{"id":477,"date":"2023-07-14T20:46:43","date_gmt":"2023-07-15T03:46:43","guid":{"rendered":"https:\/\/live-usc-dornsife.pantheonsite.io\/alexander-zholkovsky\/?page_id=477"},"modified":"2023-10-09T09:29:04","modified_gmt":"2023-10-09T16:29:04","slug":"bib43","status":"publish","type":"page","link":"https:\/\/dornsife.usc.edu\/alexander-zholkovsky\/bib43\/","title":{"rendered":"THE ‘SINISTER’ IN THE POETIC WORLD OF PASTERNAK"},"content":{"rendered":"\n\n \n \n\n\n\n\n\n\n\n
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<\/a><\/p>\n

THE ‘SINISTER’ IN THE POETIC WORLD OF PASTERNAK<\/h2>\n

\u00a01<\/a><\/p>\n

Alexander\u00a0 ZHOLKOVSKY (USC, Los Angeles)<\/p>\n

\u0418 \u0441\u043d\u043e\u0432\u0430 \u0436\u0436\u0435\u0442 “\u043c\u043e\u0441\u043a\u043e\u0432\u0441\u043a\u0430\u044f \u0438\u0441\u0442\u043e\u043c\u0430,
\n\u0417\u0432\u0435\u043d\u0438\u0442 \u0432\u0434\u0430\u043b\u0438 \u0441\u043c\u0435\u0440\u0442\u0435\u043b\u044c\u043d\u044b\u0439 \u0431\u0443\u0431\u0435\u043d\u0435\u0446\u2014
\n\u041a\u0442\u043e \u0437\u0430\u0431\u043b\u0443\u0434\u0438\u043b\u0441\u044f \u0432 \u0434\u0432\u0443\u0445 \u0448\u0430\u0433\u0430\u0445 \u043e\u0442 \u0434\u043e\u043c\u0430,
\n\u0413\u0434\u0435 \u0441\u043d\u0435\u0433 \u043f\u043e \u043f\u043e\u044f\u0441 \u0438 \u0432\u0441\u0435\u043c\u0443 \u043a\u043e\u043d\u0435\u0446.<\/p>\n

<\/a><\/p>\n

\u0410\u043d\u043d\u0430 \u0410\u0445\u043c\u0430\u0442\u043e\u0432\u0430, “\u0411\u043e\u0440\u0438\u0441 \u041f\u0430\u0441\u0442\u0435\u0440\u043d\u0430\u043a”<\/p>\n

A landscape description in \u201c\u0421\u043f\u0435\u043a\u0442\u043e\u0440\u0441\u043a\u0438\u0439\u201d includes the following line:\u00a0\u041d\u043e\u0447\u043d\u044b\u0435 \u0442\u0435\u043d\u0438 \u043a \u043a\u0430\u0441\u0441\u0435 \u0441\u0442\u0430\u043b\u0438 \u043a\u0440\u0430\u0441\u0442\u044c\u0441\u044f\u00a0<\/em>(311).2<\/a>\u00a0The obvious meaning is that in the evening the shadows of the trees became longer and silently reached the railway station buildings, in particular the ticket office. But shouldn’t we also see here a subtle suggestion of some shady characters secretly positioning themselves for a hold-up of the cash register?<\/p>\n

Or, as we read in a poem about winter that\u00a0\u0412 \u0445\u043e\u043b\u043e\u0434\u043d\u044b\u0445 \u043e\u0431\u044a\u044f\u0442\u044c\u044f\u0445 \u0440\u0430\u0441\u043f\u0443\u0442\u0438\u0446\u044b\/ \u0421\u043e\u0439\u0434\u0443\u0442\u0441\u044f \u043a \u043e\u0433\u043d\u044e \u0436\u0438\u0437\u043d\u0435\u043b\u044e\u0431\u044b<\/em>\u00a0(414), should we resist the inevitable slippage from\u00a0\u0440\u0430\u0441\u043f\u0443\u0442\u0438\u0446\u0430<\/em>\u00a0‘slush, bad roads’ to\u00a0\u0440\u0430\u0441\u043f\u0443\u0442\u043d\u0438\u0446\u0430<\/em>\u00a0‘lascivious woman’, supported by the context of\u00a0\u043e\u0431\u044a\u044f\u0442\u044c\u044f<\/em>\u00a0’embrace’? Or, again, when the snapshot of the poet’s beloved, her “proxy,”\u00a0\u041f\u043e \u043f\u0438\u0430\u043d\u0438\u043d\u043e \u0432 \u043e\u0433\u043d\u0435 \u043f\u0440\u043e\u0431\u0435\u0436\u0438\u0442\u0441\u044f \u0438 \u0432\u0441\u043a\u043e\u0447\u0438\u0442\u00a0<\/em>(130), wouldn’t we be justified in deriving\u00a0\u043f\u0438\u0430\u043d\u0438\u043d\u043e<\/em>\u00a0‘piano’ (pronounced here [p’janino]) from\u00a0\u043f\u044c\u044f\u043d<\/em>\u00a0‘drunk’, especially in the context of the no less metaphorical and orgiastic\u00a0\u0432 \u043e\u0433\u043d\u0435<\/em>\u00a0‘in flames’?<\/p>\n

The suggested readings seem plausible, interesting and artistically effective. Moreover, to build up our case we can enlist the support, if not of Pasternak himself, at least that of his alter ego, \u042e\u0440\u0438\u0439 \u0416\u0438\u0432\u0430\u0433\u043e. In his Varykino diary, he notes a propos of the lines from “\u0415\u0432\u0433\u0435\u043d\u0438\u0439 \u041e\u043d\u0435\u0433\u0438\u043d”:\u00a0\u0418 \u0441\u043e\u043b\u043e\u0432\u0435\u0439, \u0432\u0435\u0441\u043d\u044b \u043b\u044e\u0431\u043e\u0432\u043d\u0438\u043a\/ \u041f\u043e\u0435\u0442 \u0432\u0441\u044e \u043d\u043e\u0447\u044c. \u0426\u0432\u0435\u0442\u0435\u0442 \u0448\u0438\u043f\u043e\u0432\u043d\u0438\u043a\u00a0<\/em>(Ch. 7, VI): “\u041f\u043e\u0447\u0435\u043c\u0443 \u2014 \u043b\u044e\u0431\u043e\u0432\u043d\u0438\u043a? \u0412\u043e\u043e\u0431\u0449\u0435 \u0433\u043e\u0432\u043e\u0440\u044f, \u044d\u043f\u0438\u0442\u0435\u0442 \u0435\u0441\u0442\u0435\u0441\u0442\u0432\u0435\u043d\u043d\u044b\u0439, \u0443\u043c\u0435\u0441\u0442\u043d\u044b\u0439. \u0414\u0435\u0439\u0441\u0442\u0432\u0438\u0442\u0435\u043b\u044c\u043d\u043e \u2014 \u043b\u044e\u0431\u043e\u0432\u043d\u0438\u043a. \u041a\u0440\u043e\u043c\u0435 \u0442\u043e\u0433\u043e \u2014 \u0440\u0438\u0444\u043c\u0430 \u043a \u0441\u043b\u043e\u0432\u0443 ‘\u0448\u0438\u043f\u043e\u0432\u043d\u0438\u043a’. \u041d\u043e \u0437\u0432\u0443\u043a\u043e\u0432\u044b\u043c \u043e\u0431\u0440\u0430\u0437\u043e\u043c \u043d\u0435 \u0441\u043a\u0430\u0437\u0430\u043b\u0441\u044f \u043b\u0438 \u0442\u0430\u043a\u0436\u0435 \u0431\u044b\u043b\u0438\u043d\u043d\u044b\u0439 ‘\u0441\u043e\u043b\u043e\u0432\u0435\u0439-\u0440\u0430\u0437\u0431\u043e\u0439\u043d\u0438\u043a’?” (“\u0414\u043e\u043a\u0442\u043e\u0440 \u0416\u0438\u0432\u0430\u0433\u043e”, IX, 8 \u2014 \u041f\u0430\u0441\u0442\u0435\u0440\u043d\u0430\u043a 1959:335)<\/p>\n

Not confining himself to this conjecture about Pushkin’s lines, \u0416\u0438\u0432\u0430\u0433\u043e goes on to produce his own poem which develops the dual semantic potential of \u0441\u043e\u043b\u043e\u0432\u0435\u0439 as “lover” and “brigand” (“\u0412\u0435\u0441\u0435\u043d\u043d\u044f\u044f \u0440\u0430\u0441\u043f\u0443\u0442\u0438\u0446\u0430”).<\/p>\n

And yet, however telling the poet’s confession or the recurrence of the word\u00a0\u0440\u0430\u0441\u043f\u0443\u0442\u0438\u0446\u0430<\/em>\u00a0in our discussion, we should beware of the intentional fallacy, as well as of rhetorical manipulation of striking intertextual coincidences. In order to have substantial explanatory power, our statements must be based on a systematic knowledge of the author’s poetics. Two questions seem to be paramount in this case. One, whether Pasternak in general tends to use double-entendres, subtextual effects, paranomasias and the like, and the obvious answer is “yes.” Two, whether these particular “criminal\/orgiastic” connotations are congenial to the tenor of his texts. To answer this question in the positive is, in my opinion, tantamount to stating that the ‘sinister’ is an\u00a0invariant motif<\/em>\u00a0in Pasternak.<\/p>\n

<\/a>What do I mean by an invariant motif (or invariant, for short), and how do we go about identifying one? Very briefly, an invariant is a recurrent entity in the poet’s texts occupying a certain place in that overall hierarchy of such entities which forms his mythology, \u043e\u0442 poetic world.3<\/a>\u00a0It follows then that in identifying a poet’s invariant, the critic is confronted with two distinct, though connected, tasks. First, to produce a set of similar textual occurrences which share something intuitively “the same.” Second, to define the function of this “same thing” with respect to the framework of the poet’s other invariants (= the “ernes” of his poetic code), crowned by his central invariant theme(s). The link between the two procedures is the naming of the motif. The label we assign it must face both ways: toward the examples in the set, whose common thematic denominator the label must pinpoint, and toward other such motifs, with which it should combine into a meaningful interpretive whole.<\/p>\n

Needless to say, this project is a precarious intuitive process of discovery which involves iterative feedback loops, approximate solutions, endless tinkering and restructuring. Most importantly, what is or is not included in a set depends on the label the set is going to be assigned, and, further, on how the labeled set will conform to the overall picture of the poetic world; this overall picture, in its turn, might have to be redefined in order to effectively subsume the newly accumulated examples and their labeling. And, of course, the end result of the entire effort is just a proposal for a model, i.e. a system of constructs, more or less successfully accounting for the poet’s texts. Therefore, if there is anything unique to be claimed for the method of analysis based on invariants, it is not that it is infallible, but rather that it is an explicit formulation of a current and reasonable view of poetry. As such, this method at least offers a workable analytical format.<\/p>\n

The object of the following study is the Pasternakian motif tentatively identified as the ‘sinister.’ Although not one of the central themes in Pasternak, the ‘sinister’ is a relevant category that plays an original and constant role in his poetic vision. For instance, it did not escape the attention of Axmatova, cf. in the epigraph the “burning torment,” the “dead chink of a bauble-bell,” and especially the “going astray, drowned waist-deep in snow and totally done for just two paces away from home” \u2014 an image crucial to understanding the motif’s function. And yet, one may be surprised by the conjunction of Pasternak and the ‘sinister.’ There seems to be no room for it in a world described by critics as “ecstatic,” “magnificent,” etc. (see e.g. Nilsson 1978). On the other hand, terms like “fate,” “tragedy” and “sacrifice” have also been used (see Nilsson 1978, Pomorska 1975), alongside which the notion of evil and of villainous forces is not out of place.<\/p>\n

Be this as it may, the more strange a prospective invariant, the more important it is to fully document it, before we proceed to coordinate it with the overall conceptual framework. The examples of the ‘sinister’ seem to form an aggregate of several varieties, or sub-motifs. I see my primary task in pinpointing and labeling these varieties, that is, in discovering the phenomenon and devising a tentative metalanguage for it. Only after having thus staked out the territory (in sections 1-6) do I try (in s. 7) to interpret the preliminary findings in terms of Pasternak’s poetic world. The reason for postponing discussion is not so much a suspenseful exposition as my conviction that the loosely organized lists of the ‘sinister’s’ subtypes have independent heuristic value and might stand even if my subsequent interpretation should be proven faulty. After all, when we debate the plausibility of the\u00a0\u0440\u0430\u0441\u043f\u0443\u0442\u0438\u0446\u0430 = \u0440\u0430\u0441\u043f\u0443\u0442\u043d\u0438\u0446\u0430<\/em>\u00a0reading, what we really need are lists of similar images and a system of labels to refer us to the appropriate list. As a result, what follows is basically a series of lists of examples. My own text is kept to a minimum and it largely consists in labeling, correlating and briefly commenting on the lists. In a sense, the major claim of the article is the compilation and arrangement of the lists.<\/p>\n

1. LITERAL EVIL<\/b><\/p>\n

1.1. Unmitigated evil and its denunciation<\/b><\/p>\n

Genuinely evil forces do appear in poems about war and repression and are openly denounced by the poet:<\/p>\n

(1) \u041a\u0442\u043e \u0436 \u043f\u043e\u0439\u0434\u0435\u0442 \u043a \u043a\u0440\u043e\u0432\u043e\u043f\u0438\u0439\u0446\u0435? (269); \u0422\u0430\u043c \u043c\u0443\u0447\u0438\u043b\u0438, \u0442\u0430\u043c \u0441\u0431\u0440\u0430\u0441\u044b\u0432\u0430\u043b\u0438 \u0432 \u0448\u0442\u043e\u043b\u044c\u043d\u0438,\/ \u0422\u0430\u043c \u0438\u0437\u043c\u044b\u0432\u0430\u043b\u0441\u044f \u0448\u0430\u0445\u0442\u0430\u043c\u0438 \u0423\u0440\u0430\u043b (336); \u041a\u043e\u0433\u0434\u0430, \u0431\u0440\u044f\u0446\u0430\u044f \u0433\u043e\u043b\u043e\u0439 \u0441\u0438\u043b\u043e\u0439 \u0437\u043b\u0430,\/ \u041d\u0430\u0432\u0441\u0442\u0440\u0435\u0447\u0443 \u043d\u0430\u043c \u0433\u043e\u0440\u043b\u0430\u043d\u0438\u043b\u0438 \u0438 \u043f\u0435\u0440\u043b\u0438 (425); \u041a\u043e\u043c\u0430\u043d\u0434\u043e\u0432\u0430\u043b\u0438 \u044d\u0442\u0438 \u0431\u0435\u0441\u0442\u0438\u0438,\/ \u041d\u0430\u0441\u0438\u043b\u0443\u044f \u0438 \u0434\u0435\u0431\u043e\u0448\u0438\u0440\u044f (417); \u0418 \u0442\u0435\u043c\u043d\u044b\u043c\u0438 \u0441\u0438\u043b\u0430\u043c\u0438 \u0445\u0440\u0430\u043c\u0430\/ \u041e\u043d \u043e\u0442\u0434\u0430\u043d \u043f\u043e\u0434\u043e\u043d\u043a\u0430\u043c \u043d\u0430 \u0441\u0443\u0434 (629).<\/p>\n

