and he was not pleased with such fame. Therefore, he warns his descendants: fame seems beautiful only when it is not there. In fact, she is disgusting.

The author in his poems touched on many various topics: love, society, time, philosophy. On at this stage of his life, Pasternak talked a lot about what the essence of creativity in the life of every poet is.

Genre, direction, size

In the poem you can see how Pasternak leads a philosophical thread and reveals all his thoughts about the goals of creativity, its process and results. Therefore, we have before us the purest philosophical lyrics.

The poem is written in constantly changing meters: spondee - pyrrhic - iambic. Cross rhyme. Pasternak uses such transitions to freely convey his thoughts, so that people, without thinking, listen to what the poet is talking about.

Images and symbols

The lyrical hero in the poem is, in fact, Pasternak himself. He's passing long haul in search of the truth, the present, something genuine, and, in the end, comes to certain conclusions and conclusions, having learned own experience the essence of fame, publicity and recognition.

The lyrical hero is peaceful and serene, his inner state has acquired harmony. He finally realized who the true creator was. Although the hero is distinguished by self-confidence, he never ceases to continue searching for the best ways to realize his creative thoughts.

The path and the trail are symbols of the creative and life path. The poet hides his steps in the unknown, that is, he opens new horizons to which people will come in his footsteps. This is where the call of the future leads him.

Themes and moods

The mood of the poem is solemn. The author utters truths that define the essence of his worldview.

1. Main theme – poet and poetry. The author talks about the creative path and purpose of a creative person. He sees it not in glory, but in discovering something new for readers, something that has not yet existed. It is necessary to leave a significant mark in the area where you realize your potential.
2. Parsnip touches the problem of dedication. Not each of us is able to sacrifice part of ourselves to ideals and aspirations. People want easy success without giving anything in return, but this achievement is shameful, according to the author.
3. The author also says about true and false confession. The poet must create “without impostor”; his place will be appreciated by history, and not by himself. You shouldn’t attribute to yourself significance that doesn’t really exist, because there’s no point in leaving behind a pile of papers if you haven’t resonated with anyone in people’s memories.
4. In the poem you can see the topic of finding yourself, your style, your direction. Only by stepping into the unknown, into new spaces at the call of the future, can you create something truly significant.
5. Also important modesty theme: you need to treat yourself and others without a vain desire to show off. Even undeniable advantages must be recognized without unnecessary bragging.
6. Moreover, in the poem important role plays fame problem. Many artists cannot stand the test of success and recognition, but it is so important to always remain yourself, without attaching importance to the frivolous and fickle love of the crowd.

main idea

The main idea of ​​the poem is that the significance of the creator depends not on the number of works he wrote, not on the shouts and adulation of the crowd, not on the recognition of power, but on how much he contributes to eternity, how valuable his creations are on the scale of history. Only the pioneers should receive the laurels of genius, because humanity follows in their footsteps.

As a mentor, Pasternak encourages writing not for fame and fortune, but for society, for his listener, for the future. The poet tramples the road into the unknown in order to lead people with him - this is the meaning of his mission. But even if he manages to do this, we must not forget about modesty. Victories, audience love, and fame must be treated adequately. There is no need to revel in this, because a poet is an artist of words, called by the future themselves, and not an impostor who does everything for his own benefit.

Means of artistic expression

For expressiveness and conveying his emotional mood, Pasternak uses verbs and participial phrases. But, in addition to them, other methods can be noted artistic expression, such as the epithets “living trace” and “single slice”.

The hero plunges into the obscurity of the future, “like the terrain hiding in the fog” - this is a comparison. The author often uses antitheses: “defeat” and “victory”, “hype” and “love of space”. Pasternak also gives special brightness to the poem thanks to phraseological units: “to be a byword on everyone’s lips,” “not to be seen in sight,” and “an inch beyond.” Behind the metaphor of “leaving gaps in fate,” the author hides a call to search for oneself, to thoughts of self-knowledge.

In the last quatrain, the poet resorts to the use of repetition, which increases the meaning of this word and gives the poem “Being Famous is Ugly” even more emotional overtones:

But to be alive, alive and only,
Alive and only until the end

Interesting? Save it on your wall!

Being famous is not nice.
This is not what lifts you up.
No need to create an archive,
Shake over manuscripts.

The goal of creativity is dedication,
Not hype, not success.
Shameful, meaningless
Be the talk of everyone.

But we must live without imposture,
Live like this so that in the end
Attract the love of space to you,
Hear the call of the future.

And you have to leave spaces
In fate, and not among papers,
Places and chapters of a whole life
Crossing out in the margins.

And plunge into the unknown
And hide your steps in it,
How the area hides in the fog,
When you can't see a thing in it.

Others on the trail
They will pass your path by an inch,
But defeat comes from victory
You don't have to differentiate yourself.

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.

Analysis of the poem “Being Famous is Ugly” by Pasternak

The creative fate of B. Pasternak was very difficult. His works did not fit into the standards of Soviet ideology. The poet and writer was constantly subjected to devastating criticism. His work was under an unspoken ban. Only a small part of the works was published in their homeland, subjected to the strictest censorship corrections and distortions.

Despite this, Pasternak always remained true to his convictions. He never conformed to official requirements, believing that the duty and sacred responsibility of a real writer is to remain extremely sincere and express real, and not thoughts imposed by someone. Best works Pasternak was illegally distributed in lists and published abroad.

Few writers shared the beliefs of Boris Pasternak. The majority preferred to create mediocre works, the main criteria for which were loyalty to the authorities and praise of the leaders. Such waste paper was declared “masterpieces” of world literature, and its authors enjoyed artificial honor and respect.

In 1956, Pasternak wrote the poem “It’s Ugly to Be Famous,” in which he expressed his opinion about the true calling of a writer. The main goal He considers the writer not the achievement of fame and success, but maximum dedication and selfless service to art. IN Soviet era voluminous memoirs were very common, representing no artistic value. The “cult of personality” is deeply rooted in the consciousness. In a country that officially proclaimed universal equality and brotherhood, works were popular in which the authors endlessly exalted their role and merits in life.

Pasternak sharply criticizes this position. He believes that a person is not able to appreciate eigenvalue. His assessment will always be subjective. Therefore, we must not stick out our affairs, but, on the contrary, “plunge into the unknown.” Only the future is capable of passing a final verdict on a person and fairly considering his life path.

At the end of the work, Pasternak consolidates his thought. Instead of creating for himself a false aura of fame that can deceive his contemporaries, but not future generations, the writer must remain a living person and admit that he has human vices and weaknesses.

Time has proven the writer right. Many "masters" Soviet prose thrown into the dustbin of history. Pasternak is recognized as a world-class figure, a worthy owner Nobel Prize according to literature.