Even less serious offences receive severe moral indictment, cf.:<\/p>\n

(2) \u041a\u043e\u0433\u0434\u0430 \u044f \u0443\u0441\u0442\u0430\u044e \u043e\u0442 \u043f\u0443\u0441\u0442\u043e\u0437\u0432\u043e\u043d\u0441\u0442\u0432\u0430\/ \u0412\u043e \u0432\u0441\u0435 \u0432\u0435\u043a\u0430 \u0432\u0435\u0440\u0442\u0435\u0432\u0448\u0438\u0445\u0441\u044f \u043b\u044c\u0441\u0442\u0435\u0446\u043e\u0432 (371); \u041d\u043e \u0438\u0445 [the beauties] \u0434\u0443\u0440\u043c\u0430\u043d\u0438\u043b \u043b\u043e\u0431\u043e\u0442\u0440\u044f\u0441\/ \u0418 \u0440\u0430\u0437\u0432\u0438\u0432\u0430\u043b \u043c\u0435\u0440\u0437\u0430\u0432\u0435\u0446.\/ . . .\/ \u041e\u0442\u0441\u044e\u0434\u0430 \u043d\u0430\u0448\u0430 \u0440\u0435\u0432\u043d\u043e\u0441\u0442\u044c \u0432 \u043d\u0430\u0441\/ \u0418 \u043d\u0430\u0448\u0430 \u043c\u0435\u0441\u0442\u044c \u0438 \u0437\u0430\u0432\u0438\u0441\u0442\u044c (380); \u0422\u044b \u043f\u043e\u043d\u044f\u043b, \u0447\u0442\u043e \u043f\u0440\u0430\u0437\u0434\u043d\u043e\u0441\u0442\u044c\u2014\u043f\u0440\u043e\u043a\u043b\u044f\u0442\u044c\u0435 (456).<\/p>\n

The poet uses such b language as\u00a0\u0448\u0435\u0440\u0435\u043d\u0433\u0430 \u043f\u0440\u0438\u0445\u043b\u0435\u0431\u0430\u043b<\/em>\u00a0(388);\u00a0\u043b\u043e\u0436\u044c\/ \u0427\u0443\u0436\u0438\u0445 \u043f\u043e\u0445\u043e\u043b\u043e\u0434\u0435\u0432\u0448\u0438\u0445 \u043b\u043e\u0436<\/em>\u00a0(373);\u00a0\u0432\u043e\u0441\u043f\u043e\u043c\u0438\u043d\u0430\u043d\u0438\u044f \u0440\u0430\u0437\u0432\u0440\u0430\u0442\u0430<\/em>\u00a0(630); \u043a\u043e\u0449\u0443\u043d\u0441\u0442\u0432\u0435\u043d\u043d\u0443\u044e \u0442\u0435\u043b\u0435\u0433\u0440\u0430\u043c\u043c\u0443<\/em>\u00a0(242);\u00a0\u0438 \u0441\u043c\u0435\u0440\u0442\u044c \u0438 \u0430\u0434, \u0438 \u043f\u043b\u0430\u043c\u0435\u043d\u044c \u0441\u0435\u0440\u043d\u044b\u0439\u00a0<\/em>(630); etc. These last expressions take us from mere guilt and sins into the realm of supernatural evil (which is portrayed as existing in reality), cf.:<\/p>\n

(3) \u0432\u0441\u0435\u043c\u0438\u0440\u043d\u043e\u0439 \u0434\u0435\u0440\u0436\u0430\u0432\u043e\u0439\/ \u0415\u0433\u043e \u0441\u043e\u0431\u043b\u0430\u0437\u043d\u044f\u043b \u0421\u0430\u0442\u0430\u043d\u0430 (629); \u0417\u043c\u0435\u0439 \u043e\u0431\u0432\u0438\u043b \u0435\u0439 \u0440\u0443\u043a\u0443\/ \u0418 \u043e\u043f\u043b\u0435\u043b \u0433\u043e\u0440\u0442\u0430\u043d\u044c,\/ \u041f\u043e\u043b\u0443\u0447\u0438\u0432 \u043d\u0430 \u043c\u0443\u043a\u0443\/ \u0412 \u0436\u0435\u0440\u0442\u0432\u0443 \u044d\u0442\u0443 \u0434\u0430\u043d\u044c (430).<\/p>\n

The righteous stance sometimes results in punitive or corrective action:<\/p>\n

(4) \u041d\u043e \u0440\u0430\u0431\u043e\u0447\u0438\u0445 \u0437\u0430\u0436\u0433\u043b\u043e\/ \u0418 \u0438\u0441\u043f\u043e\u043b\u043d\u0438\u043b\u043e \u0436\u0430\u0436\u0434\u043e\u044e \u043c\u0435\u0441\u0442\u0438\/ \u0418\u0437\u0431\u0438\u0435\u043d\u044c\u0435 \u0442\u043e\u043b\u043f\u044b,\/ . ..\/ \u041e\u0437\u043b\u043e\u0431\u043b\u0435\u043d\u044c\u0435 \u0440\u0430\u0431\u043e\u0447\u0438\u0445\/ \u0418\u0437\u0431\u0440\u0430\u043b\u043e \u0440\u0430\u0437\u044a\u0435\u0437\u0434\u044b \u043c\u0438\u0448\u0435\u043d\u044c\u044e (256); \u0428\u0430\u0433\u043d\u0443\u043b \u043a \u0431\u043b\u0438\u0436\u0430\u0439\u0448\u0435\u043c\u0443 \u0440\u0430\u0437\u0431\u043e\u0439\u043d\u0438\u043a\u0443.\/ \u041e\u043d \u0434\u0430\u043b \u043d\u043e\u0433\u043e\u0439 \u0432 \u043f\u043e\u0434\u0432\u0437\u0434\u043e\u0448\u044c\u0435 \u0432\u043e\u0440\u0443\/ . . .\/ \u041e\u0447\u0438\u0441\u0442\u0438\u043b \u0437\u0430\u043b\u043f\u0430\u043c\u0438 \u043a\u043e\u043d\u0442\u043e\u0440\u0443\/ \u041e\u0442 \u044d\u0442\u043e\u0433\u043e \u0436\u0443\u043b\u044c\u044f \u043f\u0440\u043e\u043a\u043b\u044f\u0442\u043e\u0433\u043e (420); \u041a\u0440\u0435\u0441\u0442\u043e\u043c \u0442\u0440\u0430\u0441\u0441\u0438\u0440\u0443\u044e\u0449\u0438\u0445 \u043f\u0443\u043b\u044c\/ \u041d\u043e\u0447\u043d\u0443\u044e \u043d\u0435\u0447\u0438\u0441\u0442\u044c \u0432 \u043d\u0435\u0431\u0435 \u043c\u0435\u0442\u0438\u0442 (410)<\/p>\n

The abolishment of evil promises an idyll:<\/p>\n

(5) \u041f\u0440\u0435\u0434 \u043d\u0435\u044e \u043a\u0440\u0430\u0439, \u0433\u0434\u0435 \u0432 \u043f\u043e\u044f\u0441\u043d\u043e\u0439\/ \u041f\u043e\u043a\u043b\u043e\u043d \u043d\u0435 \u0432\u0433\u043e\u043d\u044f\u0442 \u0441\u0442\u043e\u043d\u0430,\/ \u0418\u0437 \u0441\u0435\u0440\u0434\u0446\u0430 \u0434\u0435\u0432\u0443\u0448\u043a\u0438 \u0441\u0435\u043d\u043d\u043e\u0439\/ \u041d\u0435 \u0432\u044b\u0440\u0435\u0436\u0443\u0442 \u0444\u0435\u0441\u0442\u043e\u043d\u0430 (379); \u041d\u0438 \u0441 \u043a\u0435\u043c \u043d\u0435 \u043d\u0430\u0434\u043e \u0431\u044b\u043b\u043e \u0431 \u0433\u0440\u044b\u0437\u0442\u044c\u0441\u044f.\/ \u041d\u0435 \u0437\u0430\u043f\u043e\u0434\u043e\u0437\u0440\u0435\u043d\u043d\u044b\u0439 \u043d\u0438\u043a\u0435\u043c,\/ \u042f … (349); \u0421\u0442\u0440\u0430\u043d\u0430 \u0432\u043d\u0435 \u0441\u043f\u043b\u0435\u0442\u0435\u043d \u0438 \u043a\u043b\u0435\u0432\u0435\u0442 (350); \u041d\u043e \u043d\u0430\u0434\u043e \u0436\u0438\u0442\u044c \u0431\u0435\u0437 \u0441\u0430\u043c\u043e\u0437\u0432\u0430\u043d\u0441\u0442\u0432\u0430 (447); \u041e\u0431\u043e\u044e\u0434\u043d\u044b\u0439 \u043e\u0431\u043c\u0430\u043d \u043e\u0431\u0440\u0443\u0431\u0430\u0435\u043c (358).<\/p>\n

1.2 Evil fictionalized<\/b><\/p>\n

In many cases, however, ‘evil’ is portrayed with less or no indignation. Sometimes this defusing of ‘evil’ is achieved by objective, non-involved presentation, playing down its dangers, turning it into a sort of picturesque, full-blooded (“Shakespearean”) background, and so on.<\/p>\n

(6) \u0418 \u0442\u043e\u043b\u044c\u043a\u043e \u0432\u043e\u043b\u0445\u0432\u043e\u0432 \u0438\u0437 \u043d\u0435\u0441\u043c\u0435\u0442\u043d\u043e\u0433\u043e \u0441\u0431\u0440\u043e\u0434\u0430\/ \u0412\u043f\u0443\u0441\u0442\u0438\u043b\u0430 \u041c\u0430\u0440\u0438\u044f (624); \u041f\u043e\u043a\u0430 \u0431\u0435\u0440\u0435\u0437\u044b, \u043c\u0435\u0442\u043b\u044b, \u0433\u043e\u043b\u043e\u0434\u0440\u0430\u043d\u0446\u044b . . . (309); \u041c\u043d\u043e\u0433\u043e\u043b\u043e\u0448\u0430\u0434\u043d\u044b\u0439, \u0431\u0443\u0439\u043d\u044b\u0439, \u0433\u043e\u043b\u043e\u0448\u0442\u0430\u043d\u043d\u044b\u0439,\/ \u0414\u0432\u0443\u0443\u0433\u043b\u0435\u043a\u0438\u0441\u043b\u044b\u0439 \u0434\u0432\u043e\u0440 \u043a\u0438\u043f\u0435\u043b \u043a\u043b\u044e\u0447\u043e\u043c (327); \u0412 \u0441\u0430\u043c\u043e\u043c \u043a\u0440\u0443\u0436\u043a\u0435 \u043d\u0435\u043c\u0430\u043b\u043e \u0431\u044b\u043b\u043e \u0432\u044b\u0436\u0438\u0433,\/ \u041d\u0435\u043c\u0430\u043b\u043e \u043f\u0440\u0438\u0441\u043e\u0441\u0435\u0434\u0438\u043b\u043e\u0441\u044c \u0438\u0437\u0432\u043d\u0435 (311); \u041a \u0432\u0438\u043d\u043e\u0432\u043d\u043e\u043c\u0443 \u043f\u0440\u0438\u043b\u0438\u043f \u043d\u0435\u0432\u0438\u043d\u043d\u044b\u0439,\/ \u0418 \u0434\u0435\u043d\u044c, \u0438 \u0434\u043e\u0436\u0434\u044c, \u0438 \u0434\u0430\u043b\u044c \u0432 \u043a\u043b\u0435\u044e (230).<\/p>\n

Another defusing technique places literal ‘evil’ in a context where it becomes partly figurative:<\/p>\n

(7) \u0421\u0442\u043e\u043b\u0435\u0442\u0438\u0439 \u0437\u0430\u0432\u0438\u0441\u0442\u044c\u044e \u0437\u0430\u0432\u0438\u0441\u0442\u043b\u0438\u0432\/ \u0420\u0435\u0432\u043d\u0438\u0432 \u0438\u0445 \u0440\u0435\u0432\u043d\u043e\u0441\u0442\u044c\u044e \u043e\u0434\u043d\u043e\u0439\/ . . .\/ \u041f\u0440\u0435\u0434\u0432\u0435\u0441\u0442\u044c\u0435\u043c \u043b\u044c\u0433\u043e\u0442 \u043f\u0440\u0438\u0445\u043e\u0434\u0438\u0442 \u0433\u0435\u043d\u0438\u0439\/ \u0418 \u0433\u043d\u0435\u0442\u043e\u043c \u043c\u0441\u0442\u0438\u0442 \u0437\u0430 \u0441\u0432\u043e\u0439 \u0443\u0445\u043e\u0434 (244; about Lenin’s legacy); \u041e\u043d [Balzac] \u0432\u044c\u0435\u0442, \u043a\u0430\u043a \u043d\u0438\u0442\u043a\u0443 \u0438\u0437 \u043f\u0435\u043d\u044c\u043a\u0438,\/ \u0418\u0441\u0442\u043e\u0440\u0438\u044e \u0441\u0435\u0433\u043e \u043f\u0440\u0438\u0442\u043e\u043d\u0430 [i.e. of Paris] (205); \u0414\u0435\u0440\u0435\u0432\u043d\u044f \u0432\u0440\u0430\u0436\u0435\u0441\u043a\u0438\u043c \u0432\u0435\u0440\u0442\u0435\u043f\u043e\u043c\/ \u0426\u0430\u0440\u0438\u043b\u0430 \u043d\u0430\u0434\u043e \u0432\u0441\u0435\u0439 \u0440\u0430\u0432\u043d\u0438\u043d\u043e\u044e.\/ \u041b\u0443\u0433\u0430 \u0436\u0435\u043b\u0442\u0435\u043b\u0438 \u043a\u0443\u0440\u043e\u0441\u043b\u0435\u043f\u043e\u043c,\/ \u0420\u043e\u043c\u0430\u0448\u043a\u0430\u043c\u0438 \u0438 \u043f\u0430\u0441\u0442\u044c\u044e \u043b\u044c\u0432\u0438\u043d\u043e\u044e (419).<\/p>\n

The “oppression** is real and literal, while the “envy,” “jealousy” and “vengeance” only partly so\u2014because of being predicated on unlikely subjects (“centuries”; a “departed genius”). The Balzacian Paris does have its evil side, but this is both hyperbolized and fictionalized through the “den” metaphor. The same metaphor is used in depicting literal evil in the beginning of the last example, but after that the evil is projected, in a sort of pathetic fallacy, into the connotations of the flowers’ names\u2014\u043a\u0443\u0440\u043e\u0441\u043b\u0435\u043f ‘buttercup, chicken-blinder’ and especially, \u043b\u044c\u0432\u0438\u043d\u0430\u044f \u043f\u0430\u0441\u0442\u044c ‘snap-dragon,’ lit. ‘lion’s jaws’.<\/p>\n

‘Evil’ can also be made half-real by appearing in literary citation:<\/p>\n

(8) \u041c\u044b\u0441\u043b\u044c \u043e\u0437\u0430\u0440\u0438\u043b\u0430\u0441\u044c \u0443\u0431\u0438\u0439\u0441\u0442\u0432\u043e\u043c.\/ \u041c\u0449\u0435\u043d\u044c\u0435? \u041d\u043e \u043c\u0449\u0435\u043d\u044c\u0435 \u043d\u0435 \u0432 \u0441\u0447\u0435\u0442!\/ . . .\/ \u0412 \u043a\u0440\u0430\u044e \u0432\u043e\u0440\u043e\u0432 \u0438 \u0432\u0438\u043d\u043e\u0434\u0435\u043b\u043e\u0432.\/ \u0417\u0430\u0431\u043e\u0440\u043e\u043c \u043a\u0440\u0430\u043b\u0441\u044f \u043a\u043e\u043d\u043e\u043a\u0440\u0430\u0434 (166; variations on Pushkin’s “\u0426\u044b\u0433\u0430\u043d\u044b”).<\/p>\n

The next step is to evaluate ‘evil’ positively. Drunkenness is presented as enviably orgiastic unconventional behavior, romanticized:<\/p>\n

(9) \u0413\u0434\u0435-\u0442\u043e \u043f\u0438\u0440. \u0413\u0434\u0435-\u0442\u043e \u043f\u044c\u044f\u043d\u043a\u0430.\/ \u0418\u043c\u0435\u043d\u0438\u043d\u043d\u044b\u0439 \u043a\u0443\u0442\u0435\u0436 (477; “\u0412\u0430\u043a\u0445\u0430\u043d\u0430\u043b\u0438\u044f” [!]); \u041b\u0438\u0445\u0438\u0435 \u0438\u0433\u0440\u043e\u043a\u0438, \u0444\u0435\u0445\u0442\u0443\u044f \u043a\u0438\u0435\u043c\/ . . .\/ \u0422\u0440\u0430\u043a\u0442\u0438\u0440\u043d\u044b\u0439 \u0433\u0430\u043c . . .\/ . . .\/ \u041f\u043e\u0440\u044b\u0432 \u0440\u0430\u0437\u0433\u0443\u043b\u0430 \u043e\u0442\u043a\u0440\u044b\u0432\u0430\u0435\u0442 \u0434\u0432\u0435\u0440\u0438\/ \u0417\u0435\u043c\u043b\u0435, \u0432\u043e\u0434\u0435, \u0438 \u0432\u0435\u0442\u0440\u0443, \u0438 \u043e\u0433\u043d\u044e (308); \u0418 \u0436\u0443\u043b\u0438\u043a\u0438 \u043d\u044b\u0440\u044f\u043b\u0438 \u0432\u043d\u0443\u0442\u0440\u044c \u043f\u0443\u0440\u0433\u0438\/ \u0418 \u0443\u043a\u0440\u044b\u0432\u0430\u043b\u0438 \u0443\u0436\u0430\u0441\u044b \u0438 \u043f\u043b\u0443\u0442\u043d\u0438\/ \u0418 \u0443\u0442\u043e\u043f\u0430\u0432\u0448\u0438\u0445 \u043f\u0443\u0442\u043d\u0438\u043a\u043e\u0432 \u0448\u0430\u0433\u0438 (337); \u041d\u0438\u043f\u043e\u0447\u0435\u043c \u0432\u0435\u0440\u0442\u0438\u0445\u0432\u043e\u0441\u0442\u043a\u0435\/ \u041f\u043e\u0445\u043e\u0436\u0434\u0435\u043d\u0438\u0439 \u0443\u0433\u0430\u0440 (476), cf. also \u0432\u0435\u0442\u0440\u0435\u043d\u0438\u043a \u0432\u043d\u0443\u043a [Blok] (464).<\/p>\n

Lawlessness can be further turned into revolution:<\/p>\n

(10) \u041d\u043e \u043e\u0431\u044a\u044f\u0441\u043d\u0438. \u041f\u043e\u043b\u044e\u0431\u0438\u0432 \u0434\u0430\u0436\u0435 \u0432\u043e\u0440\u0430,\/ \u041a\u0430\u043a \u043d\u0435 \u0440\u0432\u0430\u043d\u0443\u0442\u044c\u0441\u044f \u043a \u043d\u0435\u043c\u0443 \u0432 \u043a\u0430\u0437\u0435\u043c\u0430\u0442 . . .? (293); \u0418 \u0432\u0438\u0442\u0430\u0435\u043c \u0432 \u043c\u0435\u0447\u0442\u0430\u0445\/ \u0412 \u043d\u0435\u043b\u0435\u0433\u0430\u043b\u044c\u043d\u043e\u043c \u0440\u0430\u0439\u043e\u043d\u0435 \u0413\u0440\u0443\u0437\u0438\u043d (254); \u041e\u0442 \u0442\u044e\u0440\u0435\u043c\u2014\u043a \u0431\u0440\u043e\u0448\u044e\u0440\u0430\u043c \u0438 \u0431\u0443\u0440\u044f\u043c (275); \u0416\u0430\u043d\u043d\u0430 \u0434’\u0410\u0440\u043a \u0438\u0437 \u0441\u0438\u0431\u0438\u0440\u0441\u043a\u0438\u0445 \u043a\u043e\u043b\u043e\u0434\u043d\u0438\u0446,\/ \u041a\u0430\u0442\u043e\u0440\u0436\u0430\u043d\u043a\u0430 \u0432 \u0432\u043e\u0436\u0434\u044f\u0445, \u0442\u044b \u0438\u0437 \u0442\u0435\u0445 . . . (245).<\/p>\n

Even suffering becomes attractive if it is presented as a backdrop for and source of a fascinating life:<\/p>\n

(11) \u0412\u0441\u0435 \u0432 \u043d\u0435\u0439 \u0436\u0438\u0437\u043d\u044c, \u0432\u0441\u0435 \u0441\u0432\u043e\u0431\u043e\u0434\u0430,\/ \u0418 \u0432 \u0433\u0440\u0443\u0434\u0438 \u043a\u043e\u043b\u043e\u0442\u044c\u0435,\/ \u0418 \u0442\u044e\u0440\u0435\u043c\u043d\u044b\u0435 \u0441\u0432\u043e\u0434\u044b\/ \u041d\u0435 \u0441\u043b\u043e\u043c\u0438\u043b\u0438 \u0435\u0435 (476); \u0418 \u043e\u0442\u0442\u043e\u0433\u043e \u043d\u0435\u0442 \u0434\u0435\u043b\u0430,\/ \u0427\u0442\u043e \u0441\u0432\u0435\u0442 \u0436\u0435\u0441\u0442\u043e\u043a\u043e\u0441\u0435\u0440\u0434 (443); \u0418 \u0432 \u0437\u043d\u0430\u0447\u0435\u043d\u044c\u0438 \u0434\u0432\u043e\u044f\u043a\u043e\u043c\/ \u0416\u0438\u0437\u043d\u0438, \u0431\u0435\u0434\u043d\u043e\u0439 \u043d\u0430 \u0432\u0437\u0433\u043b\u044f\u0434,\/ \u041d\u043e \u0432\u0435\u043b\u0438\u043a\u043e\u0439 \u043f\u043e\u0434 \u0437\u043d\u0430\u043a\u043e\u043c\/ \u041f\u043e\u043d\u0435\u0441\u0435\u043d\u043d\u044b\u0445 \u0443\u0442\u0440\u0430\u0442 (475); \u041f\u0438\u0440\u0443\u0448\u043a\u0438 \u043d\u0430\u0448\u0438\u2014\u0437\u0430\u0432\u0435\u0449\u0430\u043d\u044c\u044f,\/ \u0427\u0442\u043e\u0431 \u0442\u0430\u0439\u043d\u0430\u044f \u0441\u0442\u0440\u0443\u044f \u0441\u0442\u0440\u0430\u0434\u0430\u043d\u044c\u044f\/ \u0421\u043e\u0433\u0440\u0435\u043b\u0430 \u0445\u043e\u043b\u043e\u0434 \u0431\u044b\u0442\u0438\u044f (445)<\/p>\n

Examples (1)-(11) deal with “real” events featuring ‘sinister’ human attitudes and actions \u043en the social scene. Mostly they are from poems about the Revolution (“1905,” “\u041b\u0435\u0439\u0442\u0435\u043d\u0430\u043d\u0442 \u0428\u043c\u0438\u0434\u0442,” “\u0421\u043fe\u043a\u0442\u043e\u0440\u0441\u043a\u0438\u0439”), World War II (”\u0421\u0442\u0438\u0445\u0438 \u043e \u0432\u043e\u0439\u043d\u0435”) and the Calvary (“\u0421\u0442\u0438\u0445\u043e\u0442\u0432\u043e\u0440\u0435\u043d\u0438\u044f \u042e\u0440\u0438\u044f \u0416\u0438\u0432\u0430\u0433\u043e”). But even in these, Pasternak’s most narrative texts, the way ‘evil’ is represented tends to circumvent one-sided moral judgement, to defuse or fictionalize its harmful impact, and may even display a perverse attraction to ‘evil.’ This tendency gains force as we move from the epic objectivity of narrative poetry to the subjectiveness of Pasternak’s lyrics. Human agents make room for the elements, plants, objects and abstractions, the ‘sinister’ becomes all-pervasive and powerful, but at the same time figurative and morally acceptable, even positive. It is this ‘figurative and positive sinister’ that is specific for Pasternak and will therefore be the object of our interest. Let us consider its major subtypes.<\/p>\n

2. THE SUPERNATURAL<\/b><\/p>\n

2.1. Devilry<\/b><\/p>\n

Pasternak’s supernatural vocabulary is rich. We encounter Greek harpies, Russian\u00a0\u0434\u043e\u043c\u043e\u0432\u043e\u0439, \u0440\u0443\u0441\u0430\u043b\u043a\u0430, \u043b\u0435\u0448\u0438\u0439, \u0413\u043e\u0440\u044b\u043d\u044b\u0447,<\/em>\u00a0Biblical devils, hell, Sodom, Apocalypse, Celtic Morgan the Fay, Germanic Valkyries and universal ghosts, demons, witches, magic, sorcery, and so on. Reference to ‘devilry’ is often light, almost casual, and the resulting image completely idyllic\u2014in poems about love (see (12)), nature (13), or literature (14).<\/p>\n

(12) … \u0441\u043f\u044f\u0442 \u0433\u0434\u0435-\u0442\u043e \u0441\u043b\u0430\u0434\u043a\u043e,\/ \u0418 \u0444\u0430\u0442\u0430-\u043c\u043e\u0440\u0433\u0430\u043d\u043e\u0439 \u043b\u044e\u0431\u0438\u043c\u0430\u044f \u0441\u043f\u0438\u0442 (113); \u0422\u044b \u0431\u0435\u0441\u043e\u0432 \u0441\u0430\u043c\u043e\u043b\u044e\u0431\u044c\u044f\/ \u0422\u0435\u0440\u0437\u0430\u0435\u0448\u044c \u0433\u0440\u0435\u0431\u0435\u0448\u043a\u043e\u043c (181);<\/p>\n

(13) \u041f\u043e \u0434\u043e\u043c\u0443 \u0431\u0440\u043e\u0434\u0438\u0442 \u043f\u0440\u0438\u0432\u0438\u0434\u0435\u043d\u044c\u0435.\/ . . .\/ \u041f\u043e \u0434\u043e\u043c\u0443 \u0431\u0440\u043e\u0434\u0438\u0442 \u0434\u043e\u043c\u043e\u0432\u043e\u0439 (450; the July air); \u041f\u043e\u043c\u043d\u043e\u0436\u0438\u043c\/ \u041d\u0443\u0436\u0434\u0443 \u043d\u0430 \u043d\u0435\u0436\u043d\u043e\u0441\u0442\u044c, \u0430\u0434 \u043d\u0430 \u0440\u0430\u0439 (348; in a panegyric to Georgia);<\/p>\n

(14) \u0418 \u0432 \u0434\u0432\u0435\u0440\u044c, \u0437\u0430\u043f\u0443\u0441\u0442\u044f \u0432 \u043f\u0440\u0438\u0432\u0438\u0434\u0435\u043d\u044c\u0435 [= the personified sonnet] \u0441\u0430\u043b\u0444\u0435\u0442\u043a\u043e\u0439 (161; “\u0428\u0435\u043a\u0441\u043f\u0438\u0440”); \u041f\u043e \u0437\u0430\u043b\u0438\u0442\u043e\u0439 \u0437\u0430\u0440\u0435\u0439 \u0434\u043e\u0440\u043e\u0433\u0435\/ . . .\/ \u041f\u044b\u043b\u0438\u043b\u0438 \u0434\u044c\u044f\u0432\u043e\u043b\u043e\u0432\u044b \u043d\u043e\u0433\u0438 (159; \u041c\u0435\u0444\u0438\u0441\u0442\u043e\u0444\u0435\u043b\u044c’).<\/p>\n

Even when ‘devilry’ does inject some dramatism into the text, the hellish motifs are still seen in a positive light. This technique is often used to paint fascinating landscapes:<\/p>\n

(15) \u041a\u0430\u043a \u043b\u0435\u0448\u0438\u0435, \u0437\u0435\u043c\u043b\u044f, \u0432\u043e\u0434\u0430 \u0438 \u0432\u043e\u043b\u044f\/ \u0421\u043a\u0432\u043e\u0437\u044c \u0441\u0443\u0442\u043e\u043b\u043e\u043a\u0443 \u0432\u0435\u0448\u0430\u043b\u043e\u043a \u0438 \u0448\u0443\u0431\/ \u0417\u0430 \u0433\u043e\u043b\u043e\u044e \u0440\u0443\u0441\u0430\u043b\u043a\u043e\u0439 \u0430\u043b\u043a\u043e\u0433\u043e\u043b\u044f\/ \u0412\u0440\u044b\u0432\u0430\u044e\u0442\u0441\u044f, \u0438\u0449\u0430 \u0433\u0443\u0431\u0430\u043c\u0438 \u0433\u0443\u0431 (308; the spring); \u0418 \u043f\u044b\u0448\u0443\u0442 \u043d\u0430\u043c\u043e\u0440\u0434\u043d\u0438\u043a\u0438 \u0433\u0430\u0440\u043f\u0438\u0439,\/ \u041f\u0430\u0440\u0430\u043c\u0438 \u0433\u043b\u0430\u0437\u0430 \u043d\u0430\u043c \u0437\u0430\u0441\u0442\u043b\u0430\u0432 (69; about a locomotive); \u0421\u0442\u0443\u0447\u0430\u043b\u0441\u044f \u0432 \u0432\u0435\u0447\u043d\u043e\u0441\u0442\u044c \u0442\u0443\u0444\/ \u0420\u0443\u043a\u0430\u043c\u0438 \u043f\u0440\u0435\u0438\u0441\u043f\u043e\u0434\u043d\u0435\u0439 (391; a gorge in Georgia); cf. also \u0430\u0434 \u043a\u0440\u043e\u043c\u0435\u0448\u043d\u044b\u0439, \u0437\u043b\u043e\u044f\u0437\u044b\u0447\u043d\u044b\u043c \u0413\u043e\u0440\u044b\u043d\u044b\u0447\u0435\u043c, \u0432 \u0410\u043f\u043e\u043a\u0430\u043b\u0438\u043f\u0441\u0438\u0441\u0435 \u043c\u043e\u0441\u0442 etc. in emotionally intense, but quite innocuous landscapes.<\/p>\n

In the same manner Pasternak depicts people (16) and art (17).<\/p>\n

(16) \u0412 \u0438\u0445 \u043b\u0438\u0446\u0430\u0445 \u0431\u044b\u043b\u043e \u0447\u0442\u043e-\u0442\u043e \u0430\u0434\u0441\u043a\u043e\u0435 (194); \u0417\u0430 \u0448\u0430\u043f\u043a\u043e\u0439, \u0432\u0435\u044f, \u0434\u044b\u0431\u0438\u043b \u043b\u0435\u043d\u0442\u0443\/ \u041c\u043e\u0440\u0441\u043a\u043e\u0439 \u0444\u0430\u043d\u0442\u043e\u043c\/ . . .\/ \u041d\u043e \u0432 \u0430\u0434\u0441\u043a\u043e\u043c \u043b\u044f\u0437\u0433\u0435 \u043f\u0435\u0440\u0435\u0434\u0430\u0447\u0438\/ \u0422\u043e\u0441\u043a\u0438 \u043c\u043e\u0440\u0441\u043a\u043e\u0439 . . . (224-5; “\u041c\u0430\u0442\u0440\u043e\u0441 \u0432 \u041c\u043e\u0441\u043a\u0432\u0435”).<\/p>\n

(17) \u041f\u043e\u043a\u0430 \u0432 \u0414\u0430\u0440\u044c\u044f\u043b, \u043a\u0430\u043a \u043a \u0434\u0440\u0443\u0433\u0443, \u0432\u0445\u043e\u0436,\/ \u041a\u0430\u043a \u0432 \u0430\u0434, \u0432 \u0446\u0435\u0439\u0445\u0433\u0430\u0443\u0437 \u0438 \u0432 \u0430\u0440\u0441\u0435\u043d\u0430\u043b,\/ \u042f \u0436\u0438\u0437\u043d\u044c, \u043a\u0430\u043a \u041b\u0435\u0440\u043c\u043e\u043d\u0442\u043e\u0432\u0430 \u0434\u0440\u043e\u0436\u044c … (112); \u041f\u043e \u043a\u0440\u044b\u0448\u0430\u043c \u0433\u043e\u0440\u043e\u0434\u0441\u043a\u0438\u0445 \u043a\u0432\u0430\u0440\u0442\u0438\u0440\/ \u0413\u0440\u043e\u0437\u043e\u0439 \u0433\u0440\u0435\u043c\u0435\u043b \u043f\u043e\u043b\u0435\u0442 \u0432\u0430\u043b\u044c\u043a\u0438\u0440\u0438\u0439.\/ \u0418\u043b\u0438 \u043a\u043e\u043d\u0441\u0435\u0440\u0432\u0430\u0442\u043e\u0440\u0441\u043a\u0438\u0439 \u0437\u0430\u043b\/ \u041f\u0440\u0438 \u0430\u0434\u0441\u043a\u043e\u043c \u0433\u0440\u043e\u0445\u043e\u0442\u0435 \u0438 \u0442\u0440\u0435\u0441\u043a\u0435\/ \u0414\u043e \u0441\u043b\u0435\u0437 \u0427\u0430\u0439\u043a\u043e\u0432\u0441\u043a\u0438\u0439 \u043f\u043e\u0442\u0440\u044f\u0441\u0430\u043b (469-470); \u0412\u044b . . .\/ . . .\/ \u0418 \u0431\u044b\u043b\u0438 \u0434\u043e\u043c\u043e\u0432\u044b\u043c \u0443 \u043d\u0430\u0441 \u0432 \u0434\u043e\u043c\u0430\u0445\/ \u0418 \u0434\u044c\u044f\u0432\u043e\u043b\u043e\u043c \u043d\u0435\u0434\u0435\u0442\u0441\u043a\u043e\u0439 \u0434\u0438\u0441\u0446\u0438\u043f\u043b\u0438\u043d\u044b?\/ .. .\/ 0! \u0432\u0435\u0441\u044c \u0428\u0435\u043a\u0441\u043f\u0438\u0440, \u0431\u044b\u0442\u044c \u043c\u043e\u0436\u0435\u0442; \u0442\u043e\u043b\u044c\u043a\u043e \u0432 \u0442\u043e\u043c,\/ \u0427\u0442\u043e \u0437\u0430\u043f\u0440\u043e\u0441\u0442\u043e \u0431\u043e\u043b\u0442\u0430\u0435\u0442 \u0441 \u0442\u0435\u043d\u044c\u044e \u0413\u0430\u043c\u043b\u0435\u0442 (211-212; the poem “\u0411\u0440\u044e\u0441\u043e\u0432\u0443” is a sad one, but it is precisely the “devil,” the “goblin,” and the “shadow” that represent the positive forces of poetry, threatened by a dulling regime).<\/p>\n

Sometimes the dramatism supplied by ‘devilry’ is more real but the overall tenor remains positive, e.g. in the description of raging elements:<\/p>\n

(18) \u0418 \u0432\u044c\u044e\u0433\u0430 \u0434\u044b\u043c\u0438\u0442\u0441\u044f, \u043a\u0430\u043a \u0444\u0430\u043a\u0435\u043b \u043d\u0430\u0434 \u043d\u0435\u0447\u0438\u0441\u0442\u044c\u044e (85); \u041d\u043e \u043c\u0435\u0434\u043d\u044b\u0445 \u043c\u0430\u043a\u0431\u0435\u0442\u043e\u0432\u044b\u0445 \u0432\u0435\u0434\u044c\u043c \u0432 \u0434\u044b\u043c\u0443\u2014\/ \u0412\u0438\u0434\u0438\u043c\u043e-\u043d\u0435\u0432\u0438\u0434\u0438\u043c\u043e (77);<\/p>\n

of landscapes in the context of death:<\/p>\n

(19) \u041f\u0440\u043e \u0447\u0435\u0440\u043d\u044b\u0439 \u0434\u0435\u043d\u044c \u0447\u0435\u0440\u043d\u0435\u0439\u0448\u0438\u0439 \u0434\u0435\u043c\u043e\u043d \u0435\u0439 [Desdemona]\/ \u041f\u0441\u0430\u043b\u043e\u043c \u043f\u043b\u0430\u043a\u0443\u0447\u0438\u0445 \u0440\u0443\u0441\u043b \u043f\u0440\u0438\u043f\u0430\u0441 (126); \u0438 \u0432\u044c\u044e\u0436\u043d\u0430\u044f \u043d\u0435\u0436\u0438\u0442\u044c\/ \u0423\u0436\u0435 \u0432\u044b\u043d\u043e\u0441\u0438\u043b\u0430 \u043a\u043b\u044e\u0447\u0438\/ \u041a \u0437\u0430\u0442\u0432\u043e\u0440\u0430\u043c \u043f\u043e\u0441\u043b\u0435\u0434\u043d\u0438\u0445 \u0443\u0431\u0435\u0436\u0438\u0449 (375);<\/p>\n

of controversial phenomena like revolution or poetry:<\/p>\n

(20) \u0422\u044b [the Revolution] \u0440\u044b\u0434\u0430\u043b\u0430, \u043b\u0438\u0446\u043e\u043c \u0432\u0430\u0441\u0438\u043b\u0438\u0441\u043a\u0430\/ \u041e\u0437\u0430\u0440\u0438\u0432 \u043d\u0430\u0441 \u0438 \u043e\u043b\u0435\u0434\u0435\u043d\u0438\u0432 (245); \u0423\u043c\u0435\u0441\u0442\u043d\u043e \u043b\u044c \u043f\u0435\u0441\u043d\u044c\u044e \u0437\u0432\u0430\u0442\u044c \u0441\u043e\u0434\u043e\u043c\/ . . .\/ \u0411\u043b\u0430\u0433\u0438\u043c\u0438 \u043d\u0430\u043c\u0435\u0440\u0435\u043d\u044c\u044f\u043c\u0438 \u0432\u044b\u043c\u043e\u0449\u0435\u043d \u0430\u0434.\/ \u0423\u0441\u0442\u0430\u043d\u043e\u0432\u0438\u043b\u0441\u044f \u0432\u0437\u0433\u043b\u044f\u0434,\/ \u0427\u0442\u043e, \u0435\u0441\u043b\u0438 \u0432\u044b\u043c\u043e\u0441\u0442\u0438\u0442\u044c \u0438\u043c\u0438 \u0441\u0442\u0438\u0445\u0438.\u2014\/ \u041f\u0440\u043e\u0441\u0442\u044f\u0442\u0441\u044f \u0432\u0441\u0435 \u0433\u0440\u0435\u0445\u0438 (236);<\/p>\n

or of emotional suffering:<\/p>\n

(21) \u0422\u0440\u0438 \u0434\u043d\u044f \u0442\u043e\u0441\u043a\u0430, \u043a\u0430\u043a \u043f\u0440\u0438\u0437\u0440\u0430\u043a \u043a\u0440\u0438\u0432\u043e\u043b\u0438\u0446\u044b\u0439 … (331); \u0410 \u043d\u043e\u0447\u044c. \u0430 \u043d\u043e\u0447\u044c! \u0414\u0430 \u044d\u0442\u043e \u0436 \u0430\u0434, \u0434\u043e\u043c \u0443\u0436\u0430\u0441\u043e\u0432! (172).<\/p>\n

Unambiguously negative uses of figurative ‘devilry’ are rather rare. e.g.:\u00a0\u041f\u0440\u0438\u0437\u0440\u0430\u043a \u0441 \u0440\u0443\u0436\u044c\u0435\u043c \u043d\u0430 \u0440\u0430\u0437\u043b\u0438\u0432\u0435 \u0434\u0443\u0448\u0438!\/ . . .\/ \u0414\u0430\u0439 \u043c\u043d\u0435 \u043f\u043e\u0434\u043d\u044f\u0442\u044c\u0441\u044f \u043d\u0430\u0434 \u0441\u043c\u0435\u0440\u0442\u044c\u044e \u043f\u043e\u0437\u043e\u0440\u043d\u043e\u0439\u00a0<\/em>(208).<\/p>\n

2.2. Magic, mystery<\/b><\/p>\n

Although Pasternak’s Christ in “\u0413\u0435\u0444\u0441\u0438\u043c\u0430\u043d\u0441\u043a\u0438\u0439 \u0441\u0430\u0434”\u00a0\u043e\u0442\u043a\u0430\u0437\u0430\u043b\u0441\u044f . . .\/ \u041a\u0430\u043a \u043e\u0442 \u0432\u0435\u0449\u0435\u0439 \u043f\u043e\u043b\u0443\u0447\u0435\u043d\u043d\u044b\u0445, \u0432\u0437\u0430\u0439\u043c\u044b,\/ \u041e\u0442 \u0432\u0441\u0435\u043c\u043e\u0433\u0443\u0449\u0435\u0441\u0442\u0432\u0430 \u0438 \u0447\u0443\u0434\u043e\u0442\u0432\u043e\u0440\u0441\u0442\u0432\u0430\u00a0<\/em>(632), the poet himself, who in “\u0410\u0432\u0433\u0443\u0441\u0442” has equated \u0442\u0432\u043e\u0440\u0447\u0435\u0441\u0442\u0432\u043e “creativity” with\u00a0\u0447\u0443\u0434\u043e\u0442\u0432\u043e\u0440\u0441\u0442\u0432\u043e<\/em>\u00a0“performing miracles,” makes extensive use of ‘magi\u0441’:<\/p>\n

(22) \u042d\u0442\u043e \u043f\u043e\u0438\u0441\u0442\u0438\u043d\u0435 \u043d\u043e\u0432\u043e\u0435 \u0447\u0443\u0434\u043e,\/ \u042d\u0442\u043e, \u043a\u0430\u043a \u043f\u0440\u0435\u0436\u0434\u0435, \u0441\u043d\u043e\u0432\u0430 \u0432\u0435\u0441\u043d\u0430.\/ . . .\/ \u042d\u0442\u043e \u0435\u0435 \u0447\u0430\u0440\u043e\u0434\u0435\u0439\u0441\u0442\u0432\u043e \u0438 \u0434\u0438\u0432\u043e (406); \u0413\u0438\u043f\u043d\u043e\u0437\u0430 \u0437\u0430\u043b\u0438\u0442\u044c \u043d\u0435 \u043c\u043e\u0433\u043b\u0430.\/ \u041d\u0435\u0441\u043c\u0435\u0442\u043d\u044b\u0439 \u043c\u0438\u0440 \u0441\u0435\u043c\u0435\u043d\u0438\u0442 \u0432 \u043c\u0435\u0441\u043c\u0435\u0440\u0438\u0437\u043c\u0435,\/ . . .\/ \u0418 \u0432\u043e\u0442, \u0432 \u0433\u0438\u043f\u043d\u043e\u0442\u0438\u0447\u0435\u0441\u043a\u043e\u0439 \u044d\u0442\u043e\u0439 \u043e\u0442\u0447\u0438\u0437\u043d\u0435 . . . (114-5); \u041b\u0443\u043d\u0430 \u0445\u043e\u0440\u043e\u043d\u0438\u0442 \u0432\u0441\u0435 \u0441\u043b\u0435\u0434\u044b\/ \u041f\u043e\u0434 \u0431\u0435\u043b\u043e\u0439 \u043ca\u0433\u0438\u0435\u044e \u043f\u0435\u043d\u044b\/ \u0418 \u0447\u0435\u0440\u043d\u043e\u0439 \u043c\u0430\u0433\u0438\u0435\u0439 \u0432\u043e\u0434\u044b (397; even black magic fails to change the positive tenor); \u041a\u0430\u043a \u0431\u0443\u0434\u0442\u043e \u0436\u0438\u0437\u043d\u044c \u0432 \u0433\u043b\u0443\u0445\u043e\u0439 \u043b\u043e\u0449\u0438\u043d\u0435\/ \u041d\u0435 \u0441\u043e\u043b\u043d\u0446\u0435\u043c \u0437\u0430\u0432\u043e\u0440\u043e\u0436\u0435\u043d\u0430,\/ \u0410 \u043f\u043e \u0441\u043e\u0432\u0441\u0435\u043c \u0434\u0440\u0443\u0433\u043e\u0439 \u043f\u0440\u0438\u0447\u0438\u043d\u0435.\/ . . .\/ \u0418\u0432\u0430\u043d-\u0434\u0430-\u043c\u0430\u0440\u044c\u044f, \u0437\u0432\u0435\u0440\u043e\u0431\u043e\u0439,\/ \u0420\u043e\u043c\u0430\u0448\u043a\u0430, \u0438\u0432\u0430\u043d-\u0447\u0430\u0439, \u0442\u0430\u0442\u0430\u0440\u043d\u0438\u043a,\/ \u041e\u043f\u0443\u0442\u0430\u043d\u043d\u044b\u0435 \u0432\u043e\u0440\u043e\u0436\u0431\u043e\u0439,\/ \u0413\u043b\u0430\u0437\u0435\u044e\u0442, \u043e\u0431\u0441\u0442\u0443\u043f\u0438\u0432 \u043a\u0443\u0441\u0442\u0430\u0440\u043d\u0438\u043a (452453; note that, in addition to “witchcraft,” the plants are those used in making folk drugs).<\/p>\n

Sometimes the tonality is quite ominous:<\/p>\n

(23) \u042f \u0432\u0437\u044f\u0442\/ \u041e\u0431\u0440\u0430\u0442\u043d\u043e \u0432 \u0430\u0434, \u0433\u0434\u0435 \u0432\u0441\u0435 \u0432 \u043a\u043e\u043c\u043f\u043b\u043e\u0442\u0435.\/ \u0418 \u0436\u0435\u043d\u0449\u0438\u043d \u0432 \u0434\u0435\u0442\u0441\u0442\u0432\u0435 \u043c\u0443\u0447\u0430\u0442 \u0442\u0435\u0442\u0438,\/ \u0410 \u0432 \u0431\u0440\u0430\u043a\u0435 \u0434\u0435\u0442\u0438 \u0442\u0435\u0440\u0435\u0431\u044f\u0442.\/ …\/… \u0438\u0437 \u0440\u0435\u0431\u044f\u0442\/ \u042f \u0432\u0437\u044f\u0442 \u0432 \u043d\u0430\u0443\u043a\u0443 \u043a \u0438\u0441\u043f\u043e\u043b\u0438\u043d\u0443 (354); \u0418 \u0432\u0435\u0441\u044c \u043f\u0443\u0442\u044c\/ \u0412 \u0441\u043e\u0441\u043d\u044f\u043a\u0435\/ \u0412\u043e\u0440\u043e\u0436\u0438\u0442 \u0437\u0430\u043c\u043e\u0440\u043e\u0436\u0435\u043d\u043d\u044b\u0439 \u043c\u0435\u0441\u044f\u0446\/ . . .\/ \u0418 \u043a\u0440\u0438\u0432\u043b\u044f\u0435\u0442\u0441\u044f\/ \u041a\u0440\u0430\u0441\u043d\u044b\u0439 \u043f\u0435\u0442\u0443\u0445 [i.e., a fire set by rioting peasants] (255).<\/p>\n

If ‘magic’ is active, the following examples display passive fascination with the dark, uncanny, impenetrable side of events\u2014the ‘mystery”.<\/p>\n

(24) \u0417\u0434\u0435\u0441\u044c \u043f\u0440\u043e\u0448\u0435\u043b\u0441\u044f \u0437\u0430\u0433\u0430\u0434\u043a\u0438 \u0442\u0430\u0438\u043d\u0441\u0442\u0432\u0435\u043d\u043d\u044b\u0439 \u043d\u043e\u0433\u043e\u0442\u044c (197); \u041d\u0435 \u0437\u043d\u0430\u044e, \u0440\u0435\u0448\u0435\u043d\u0430 \u043b\u044c\/ \u0417\u0430\u0433\u0430\u0434\u043a\u0430 \u0437\u0433\u0438 \u0437\u0430\u0433\u0440\u043e\u0431\u043d\u043e\u0439 (151); \u0421\u0447\u0430\u0441\u0442\u043b\u0438\u0432\u044b\u0439 \u0442\u0435\u043c, \u0447\u0442\u043e \u043b\u043e\u0441\u043a \u0440\u0435\u0439\u0442\u0443\u0437\/ \u041f\u0440\u0438\u0432\u043e\u0434\u0438\u0442 \u0432 \u0443\u0436\u0430\u0441 \u0432\u0441\u0435 \u0432\u043e\u043a\u0440\u0443\u0433,\/ \u0427\u0442\u043e \u0432\u0441\u0435\u2014\u0442\u0430\u0438\u043d\u0441\u0442\u0432\u0435\u043d\u043d\u043e\u0441\u0442\u044c, \u0438\u0441\u043f\u0443\u0433,\/ \u0418 \u0441\u043e\u043a\u0440\u043e\u0432\u0435\u043d\u044c\u0435 (78); \u041c\u044b \u043e\u0445\u0432\u0430\u0447\u0435\u043d\u044b \u0442\u043e\u044e \u0436\u0435 \u0441\u0430\u043c\u043e\u044e\/ \u041e\u0440\u043e\u0431\u0435\u043b\u043e\u044e \u0432\u0435\u0440\u043d\u043e\u0441\u0442\u044c\u044e \u0442\u0430\u0439\u043d\u0435 (428).<\/p>\n

One subtype of ‘mystery’ stresses the element of ‘obscurity, darkness.’<\/p>\n

(25) \u041c\u044b \u0431\u044b\u043b\u0438 \u043c\u0443\u0437\u044b\u043a\u043e\u044e \u0447\u0430\u0448\u0435\u043a\/ \u0423\u0448\u0435\u0434\u0448\u0438\u0445 \u043a\u0443\u0448\u0430\u0442\u044c \u0447\u0430\u0439 \u0432\u043e \u0442\u044c\u043c\u0443\/ \u0413\u043b\u0443\u0445\u0438\u0445 \u043b\u0435\u0441\u043e\u0432, \u043a\u043e\u0441\u044b\u0445 \u0437\u0430\u043c\u0430\u0448\u0435\u043a\/ \u0418 \u0442\u0430\u0439\u043d, \u043d\u0435 \u043b\u044c\u0441\u0442\u044f\u0449\u0438\u0445 \u043d\u0438\u043a\u043e\u043c\u0443 (240); \u0418 \u0432\u043e\u0442 \u044f \u0432\u043d\u0438\u043a\u0430\u044e \u043d\u0430\u043e\u0449\u0443\u043f\u044c\/ \u0412 \u0434\u043e\u043f\u043e\u0434\u043b\u0438\u043d\u043d\u043e\u0439 \u043f\u043e\u0432\u0435\u0441\u0442\u0438 \u0442\u044c\u043c\u0443 (364); \u0422\u0435\u043c \u0431\u043e\u043b\u0435\u0435 \u0434\u0440\u0435\u043c\u0443\u0447\u0435\u0439, \u0447\u0435\u043c \u0441\u043a\u0443\u043f\u0435\u0435\/ \u041f\u043e\u043a\u0430\u0437\u0430\u043d\u043d\u043e\u0439 \u0447\u0438\u0442\u0430\u0442\u0435\u043b\u044e \u0432 \u0443\u043f\u043e\u0440\/ \u0422\u0430\u0438\u043d\u0441\u0442\u0432\u0435\u043d\u043d\u043e\u0439 \u043a\u0430\u043a\u043e\u0439-\u0442\u043e \u044d\u043f\u043e\u043f\u0435\u0438 (305); \u0412\u0441\u0435\u044e \u0442\u0435\u043c\u044c\u044e \u043f\u0438\u0445\u0442 \u043d\u0435\u043e\u0441\u043e\u0437\u043d\u0430\u043d\u043d\u043e\u0439\/ \u041f\u044c\u0435\u0442 \u0441\u0438\u044f\u043d\u044c\u0435 \u0437\u0432\u0435\u0437\u0434 \u0447\u0430\u0441\u0442\u043e\u043a\u043e\u043b (169); \u041e\u0441\u0430\u043d\u043d\u0430 \u0442\u044c\u043c\u0435 \u0435\u0433\u0438\u043f\u0435\u0442\u0441\u043a\u043e\u0439 (116; in a love scene).<\/p>\n

‘Mystery’ and ‘obscurity’ naturally call for ‘revelation”.<\/p>\n

(26) \u042d\u0442\u043e \u0432\u0435\u0449\u0438\u0435 \u0432\u0435\u0442\u043a\u0438,\/ \u0411\u043e\u0436\u0430\u0441\u044c \u0447\u0435\u0440\u0434\u0430\u043a\u0430\u043c\u0438,\/ \u0412\u044b\u043b\u0435\u0442\u0430\u044e\u0442 \u043d\u0430 \u0442\u0443\u0447\u0443.\/ \u042d\u0442\u043e \u0447\u0435\u0440\u043d\u043e\u0439 \u0431\u043e\u0436\u0431\u043e\u044e\/ \u0411\u044c\u0435\u0442\u0441\u044f \u043f\u0440\u0438\u0433\u043e\u0440\u043e\u0434\/ \u0422\u044c\u043c\u0443\u0442\u0430\u0440\u0430\u043a\u0430\u043d\u044c\u044e \u0432 \u043f\u0430\u0434\u0443\u0447\u0435\u0439 (214); \u041f\u0440\u043e \u043c\u0433\u043b\u0443 \u0432 \u043c\u0435\u0440\u0446\u0430\u043d\u044c\u0438 \u043f\u043b\u043e\u0448\u043a\u0438 \u043f\u043e\u0433\u0440\u0435\u0431\u043d\u043e\u0439,\/ \u041a\u043e\u0442\u043e\u0440\u043e\u0439 \u043e\u0448\u0438\u0431\u0430\u044e\u0442 \u043f\u0440\u043e\u0437\u044b \u0434\u0435\u0431\u0440\u0438,\/ \u041a\u043e\u0433\u0434\u0430 \u043d\u0430\u043c \u0441\u0442\u0430\u0432\u0438\u0442 \u0432\u043e\u043b\u043e\u0441\u044b \u043a\u043e\u043f\u043d\u043e\u0439\/ \u0418\u0437\u0432\u0435\u0441\u0442\u044c\u0435 \u043e \u043d\u0435\u0432\u0435\u0434\u043e\u043c\u043e\u043c \u0448\u0435\u0434\u0435\u0432\u0440\u0435 (306); \u0421\u043b\u0435\u043f\u0430\u044f. \u0432\u0435\u0449\u0430\u044f \u0440\u0443\u043a\u0430 . . . (222); \u0418\u0445 \u043e\u0442\u043a\u0440\u043e\u0432\u0435\u043d\u0438\u0439\u2014\u0442\u0435\u043c\u043d\u0435\u0435 \u0437\u0430\u0442\u043c\u0435\u043d\u044c\u0435 (75).<\/p>\n

Various other ‘supernatural’ situations do not form clear-cut groups but are used for essentially the same effects as ‘magic,’ ‘mystery,’ and ‘revelation,’ e.g.:<\/p>\n

(27) \u0427\u0440\u0435\u0437 \u0442\u044b\u0441\u044f\u0447\u0438 \u0444\u0430\u043d\u0442\u0430\u0441\u043c\u0430\u0433\u043e\u0440\u0438\u0439 .. . (467); \u0418, \u0432\u043e\u0437\u043c\u0443\u0436\u0430\u0432\u0448\u0438, \u043d\u0430\u0437\u043e\u0432\u0435\u0448\u044c \u043c\u0435\u0447\u0442\u043e\u0439\/ \u0422\u0435 \u0434\u043d\u0438, \u043a\u043e\u0433\u0434\u0430 \u0435\u0449\u0435 \u0442\u044b \u0432\u0435\u0440\u0438\u043b \u0432 \u0447\u0443\u0434\u0438\u0449?\/ \u041e, \u043f\u043e\u043c\u043d\u0438 \u0438\u0445, \u0431\u0435\u0437 \u043d\u0438\u0445 \u043b\u044e\u0431\u043e\u0432\u044c \u043d\u0438\u0447\u0442\u043e (313); \u0413\u043e\u0440\u044f\u0442, \u043e\u0434\u0443\u0440\u044f\u044f \u043d\u0430\u0448 \u043c\u043e\u0437\u0433 \u043c\u043e\u043b\u043e\u0434\u043e\u0439,\/ \u041b\u0438\u043b\u043e\u0432\u044b\u0435 \u0442\u043e\u043f\u0438 \u0443\u0433\u0430\u0441\u0448\u0438\u0445 \u044f\u0437\u044b\u0447\u0435\u0441\u0442\u0432! (182); \u041f\u0440\u043e\u0449\u0430\u044f\u0441\u044c, \u0441\u043c\u043e\u0442\u0440\u0438\u0442 \u0440\u0443\u0434\u043e\u043a\u043e\u043f\/ \u041d\u0430 \u0441\u043e\u043b\u043d\u0446\u0435, \u043a\u0430\u043a \u043e\u0433\u043d\u0435\u043f\u043e\u043a\u043b\u043e\u043d\u043d\u0438\u043a (221); \u041a\u0430\u043a \u0431\u0443\u0434\u0442\u043e \u0442\u044b \u0432\u043e\u0441\u043a\u0440\u0435\u0441, \u043a\u0430\u043a \u0442\u0435\u2014\/ \u0418\u0437 \u0434\u043e\u043f\u043e\u0442\u043e\u043f\u043d\u044b\u0445 \u0437\u0432\u0435\u0440\u0441\u043a\u0438\u0445 \u043a\u0430\u043f\u0438\u0449 (222); \u041d\u0435\u0432\u044b\u0441\u043f\u0430\u0432\u0448\u0435\u0435\u0441\u044f \u0441\u043e\u0431\u044b\u0442\u044c\u0435\/ . . .\/ \u041a\u0430\u043a \u0443\u0436 \u043e\u043d\u043e \u0432 \u0436\u0438\u0432\u0443\u044e \u0441\u0435\u043a\u0442\u0443\/ \u0422\u043e\u043b\u043f\u0443 \u0441 \u043e\u043a\u0440\u0430\u0438\u043d\u043e\u0439 \u0441\u043b\u0438\u043b\u043e (226); cf. also: \u0438\u0437 \u0434\u044b\u0440 \u044d\u043f\u043e\u0445\u0438 \u0440\u043e\u043a\u043e\u0432\u043e\u0439 (201);\u0422\u0430\u043a\u043e\u0432 \u0431\u044b\u043b \u043d\u043e\u043c\u0435\u0440 \u0434\u043e\u043c\u0430 \u0440\u043e\u043a\u043e\u0432\u043e\u0433\u043e (66); \u0432 \u0434\u0435\u0442\u0441\u043a\u043e\u043c \u0441\u0443\u0435\u0432\u0435\u0440\u044c\u0438 (332); “\u0418\u0437 \u0441\u0443\u0441\u0432\u0435\u0440\u044c\u044f” (118).<\/p>\n

The impact of the ‘supernatural’ is often emphasized by the stunning reaction it provokes, cf.\u00a0\u0433\u043b\u0430\u0437\u0435\u044e\u0442<\/em>\u00a0in example (22),\u00a0\u043e\u0445\u0432\u0430\u0447\u0435\u043d\u044b<\/em>\u00a0in (24), \u0441\u0442\u0430\u0432\u0438\u0442 \u0432\u043e\u043b\u043e\u0441\u044b \u043a\u043e\u043f\u043d\u043e\u0439<\/em>\u00a0in (26),\u00a0\u043e\u0434\u0443\u0440\u044f\u044f \u043d\u0430\u0448 \u043c\u043e\u0437\u0433<\/em>\u00a0in (27). Often the response is one of ‘interest, apprehension, suspicion’ (cf.\u00a0\u0433\u043b\u0430\u0437\u0435\u044e\u0442<\/em>), \u2014a natural link between the ‘mysterious supernatural’ and the various ‘evil feelings and doings,’ which we will discuss in the following three sections.<\/p>\n

3. THE SUSPICIOUS<\/b><\/p>\n

The ‘suspicious’ in Pasternak is always figurative and positive. Its agents are either inanimate or, when human, absolutely unthreatening and unthreatened. Its function is to imbue the life of plants, landscapes, houses and people with extra\u2014imaginary\u2014tension and sensitivity. The two major subtypes of this motif involve the ‘suspicious attitude’ of the observer and the ‘suspicious activities’ of the observed.<\/p>\n

3.1. Suspicion, apprehension<\/b><\/p>\n

In Pasternak ‘eavesdropping and spying’ come naturally to such unlikely agents as forest, dusk, winter, birds, etc.<\/p>\n

(28) \u041a\u0430\u043a \u043c\u0443\u0437\u044b\u043a\u0430\u043b\u044c\u043d\u0443\u044e \u0448\u043a\u0430\u0442\u0443\u043b\u043a\u0443,\/ \u0415\u0435 [the bird] \u043f\u043e\u0434\u0441\u043b\u0443\u0448\u0438\u0432\u0430\u0435\u0442 \u043b\u0435\u0441 (482); \u041f\u043e \u041a\u0430\u043c\u0435 \u0441\u0443\u043c\u0440\u0430\u043a \u043f\u043b\u044b\u043b \u0441 \u043f\u043e\u0434\u0441\u043b\u0443\u0448\u0430\u043d\u043d\u044b\u043c (103); \u0423 \u043d\u0438\u0445 \u043d\u0430 \u043a\u043e\u0447\u043a\u0430\u0445 \u0441\u0432\u043e\u0439 \u043f\u043e\u0441\u0435\u043b\u043e\u043a,\/ \u041f\u043e\u0434\u0433\u043b\u044f\u0434\u044b\u0432\u0430\u043d\u044c\u0435 \u0438\u0437-\u0437\u0430 \u0448\u0442\u043e\u0440\/ . . .\/ \u0422\u0430\u043a\u043e\u0432 \u043f\u0440\u0438\u0442\u043e\u043d [sic!] \u0434\u0440\u043e\u0437\u0434\u043e\u0432 \u0442\u0435\u043d\u0438\u0441\u0442\u044b\u0439 (408); “\u041f\u043b\u0430\u0447\u0443\u0449\u0438\u0439 \u0441\u0430\u0434”: \u0423\u0436\u0430\u0441\u043d\u044b\u0439!\u2014\u041a\u0430\u043f\u043d\u0435\u0442 \u0438 \u0432\u0441\u043b\u0443\u0448\u0430\u0435\u0442\u0441\u044f:\/ \u0412\u0441\u0435 \u043e\u043d \u043b\u0438 \u043e\u0434\u0438\u043d \u043d\u0430 \u0441\u0432\u0435\u0442\u0435\/ . . .\/ \u0418\u043b\u0438 \u0435\u0441\u0442\u044c \u0441\u0432\u0438\u0434\u0435\u0442\u0435\u043b\u044c (113; cf. a similar wording in the literally evil context of a war poem: \u0412\u043e\u0442 \u0438 \u043e\u0431\u0440\u044b\u0432. \u041c\u044b \u0431\u0435\u0437 \u0441\u0432\u0438\u0434\u0435\u0442\u0435\u043b\u0435\u0439\/ \u0423 \u043a\u0440\u0430\u044f \u0432\u0440\u0430\u0436\u044c\u0435\u0439 \u043e\u0431\u043e\u0440\u043e\u043d\u044b\/ . . .\/ \u041e\u043d [the enemy] \u043d\u0430\u0448\u0438\u0445 \u043c\u044b\u0441\u043b\u0435\u0439 \u043d\u0435 \u043f\u043e\u0434\u0441\u043b\u0443\u0448\u0438\u0432\u0430\u043b\/ \u0418 \u043d\u0435 \u0437\u0430\u0433\u043b\u044f\u0434\u044b\u0432\u0430\u043b \u043d\u0430\u043c \u0432 \u0434\u0443\u0448\u0443 (415)).<\/p>\n

The weeping garden’s intense listening is, in fact, less of an active spying than defensive counterespionage. The idyllic protagonists of Pasternak’s plots\u2014lilac, birch-tree, little birdie, etc.\u2014arc often ‘apprehensive, suspicious, on their guard, warned’:<\/p>\n

(29) \u0418 \u0441\u043e\u043b\u043d\u0446\u0435 …\/…\/ \u041a\u0440\u0443\u0433\u043e\u043c \u043a\u043e\u0441\u0438\u0442\u0441\u044f \u0441 \u0441\u043f\u0430\u0441\u0435\u043d\u044c\u0435\u043c,\/ \u041d\u0435 \u0441\u043a\u0440\u044b\u0442\u0430 \u043b\u0438 \u0432 \u043d\u0435\u043c [in the forest] \u0437\u0430\u043f\u0430\u0434\u043d\u044f (457); \u041e\u043d\u0430 [a birch tree] \u043f\u043e\u0434\u043e\u0437\u0440\u0435\u0432\u0430\u0435\u0442 \u0432\u0442\u0430\u0439\u043d\u0435,\/ \u0427\u0442\u043e \u0447\u0443\u0434\u0435\u0441\u0430\u043c\u0438 \u0432 \u0440\u0435\u0448\u0435\u0442\u0435\/ \u041f\u043e\u043b\u043d\u0430 \u0437\u0438\u043c\u0430 \u043d\u0430 \u0434\u0430\u0447\u0435 \u043a\u0440\u0430\u0439\u043d\u0435\u0439 (399); \u0422\u0430\u043a \u0432\u043e\u0437\u043d\u0438\u043a\u0430\u044e\u0442 \u043f\u043e\u0434\u043e\u0437\u0440\u0441\u043d\u044c\u044f,\/ . . .\/ \u0422\u0430\u043a \u043d\u0430\u0447\u0438\u043d\u0430\u044e\u0442 \u0436\u0438\u0442\u044c \u0441\u0442\u0438\u0445\u043e\u043c (179); \u041d\u0430\u0441\u0442\u043e\u0440\u043e\u0436\u0438\u0432\u0448\u0438\u0441\u044c, \u043d\u0430\u0447\u0435\u043a\u0443\/ \u0423 \u0432\u0445\u043e\u0434\u0430 \u0432 \u0447\u0430\u0449\u0443,\/ \u0429\u0435\u0431\u0435\u0447\u0435\u0442 \u043f\u0442\u0438\u0447\u043a\u0430 \u043d\u0430 \u0441\u0443\u043a\u0443,\/ \u041b\u0435\u0433\u043a\u043e, \u043c\u0430\u043d\u044f\u0449\u0435.\/ . . .\/ \u041a\u0430\u043a \u0431\u044b \u043e\u0431\u0435\u0440\u0435\u0433\u0430\u044f \u0432\u0445\u043e\u0434\/ \u0412 \u043b\u0435\u0441\u043d\u044b\u0435 \u043d\u043e\u0440\u044b\/ . . .\/ \u0418 \u043d\u0435 \u043f\u0443\u0441\u043a\u0430\u0435\u0442 \u043d\u0430 \u043f\u043e\u0440\u043e\u0433\/ \u041a\u043e\u0433\u043e \u043d\u0435 \u043d\u0430\u0434\u043e (481); \u041d\u043e \u0442\u044b \u0443\u0436\u0435 \u043f\u0440\u0435\u0434\u0443\u043f\u0440\u0435\u0436\u0434\u0435\u043d.\/ \u0412\u0430\u0441 \u043a\u0442\u043e-\u0442\u043e \u043d\u0430\u0431\u043b\u044e\u0434\u0430\u0435\u0442 \u0441\u043d\u0438\u0437\u0443 (209; none other than a mass of may-lilies); \u041f\u0440\u0435\u0434\u0443\u043f\u0440\u0435\u0436\u0434\u0435\u043d\u044c\u0435\u043c \u043e \u0414\u0430\u0440\u044c\u044f\u043b\u0435\/ \u0421\u043e \u0434\u043d\u0430 \u043e\u0432\u0440\u0430\u0433\u0430 \u0432\u044b\u0440\u043e\u0441 \u041b\u0430\u0440\u0435 (347); \u0412\u044b \u0443\u0437\u043d\u0430\u043d\u044b, \u0432\u0435\u0442\u043a\u0438! \u041f\u0440\u043e\u0445\u043e\u0436\u0438\u0439, \u0442\u044b \u0443\u0437\u043d\u0430\u043d! (85); \u0415\u0449\u0435 \u044f \u0441 \u0443\u043b\u0438\u0446\u044b \u0437\u0430 \u0440\u0435\u0447\u044c\u044e\/ \u041a\u0443\u0441\u0442\u043e\u0432 \u0438 \u0441\u0442\u0430\u0432\u043d\u0435\u0439\u2014\u043d\u0435 \u0437\u0430\u043c\u0435\u0447\u0435\u043d,\/ \u0417\u0430\u043c\u0435\u0442\u044f\u0442\u2014\u043d\u0435\u043a\u0443\u0434\u0430 \u043d\u0430\u0437\u0430\u0434:\/ \u041d\u0430\u0432\u0435\u043a, \u043d\u0430\u0432\u0435\u043a \u0437\u0430\u0433\u043e\u0432\u043e\u0440\u044f\u0442 (136).<\/p>\n

In borderline cases the apprehensive, aggressive-defensive behavior is mutual:.<\/p>\n

(30) \u0412 \u0442\u0435 \u043c\u0435\u0441\u0442\u0430 \u0431\u043e\u0441\u043e\u043d\u043e\u0433\u043e\u044e \u0441\u0442\u0440\u0430\u043d\u043d\u0438\u0446\u0435\u0439\/ \u041f\u0440\u043e\u0431\u0438\u0440\u0430\u0435\u0442\u0441\u044f \u043d\u043e\u0447\u044c \u0432\u0434\u043e\u043b\u044c \u0437\u0430\u0431\u043e\u0440\u0430,\/ \u0418 \u0437\u0430 \u043d\u0435\u0439 \u0441 \u043f\u043e\u0434\u043e\u043a\u043e\u043d\u043d\u0438\u043a\u0430 \u0442\u044f\u043d\u0435\u0442\u0441\u044f\/ \u0421\u043b\u0435\u0434 \u043f\u043e\u0434\u0441\u043b\u0443\u0448\u0430\u043d\u043d\u043e\u0433\u043e \u0440\u0430\u0437\u0433\u043e\u0432\u043e\u0440\u0430 (428: the night is both eavesdropping and stealing by); \u041e\u043d\u0430 [the winter]\/ . . .\/ \u0421\u043d\u0435\u0436\u0438\u043d\u043a\u0430\u043c\u0438 \u043f\u0440\u043e\u043d\u0437\u0430\u044f \u0442\u044c\u043c\u0443\/ \u0417\u0430\u0433\u043b\u044f\u0434\u044b\u0432\u0430\u043b\u0430 \u0432 \u0434\u043e\u043c \u0438\u0437 \u0441\u0430\u0434\u0430.\/ \u041e\u043d\u0430 \u0448\u0435\u043f\u0442\u0430\u043b\u0430 \u043c\u043d\u0435: “\u0421\u043f\u0435\u0448\u0438!” (470; the “I” is both the object of spying and the subject of a (suggested) action); \u041f\u0435\u0439 \u0438 \u043f\u0438\u0448\u0438, \u043d\u0435\u043f\u0440\u0435\u0440\u044b\u0432\u043d\u044b\u043c \u043f\u0430\u0442\u0440\u0443\u043b\u0435\u043c\/ \u041b\u0430\u043c\u043f \u043a\u0435\u0440\u043e\u0441\u0438\u043d\u043e\u0432\u044b\u0445 \u043f\u043e\u0434\u043a\u0430\u0440\u0430\u0443\u043b\u0435\u043d\u043d\u044b\u0439 (192; the same); \u0422\u0438\u0448\u0435, \u0441\u043a\u0430\u043a\u0443\u043d, \u2014 \u0437\u0430\u043f\u043e\u0434\u043e\u0437\u0440\u044f\u0442.\/ \u0411\u0435\u0433\u0441\u0442\u0432\u043e? \u041d\u043e \u0431\u0435\u0433\u0441\u0442\u0432\u043e \u043d\u0435 \u0432 \u0441\u0447\u0435\u0442! (166); \u0413\u0434\u0435-\u0442\u043e, \u0433\u0434\u0435-\u0442\u043e, \u0440\u0430\u0437\u0434\u0443\u0432\u0430\u044f \u043d\u043e\u0437\u0434\u0440\u0438,\/ \u0421\u043a\u0430\u0447\u0443\u0442 \u0441\u043b\u0443\u0447\u0430\u0439, \u0442\u0430\u0439\u043d\u0430 \u0438 \u0431\u0435\u0434\u0430,\/ \u0417\u0430 \u0441\u043e\u0431\u043e\u0439 \u043f\u043e\u0433\u043e\u043d\u044e \u0437\u0430\u043f\u043e\u0434\u043e\u0437\u0440\u0438\u0432 (216; the complete set: ‘mystery,’ ‘suspicion,’ ‘night.’ and ‘chase,’ cf. 3.2).<\/p>\n

3.2 ‘Suspicious, cowardly movement’<\/b><\/p>\n

The two principal varieties of the suspicious activities of the observed are ‘stealth’ and ‘fleeing.’ ‘Stealth’ often includes ‘spying’ and\/or ‘apprehension,’ e.g.:<\/p>\n

(31) \u0418 \u043a \u043a\u0430\u0436\u0434\u043e\u043c\u0443 \u043f\u043e\u0434\u043a\u0440\u0430\u0434\u044b\u0432\u0430\u043b\u0441\u044f \u0432\u0438\u0445\u0440\u044c (337); \u041a\u043e\u0433\u0434\u0430, \u043f\u043e\u0434\u043e\u0441\u043f\u0435\u0432\u0448\u0438 \u0441\u043e\u0432\u0441\u0435\u043c \u043d\u0435\u0437\u0430\u043c\u0435\u0442\u043d\u043e,\/ . . .\/ \u0413\u0440\u043e\u0437\u0430 . . . (191); \u0412\u0441\u0435 \u043e\u0431\u043b\u0435\u0434\u0435\u043d\u0435\u043b\u043e \u0441 \u0440\u0430\u0437\u043c\u0430\u0445\u0443\/ \u0412 \u043f\u0430\u043f\u0430\u0445\u0435 \u0434\u043e \u0441\u0430\u043c\u044b\u0445 \u0431\u0440\u043e\u0432\u0435\u0439\/ \u0418 \u043a\u0440\u0430\u0434\u0443\u0449\u0435\u0439\u0441\u044f \u0440\u043e\u0441\u0441\u043e\u043c\u0430\u0445\u043e\u0439\/ \u041f\u043e\u0434\u0441\u043c\u0430\u0442\u0440\u0438\u0432\u0430\u0435\u0442 \u0441 \u0432\u0435\u0442\u0432\u0435\u0439.\/ \u0422\u044b \u0434\u0430\u043b\u044c\u0448\u0435 \u0438\u0434\u0435\u0448\u044c \u0441 \u043d\u0435\u0434\u043e\u0432\u0435\u0440\u044c\u0435\u043c (400); \u041f\u043e\u0434\u043a\u0440\u0430\u0434\u044b\u0432\u0430\u0435\u0442\u0441\u044f \u0437\u0438\u043c\u0430\/ \u041f\u043e\u0434 \u043e\u043a\u043d\u0430 \u043f\u0440\u0430\u0447\u0435\u0447\u043d\u044b\u0445 \u0438 \u0447\u0430\u0439\u043d\u044b\u0445\/ \u0418 \u043f\u0440\u044f\u0447\u0435\u0442 \u0445\u043b\u0435\u0431 \u043f\u043e \u0437\u0430\u043a\u0440\u043e\u043c\u0430\u043c (231); \u041f\u043e\u0434\u0432\u043e\u0434\u0438\u0442 \u0448\u043b\u044f\u0445, \u0432 \u043f\u044b\u043b\u0438 \u043f\u043e \u0449\u0438\u043a\u043e\u043b\u043a\u0443,\/ \u041f\u043e\u0434 \u043d\u0438\u0445 \u0441\u0432\u043e\u0439 \u0441\u0443\u0441\u043b\u0438\u0447\u0438\u0439 \u043f\u043e\u0434\u043a\u043e\u043f (102; “\u041c\u0435\u043b\u044c\u043d\u0438\u0446\u044b**); \u041d\u043e\u0447\u043d\u044b\u0435 \u0442\u0435\u043d\u0438 \u043a \u043a\u0430\u0441\u0441\u0435 \u0441\u0442\u0430\u043b\u0438 \u043a\u0440\u0430\u0441\u0442\u044c\u0441\u044f (311; here we are!); \u0421\u0432\u0435\u0436\u0435\u0441\u0442\u044c\/ \u041a \u0441\u0430\u043c\u0438\u043c \u043f\u0435\u0440\u0438\u043b\u0430\u043c \u043a\u0440\u0430\u0432\u0448\u0438\u0445\u0441\u044f \u0448\u0438\u0440\u043e\u0442 (312); \u0418 \u0434\u0435\u043d\u044c \u0441\u043a\u043e\u043b\u044c\u0437\u0438\u0442 \u0443\u043a\u0440\u0430\u0434\u043a\u043e\u0439, \u043a\u0430\u043a \u0438\u0437\u0433\u043d\u0430\u043d\u043d\u0438\u043a (335); \u0412\u043e\u0441\u043f\u043e\u043b\u044c\u0437\u043e\u0432\u0430\u0432\u0448\u0438\u0441\u044c \u0442\u0435\u043c\u043d\u043e\u0442\u043e\u0439,\/ \u041d\u0430\u0441 \u043a\u0442\u043e-\u0442\u043e \u0434\u043e\u0433\u043d\u0430\u043b \u043d\u0430 \u043c\u043e\u0442\u043e\u0440\u0435 (375; the tension is imaginary\u2014there is no real chase, but well motivated\u2014the poem is about a funeral).<\/p>\n

‘Flight’ is often compounded with ‘chase’:<\/p>\n

(32) \u0420\u044b\u0441\u044c\u044e \u0440\u0430\u0437\u0431\u0435\u0437\u0433\u0430\u043b\u0438\u0441\u044c \u043b\u0438\u0441\u0442\u044c\u044f,\/ \u041f\u043e \u043f\u044f\u0442\u0430\u043c, \u043a\u0430\u043a \u0441\u0435\u043d\u0431\u0435\u0440\u043d\u0430\u0440,\/ \u041f\u0440\u044b\u0433\u0430\u043b \u0432\u0435\u0442\u0435\u0440 (382); \u0422\u043e\u043b\u044c\u043a\u043e \u0441\u043e\u043b\u043d\u0446\u0435 \u0432\u0437\u043e\u0448\u043b\u043e, \u0438 \u043e\u043f\u044f\u0442\u044c \u2014 \u043d\u0430\u0443\u0442\u0435\u043a (183); \u0421 \u043f\u043e\u0441\u0442\u043e\u0432 \u0441\u043f\u0430\u0441\u0430\u043b\u0438\u0441\u044c \u0431\u0435\u0433\u0441\u0442\u0432\u043e\u043c \u0441\u0442\u043e\u043d\u044b.\/ . . .\/ \u0417\u0430 \u043d\u0438\u043c\u0438 \u0432 \u0431\u0435\u0433\u0441\u0442\u0432\u0435 \u0441\u043b\u0435\u043f\u043b\u0438 \u0441\u043b\u0435\u0434\u043e\u043c\/ \u041a\u043e\u0441\u044b\u0435 \u043a\u0430\u043f\u043b\u0438 (136); \u041b\u0443\u043d\u0430 \u0441\u043a\u043e\u043b\u044c\u0437\u0438\u0442 \u0431\u043b\u0438\u043d\u043e\u043c \u0432 \u0441\u043c\u0435\u0442\u0430\u043d\u0435,\/ . . .\/ \u0417\u0430 \u043d\u0435\u0439 \u0431\u0435\u0433\u0443\u0442 \u0432\u0434\u043e\u0433\u043e\u043d\u043a\u0443 \u0441\u0430\u043d\u0438,\/ \u041d\u043e \u043d\u0435 \u0434\u0430\u0435\u0442\u0441\u044f \u043a\u043e\u043b\u043e\u0431\u043e\u043a (437); \u041d\u0435\u0431\u043e \u0433\u043e\u043d\u0438\u0442\u0441\u044f \u0441 \u0432\u0438\u0437\u0433\u043e\u043c \u043a\u0430\u0431\u0430\u043d\u044c\u0438\u043c\/ \u0417\u0430 \u0441\u0434\u0443\u0440\u0435\u0432\u0448\u0435\u0439 \u0437\u0435\u043c\u043b\u0435\u0439 (269; a landscape in 1905); \u0413\u0434\u0435, \u043a\u0430\u043a \u043b\u0430\u043d\u044c, \u043e\u0431\u0435\u0441\u043f\u0430\u043c\u044f\u0442\u0435\u0432, \u0433\u043d\u0430\u043b \u0410\u0442\u0430\u043b\u0430\u043d\u0442\u0443 \u043a \u043f\u043e\u043b\u044f\u043d\u0435 \u0410\u043a\u0442\u0435\u0439\/ . . .\/ \u0426\u0435\u043b\u043e\u0432\u0430\u043b\u0438\u0441\u044c \u0437\u0430\u043b\u0438\u0432\u0438\u0441\u0442\u044b\u043c \u043b\u0430\u0435\u043c \u043f\u043e\u0433\u043e\u043d\u0438 (175); \u041e \u0431\u0435\u0437\u0437\u0430\u043a\u043e\u043d\u044c\u044f\u0445, \u043e \u0433\u0440\u0435\u0445\u0430\u0445,\/ \u0411\u0435\u0433\u0430\u0445, \u043f\u043e\u0433\u043e\u043d\u044f\u0445 . . . (446; for a parallel between the two last examples, cf. Livingstone 1978:1734); \u041e\u0431\u044b\u043a\u043d\u043e\u0432\u0435\u043d\u043d\u043e \u0443 \u0437\u0430\u0434\u0432\u043e\u0440\u043e\u043a\/ \u041c\u0435\u043d\u044f \u0441\u0442\u0430\u0440\u0430\u043b\u0441\u044f \u043f\u0435\u0440\u0435\u0433\u043d\u0430\u0442\u044c\/ \u041f\u043e\u0447\u0442\u043e\u0432\u044b\u0439 \u0438\u043b\u0438 \u043d\u043e\u043c\u0435\u0440 \u0441\u043e\u0440\u043e\u043a,\/ \u0410 \u044f \u0448\u0435\u043b \u043d\u0430 \u0448\u0435\u0441\u0442\u044c \u0434\u0432\u0430\u0434\u0446\u0430\u0442\u044c \u043f\u044f\u0442\u044c (404; the race is imaginary: the poet is going to take the 6:25 a.m. train and simply sees other trains speeding by).<\/p>\n

4. EVIL BEHAVIOR<\/b><\/p>\n

Genuinely ‘evil’ emotions and deeds\u2014envy, jealousy, vengeance, cruelty, etc.\u2014are rare in Pasternak’s world, but on a figurative plane they abound in the depiction of nature and people, adding a touch of poignancy. Some examples epitomize this peculiar logic:<\/p>\n

(33) \u0412 \u044d\u0442\u043e\u0439 \u0437\u043b\u043e\u0432\u0435\u0449\u0435\u0439 \u0441\u043b\u0430\u0434\u043a\u043e\u0439 \u0442\u0430\u0439\u0433\u0435 [i.e.. in and around the Christmas tree]\/ \u041b\u044e\u0434\u0438 \u0438 \u0432\u0435\u0449\u0438 \u043d\u0430 \u0440\u0430\u0432\u043d\u043e\u0439 \u043d\u043e\u0433\u0435 (402); \u041f\u0443\u0441\u0442\u044c \u0432\u0435\u0442\u0435\u0440, \u0440\u044f\u0431\u0438\u043d\u0443 \u0437\u0430\u043d\u044f\u043d\u044a\u0447\u0438\u0432,\/ \u041f\u0443\u0433\u0430\u0435\u0442 \u0435\u0435 \u043f\u0435\u0440\u0435\u0434 \u0441\u043d\u043e\u043c.\/ \u041f\u043e\u0440\u044f\u0434\u043e\u043a \u0442\u0432\u043e\u0440\u0435\u043d\u044c\u044f \u043e\u0431\u043c\u0430\u043d\u0447\u0438\u0432,\/ \u041a\u0430\u043a \u0441\u043a\u0430\u0437\u043a\u0430 \u0441 \u0445\u043e\u0440\u043e\u0448\u0438\u043c \u043a\u043e\u043d\u0446\u043e\u043c (400); \u0418 \u0441\u043c\u0435\u0440\u0442\u0435\u043b\u044c\u043d\u0435\u0439 \u043a\u0430\u0440\u0442\u0435\u0447\u0438\/ \u042d\u0442\u0438 \u043b\u0438\u043d\u0438\u0438 \u0440\u0442\u0430,\/ \u042d\u0442\u0438\u0445 \u0440\u0443\u043a \u0431\u0435\u0441\u0441\u0435\u0440\u0434\u0435\u0447\u044c\u0435,\/ \u042d\u0442\u0438\u0445 \u0433\u0443\u0431 \u0434\u043e\u0431\u0440\u043e\u0442\u0430 (478; a still hastier transition to a “happy end”).<\/p>\n

I will consider two major variants of the motif: deliberate ‘evil proper’ and ‘evil perceived as sin.’<\/p>\n

4.1. Evil proper<\/b><\/p>\n

The root\u00a0\u0437\u043b\u043e<\/em>\u00a0‘evil’ and its negated opposite\u00a0\u0434\u043e\u0431\u0440\u043e<\/em>\u00a0‘good’ occur quite often, presenting the idea of ‘evil’ in its pure form. The ‘evil’ is again strictly figurative and fascinating.<\/p>\n

(34) \u041b\u044e\u0431\u0438\u0442\u044c \u2014 \u0438\u0434\u0442\u0438 …\/… \u043f\u043b\u0430\u0442\u0438\u0442\u044c \u0434\u043e\u0431\u0440\u043e\u043c\/ \u0417\u0430 \u0437\u043b\u043e \u0431\u0440\u0443\u0441\u043d\u0438\u043a\u0438 \u0441 \u043f\u0430\u0443\u0442\u0438\u043d\u043e\u0439 (152); “\u041f\u043e\u0441\u043b\u0435 \u0434\u043e\u0436\u0434\u044f”: \u0412\u0441\u0435 \u0441\u0442\u0438\u0445\u043b\u043e. \u041d\u043e \u0447\u0442\u043e \u044d\u0442\u043e \u0431\u044b\u043b\u043e \u0441\u043f\u0435\u0440\u0432\u0430!\/ \u0422\u0435\u043f\u0435\u0440\u044c \u0440\u0430\u0437\u0433\u043e\u0432\u043e\u0440 \u0443\u0436 \u043d\u0435 \u0442\u043e\u0442 \u0438 \u043f\u043e-\u0434\u043e\u0431\u0440\u043e\u043c\u0443 (95); [Dagestan] \u0422\u0430\u043a \u0438 \u0440\u0432\u0430\u043b\u0441\u044f \u043f\u0440\u0438\u043d\u044f\u0442\u044c \u043c\u0430\u0448\u0438\u043d\u0443\/ \u041d\u0435 \u0432 \u043b\u044f\u0437\u0433 \u043a\u0438\u043d\u0436\u0430\u043b\u043e\u0432, \u0442\u0430\u043a \u043f\u043e\u0434 \u0434\u043e\u0436\u0434\u044c\/ . . .\/ \u0417\u0430 \u0438\u0441\u043f\u043e\u043b\u0438\u043d\u043e\u043c \u0438\u0441\u043f\u043e\u043b\u0438\u043d,\/ \u041e\u0434\u0438\u043d \u0434\u0440\u0443\u0433\u043e\u0433\u043e \u0437\u043b\u0435\u0439 \u0438 \u043a\u0440\u0430\u0448\u0435\/ \u0421\u043f\u0438\u0440\u0430\u043b\u0438 \u0432\u044b\u0445\u043e\u0434 \u0438\u0437 \u0434\u043e\u043b\u0438\u043d (346); [\u041a\u0430\u0432\u043a\u0430\u0437] \u0412\u0437\u0434\u044b\u043c\u0430\u043b, \u043a\u0430\u043a \u0437\u0430\u043b\u043f\u044b \u043f\u0435\u0440\u0435\u0441\u0442\u0440\u0435\u043b\u043a\u0438,\/ \u0417\u043b\u043e\u0440\u0430\u0434\u0441\u0442\u0432\u043e \u043b\u0435\u0434\u044f\u043d\u044b\u0445 \u0433\u0440\u043e\u043c\u0430\u0434 (349); \u0418 \u043a\u043e\u0433\u0434\u0430 \u043f\u043e \u043a\u0440\u043e\u0432\u043b\u0435 \u0437\u0434\u0430\u043d\u044c\u044f\/ \u0420\u0430\u0437\u043b\u0438\u043b\u0430\u0441\u044c \u0432\u043e\u043b\u043d\u0430 \u0437\u043b\u043e\u0440\u0430\u0434\u0441\u0442\u0432\u0430 (148; i.e. a lightning flash); \u0417\u043b\u043e\u0432\u0435\u0449 \u0433\u043e\u0440\u0438\u0437\u043e\u043d\u0442 \u0438 \u0432\u043d\u0435\u0437\u0430\u043f\u0435\u043d,\/ \u0418 \u0432 \u043a\u0440\u043e\u0432\u043e\u043f\u043e\u0434\u0442\u0435\u043a\u0430\u0445 \u0437\u0430\u0440\u044f (465; about Blok’s sensitivity to storms, omens, revolution).<\/p>\n

The range of more specific “bad’ but attractive attitudes includes ‘hate, cruelty, rage, greed’:<\/p>\n

(35) … \u0438 \u043d\u0435\u043d\u0430\u0432\u0438\u0441\u0442\u044c, \u043a\u0430\u043a \u043b\u044f\u043f\u0438\u0441,\/ \u0424\u043e\u043d\u0442\u0430\u043d\u043e\u043c \u043a\u043b\u044f\u043a\u0441 \u0438\u0437\u0431\u043e\u0440\u043e\u0437\u0434\u0438\u043b\u0430 \u043b\u0438\u0441\u0442 (330); \u041e\u043d, \u041a\u0440\u0435\u043c\u043b\u044c, \u0432 \u043e\u0441\u043d\u0430\u0441\u0442\u043a\u0435 \u0441\u0442\u043e\u043b\u044c\u043a\u0438\u0445 \u0437\u0438\u043c,\/ \u041d\u0430 \u043d\u044b\u043d\u0435\u0448\u043d\u0435\u0439 \u0441\u0440\u044b\u0432\u0430\u0435\u0442 \u043d\u0435\u043d\u0430\u0432\u0438\u0441\u0442\u044c (171; however, not by political terror, but merely by a New Year’s eve’s snowstorm); \u0411\u044b\u043b \u0434\u0435\u043d\u044c. \u0421\u043f\u0441\u043a\u0442\u043e\u0440\u0441\u043a\u0438\u0439 \u043f\u043e\u043d\u044f\u043b, \u0447\u0442\u043e \u043d\u0435 \u0441\u0442\u043e\u043b\u044c\u043a\u043e\/ \u041f\u0440\u0435\u043a\u0440\u0430\u0441\u043d\u0430 \u0436\u0438\u0437\u043d\u044c, \u0438 \u041e\u043b\u044c\u0433\u0430, \u0438 \u0437\u0438\u043c\u0430,\/ \u041a\u0430\u043a \u043f\u043e\u0434\u043e \u043b\u044c\u0434\u043e\u043c \u043e\u0442\u043a\u0440\u044b\u043b\u0441\u044f \u043a\u043b\u044e\u0447 \u0436\u0435\u0441\u0442\u043e\u043a\u0438\u0439,\/ \u041a\u043e\u0442\u043e\u0440\u043e\u0433\u043e \u0438\u0441\u0442\u043e\u043a \u2014 \u043e\u043d\u0430 \u0441\u0430\u043c\u0430 (310); \u0418 \u043d\u0441\u0438\u0437\u0441\u0441\u0442\u043d\u043e\u0441\u0442\u044c, \u0442\u043e\u0447\u043d\u043e \u043b\u044e\u0434\u043e\u0435\u0434,\/ \u041e\u043a\u0438\u043d\u0443\u043b\u0430 \u0433\u043b\u0430\u0437\u0430\u043c\u0438 \u0441\u0446\u0435\u043d\u0443 \u044d\u0442\u0443 (347); \u0412 \u0431\u0435\u043b\u043e\u0439 \u0440\u044c\u044f\u043d\u043e\u0441\u0442\u0438 \u0432\u043e\u043b\u043d,\/ .. .\/ \u0414\u043e\u043f\u043e\u0442\u043e\u043f\u043d\u044b\u0439 \u043f\u0440\u043e\u0441\u0442\u043e\u0440\/ \u0421\u0432\u0438\u0440\u0435\u043f\u0435\u0435\u0442 \u043e\u0442 \u043f\u0435\u043d\u044b \u0438 \u0441\u0438\u043f\u043d\u0435\u0442.\/ \u0420\u0430\u0441\u0442\u043e\u0440\u043e\u043f\u043d\u044b\u0439 \u043f\u0440\u0438\u0431\u043e\u0439\/ \u0421\u0430\u0442\u0430\u043d\u0435\u0435\u0442\/ \u041e\u0442 \u043f\u0440\u043e\u0440\u0432\u044b \u0440\u0430\u0431\u043e\u0442 (257-8); \u0417\u0430\u043a\u0430\u0442 \u043e\u0441\u043e\u0431\u0435\u043d\u043d\u043e \u0441\u0432\u0438\u0440\u0435\u043f (221); . . . \u043c\u0435\u0442\u0435\u043b\u0438\/ \u041d\u0430 \u043d\u0430\u0448 \u043d\u0435\u0437\u0430\u0449\u0438\u0449\u0435\u043d\u043d\u044b\u0439 \u0441\u0430\u0434\/ \u0421 \u043e\u0441\u0442\u0435\u0440\u0432\u0441\u043d\u0435\u043d\u044c\u0435\u043c \u043d\u0430\u043b\u0435\u0442\u0435\u043b\u0438 (470); \u041f\u0430\u043b\u044f\u0449\u0438\u0439 \u0434\u0435\u043d\u044c \u0431\u0435\u0437\u0434\u043e\u043d\u043d\u044b\u043c \u043d\u0435\u0431\u043e\u043c \u0446\u0435\u043b\u0438\u043b\u0441\u044f\/ \u0412 \u0442\u0440\u0438\u0431\u0443\u043d\u044b \u0441\u043a\u0430\u043a\u043e\u0432\u043e\u0433\u043e \u0438\u043f\u043f\u043e\u0434\u0440\u043e\u043c\u0430 (271); \u0418 \u0431\u044b\u043b\u043e \u0432\u043e\u043b\u043d\u043e\u044e \u043e\u0431\u0433\u043b\u043e\u0434\u0430\u043d\u043e \u0434\u043d\u043e\/ \u0423 \u043b\u043e\u0434\u043a\u0438. \u0418 \u0433\u0440\u044b\u0437\u043b\u0438\u0441\u044f \u043f\u0442\u0438\u0446\u044b \u0443 \u043b\u043e\u043a\u0442\u044f (96); \u0410\u0441\u0444\u0430\u043b\u044c\u0442\u0430 \u0430\u043b\u0447\u043d\u043e\u0433\u043e \u043b\u0438\u0447\u0438\u043d\u043a\u043e\u0439\/ \u0421\u043c\u043e\u043b\u0443 \u043a\u043e\u0442\u043b\u0430\u043c\u0438 \u043f\u044c\u0435\u0442 \u043f\u043e\u0447\u0442\u0430\u043c\u0442 (206); \u042f \u043b\u044e\u0431\u043b\u044e \u0432\u0430\u0448 \u043d\u0435\u0441\u043a\u043b\u0430\u0434\u043d\u044b\u0439 \u0440\u0430\u0437\u0432\u0430\u043b\u0435\u0446,\/ \u0416\u0430\u0434\u043d\u043e\u0439 \u043f\u0440\u043e\u0441\u0435\u0434\u0438 \u0432\u0437\u0431\u0438\u0442\u0443\u044e \u043f\u0440\u044f\u0434\u044c (202; a portrait of Mejerxofd).<\/p>\n

Still more deliberately ‘evil and cruel’\u2014and yet fascinating\u2014are ‘vengeance, threats, bullying, torture”.<\/p>\n

(36) \u0427\u0442\u043e \u0432\u0434\u0430\u0432\u043b\u0435\u043d\u043d\u044b\u0445 \u0441\u0443\u0445\u0438\u0445 \u043a\u043e\u0441\u0442\u044f\u0448\u0435\u043a,\/ \u041f\u043e\u043c\u0435\u0448\u0430\u043d\u043d\u044b\u0445 \u043a\u043b\u0430\u0432\u0438\u0430\u0442\u0443\u0440,\/ …\/ \u0413\u043e\u0442\u043e\u0432\u044f\u0442 \u043c\u0435\u0441\u0442\u044c \u0437\u0430 \u043a\u043b\u0435\u0432\u0435\u0442\u0443! (177; piano keys); \u0422\u043e\u0440\u0446\u044b \u0433\u0440\u043e\u0437\u044f\u0442\u0441\u044f \u0432 \u043b\u0443\u0436\u0435 \u0438\u0441\u043a\u0443\u043f\u0430\u0442\u044c (307); \u0422\u0430\u043a \u043d\u043e\u0447\u0438 \u043b\u0435\u0442\u043d\u0438\u0435 …\/…\/ \u0413\u0440\u043e\u0437\u044f\u0442 \u0437\u0430\u0440\u0435 \u0442\u0432\u043e\u0438\u043c \u0437\u0440\u0430\u0447\u043a\u043e\u043c.\/ \u0422\u0430\u043a \u0437\u0430\u0442\u0435\u0432\u0430\u044e\u0442 \u0441\u0441\u043e\u0440\u044b \u0441 \u0441\u043e\u043b\u043d\u0446\u0435\u043c (179); \u041f\u0440\u0438\u0445\u043e\u0434\u0438\u043b\u043e\u0441\u044c, \u043d\u0430\u0441\u0443\u043f\u0438\u0432\u0448\u0438\u0441\u044c \u0431\u0443\u043a\u043e\u0439,\/ \u0429\u0435\u0431\u0435\u0442 \u0436\u0435\u043d\u0449\u0438\u043d \u0441\u043d\u043e\u0441\u0438\u0442\u044c \u0441\u043b\u043e\u0432\u043d\u043e \u0431\u0438\u0447 (485); \u0418\u0445 [the clicking heels] \u043f\u043e\u0442\u043e\u043c \u043d\u0430 \u043a\u0440\u043e\u0432\u0435\u043b\u044c\u043d\u043e\u043c \u0436\u0435\u043b\u0435\u0437\u0435\/ \u0422\u0430\u043a \u0436\u0435 \u0440\u0430\u0441\u043f\u0438\u043d\u0430\u044e\u0442 \u0447\u0435\u0440\u0434\u0430\u043a\u0438 (430).<\/p>\n

4.2 Sinful and immoral behavior<\/b><\/p>\n

First of all, there is ‘sin as such’:<\/p>\n

(37) \u042f \u0432\u043c\u0435\u0441\u0442\u0435 \u0441 \u0434\u0430\u043b\u044c\u044e \u043f\u0430\u0434\u0430\u043b \u043d\u0430 \u043f\u043e\u043b\/ \u0418 \u0441 \u043d\u0435\u044e \u0432\u0432\u044f\u0437\u044b\u0432\u0430\u043b\u0441\u044f \u0432 \u0433\u0440\u0435\u0445 (218); \u041f\u043e \u0433\u043e\u0440\u043e\u0434\u0443 \u0433\u0443\u043b\u044f\u0435\u0442 \u0433\u0440\u0435\u0445\/ \u0418 \u0445\u043e\u0434\u044f\u0442 \u0441\u043b\u0435\u0437\u044b \u043f\u0430\u0432\u0448\u0438\u0445 (89; a spring cityscape); \u0415\u0433\u043e [i.e. March’s] \u0433\u0440\u0435\u0445\u0438 \u043d\u0430 \u043c\u043d\u0435 \u043f\u043e\u0434 \u0441\u0442\u0430\u0440\u043e\u0441\u0442\u044c \u0441\u043a\u0430\u0436\u0443\u0442\u0441\u044f (189); \u0418 \u043f\u0430\u0440\u043a\u0435\u0442, \u0438 \u0442\u0435\u043d\u044c \u043a\u043e\u0447\u0435\u0440\u0433\u0438\/ \u041e\u0442\u043b\u0438\u0432\u0430\u044e\u0442 \u0441\u043d\u043e\u043c \u0438 \u0440\u0430\u0441\u043a\u0430\u044f\u043d\u044c\u0435\u043c\/ \u0421\u0443\u0442\u043a\u0438 \u0441\u043f\u043b\u043e\u0448\u044c \u0433\u0440\u0435\u0448\u0438\u0432\u0448\u0435\u0439 \u043f\u0443\u0440\u0433\u0438 (169); \u041e \u0431\u0435\u0437\u0437\u0430\u043a\u043e\u043d\u044c\u044f\u0445, \u043e \u0433\u0440\u0435\u0445\u0430\u0445,\/ \u0411\u0435\u0433\u0430\u0445, \u043f\u043e\u0433\u043e\u043d\u044f\u0445 . . . (446).<\/p>\n

Some of the more specific forms of sinful behavior are ‘blasphemy, heresy, temptation’:<\/p>\n

(38) \u0420\u0430\u0437\u0432\u0435 \u0432\u044a\u0435\u0437\u0434 \u0432 \u044d\u043f\u043e\u0445\u0443 \u0437\u0430\u043f\u0435\u0440\u0442?\/ \u041f\u0443\u0441\u0442\u044c \u043e\u043d \u043a\u0440\u0435\u043f\u043e\u0441\u0442\u044c, \u043f\u0443\u0441\u0442\u044c \u0438 \u0445\u0440\u0430\u043c,\/ \u0412\u044a\u0435\u0434\u0443 \u043d\u0430 \u043a\u043e\u043d\u0435 \u043d\u0430 \u043f\u0430\u043f\u0435\u0440\u0442\u044c,\/ \u041b\u043e\u0448\u0430\u0434\u044c \u043e\u0441\u0430\u0436\u0443 \u043a\u0430 \u0434\u0432\u0435\u0440\u044f\u043c (384-385; figuratively, of course, about poetic daring); \u041d\u0435\u043b\u044c\u0437\u044f \u043d\u0435 \u0432\u043f\u0430\u0441\u0442\u044c \u043a \u043a\u043e\u043d\u0446\u0443, \u043a\u0430\u043a \u0432 \u0435\u0440\u0435\u0441\u044c,\/ \u0412 \u043d\u0435\u0441\u043b\u044b\u0445\u0430\u043d\u043d\u0443\u044e \u043f\u0440\u043e\u0441\u0442\u043e\u0442\u0443 (351); \u0411\u0435\u0441\u0442\u043e\u043b\u043e\u0447\u044c, \u043a\u0443\u043c\u0443\u0448\u0435\u043a \u043f\u0435\u0440\u0435\u0441\u0443\u0434\u044b.\/ \u0427\u0442\u043e \u0438\u0445 \u043f\u043e\u043f\u0443\u0442\u0430\u043b \u0437\u0430 \u0441\u0430\u0442\u0430\u043d\u0430? (405; spring rivulets); \u0418 \u043d\u0430\u043f\u043e\u0434\u043e\u0431\u0438\u0435 \u0443\u0436\u0435\u0439,\/ \u041f\u043e\u043b\u0437\u0443\u0442 \u0438 \u0432\u044c\u044e\u0442\u0441\u044f \u043a\u043e\u043b\u044c\u0446\u0430 \u043f\u0440\u044f\u0436\u0438,\/ \u041a\u0430\u043a \u0431\u0443\u0434\u0442\u043e \u0438\u0441\u043a\u0443\u0441\u0438\u0442\u0435\u043b\u044c-\u0437\u043c\u0435\u0439\/ \u0421\u043a\u0440\u044b\u0432\u0430\u043b\u0441\u044f \u0432 \u043c\u043e\u043a\u0440\u043e\u043c \u0442\u0440\u0438\u043a\u043e\u0442\u0430\u0436\u0435 (448); \u041d\u0430 \u0441\u0432\u0435\u0447\u043a\u0443 \u0434\u0443\u043b\u043e \u0438\u0437 \u0443\u0433\u043b\u0430,\/ \u0418 \u0436\u0430\u0440 \u0441\u043e\u0431\u043b\u0430\u0437\u043d\u0430\/ \u0412\u0437\u0434\u044b\u043c\u0430\u043b, \u043a\u0430\u043a \u0430\u043d\u0433\u0435\u043b, \u0434\u0432\u0430 \u043a\u0440\u044b\u043b\u0430 (440; a love scene); \u0418 \u0433\u0434\u0435 \u043f\u0435\u0440\u0435\u0447\u0435\u0441\u0442\u044c\/ \u041c\u043e\u0441\u043a\u043e\u0432\u0441\u043a\u043e\u0433\u043e \u0441\u044a\u0435\u0437\u0434\u0430 \u0441\u043e\u0431\u043b\u0430\u0437\u043d\u044b,\/ .. .\/ \u0417\u0430\u043c\u0430\u043d\u0447\u0438\u0432\u043e\u0441\u0442\u044c \u043c\u0433\u043b\u044b \u043d\u0435\u043f\u0440\u043e\u043b\u0430\u0437\u043d\u043e\u0439? (204;note the directly stated attraction to ‘darkness’).<\/p>\n

Close to ‘sin’ are the feelings of ‘guilt, shame, and shamelessness’, either figurative or affected and exaggerated, but always absolved:<\/p>\n

(39) … \u0418 \u0434\u0435\u043b\u0430 \u0437\u0438\u043c\u044b \u0438\u043d\u043e\u0439.\/ \u0418 \u043e\u043f\u044f\u0442\u044c \u043a\u043e\u043b\u044c\u043d\u0443\u0442 \u0434\u043e\u043d\u044b\u043d\u0435\/ \u041d\u0435 \u043e\u0442\u043f\u0443\u0449\u0435\u043d\u043d\u043e\u0439 \u0432\u0438\u043d\u043e\u0439 (365); \u041a\u043e\u0433\u0434\u0430 \u043e\u043d \u0443\u043b\u0438\u0447\u0438\u043b \u0441\u0435\u0431\u044f \u043f\u043e\u0434 \u0422\u0432\u0435\u0440\u044c\u044e\/ \u0412 \u0437\u0430\u0431\u043e\u0442\u0430\u0445 \u043e \u041c\u0430\u0440\u0438\u0438 . . . (332); \u041c\u043d\u0435 \u0441\u0442\u044b\u0434\u043d\u043e \u0438 \u0434\u0435\u043d\u044c \u043e\u0442\u043e \u0434\u043d\u044f \u0441\u0442\u044b\u0434\u043d\u0435\u0439,\/ \u0427\u0442\u043e …\/…\/ \u0412\u044b\u0441\u043e\u043a\u0430\u044f \u043e\u0434\u043d\u0430 \u0431\u043e\u043b\u0435\u0437\u043d\u044c\/ \u0415\u0449\u0435 \u0437\u043e\u0432\u0435\u0442\u0441\u044f \u043f\u0435\u0441\u043d\u044c.\/ \u0423\u043c\u0435\u0441\u0442\u043d\u043e \u043b\u044c \u043f\u0435\u0441\u043d\u044c\u044e \u0437\u0432\u0430\u0442\u044c \u0441\u043e\u0434\u043e\u043c\/ . . .\/ \u0411\u043b\u0430\u0433\u0438\u043c\u0438 \u043d\u0430\u043c\u0435\u0440\u0435\u043d\u044c\u044f\u043c\u0438 \u0432\u044b\u043c\u043e\u0449\u0435\u043d \u0430\u0434.\/ \u0423\u0441\u0442\u0430\u043d\u043e\u0432\u0438\u043b\u0441\u044f \u0432\u0437\u0433\u043b\u044f\u0434,\/ \u0427\u0442\u043e, \u0435\u0441\u043b\u0438 \u0432\u044b\u043c\u043e\u0441\u0442\u0438\u0442\u044c \u0438\u043c\u0438 \u0441\u0442\u0438\u0445\u0438, \u2014\/ \u041f\u0440\u043e\u0441\u0442\u044f\u0442\u0441\u044f \u0432\u0441\u0435 \u0433\u0440\u0435\u0445\u0438 (236); \u041e\u0437\u043e\u043b\u043e\u0442\u0438\u0442\u0435 \u0435\u0435 [the Christmas tree], \u043e\u0441\u0447\u0430\u0441\u0442\u043b\u0438\u0432\u044c\u0442\u0435 \u2014\/ \u0418 \u043d\u0435 \u0441\u043c\u0438\u0433\u043d\u0435\u0442. \u041d\u043e \u0441\u0442\u044b\u0434\u043b\u0438\u0432\u0430\u044f \u0441\u043a\u0440\u043e\u043c\u043d\u0438\u0446\u0430\/ . . .\/ \u0412\u0430\u043c \u0434\u043e \u0441\u043a\u043e\u043d\u0447\u0430\u043d\u0438\u044f \u0432\u0435\u043a\u0430 \u0437\u0430\u043f\u043e\u043c\u043d\u0438\u0442\u0441\u044f (403); \u0417\u0430\u0441\u0442\u0435\u043d\u0447\u0438\u0432\u0435\u0439 \u043f\u043b\u043e\u0448\u043a\u0438\/ \u0412 \u043e\u043a\u043e\u043d\u0446\u0435 \u0441\u0442\u043e\u0440\u043e\u0436\u043a\u0438\/ \u0421\u0438\u044f\u043b\u0430 \u0437\u0432\u0435\u0437\u0434\u0430 \u043d\u0430 \u043f\u0443\u0442\u0438 \u0432 \u0412\u0438\u0444\u043b\u0435\u0435\u043c (622); \u0418 \u0442\u0430, \u0447\u0442\u043e \u0432 \u0444\u0430\u0440\u0442\u0443\u043a \u0437\u0430\u0440\u044b\u0432\u0430\u043b\u0430, \u043c\u0443\u0447\u0430\u0441\u044c.\/ \u0414\u0440\u0435\u043c\u0443\u0447\u0438\u0439 \u0441\u0442\u044b\u0434, \u0442\u0435\u043f\u0435\u0440\u044c, \u043e\u0441\u0430\u0442\u0430\u043d\u0435\u0432,\/ . . .\/ \u0418 \u0432\u043e\u0442 \u0437\u0430\u0440\u044f \u0442\u0435\u0440\u044f\u0435\u0442 \u0441\u0442\u044b\u0434 \u0434\u043e\u0447\u0435\u0440\u043d\u0438\u0439 (335); \u041d\u043e \u0432\u0435\u0449\u0438 \u0440\u0432\u0443\u0442 \u0441 \u0441\u0435\u0431\u044f \u043b\u0438\u0447\u0438\u043d\u0443,\/ \u0422\u0435\u0440\u044f\u044e\u0442 \u0432\u043b\u0430\u0441\u0442\u044c, \u0440\u043e\u043d\u044f\u044e\u0442 \u0447\u0435\u0441\u0442\u044c (180); \u0412\u043f\u0440\u043e\u0447\u0435\u043c, \u0447\u0442\u043e \u0438\u043c, \u0431\u0435\u0441\u0441\u0442\u044b\u0436\u0438\u043c,\/ \u0416\u0430\u043b\u043e\u0441\u0442\u044c, \u0441\u043e\u0432\u0435\u0441\u0442\u044c \u0438 \u0441\u0442\u0440\u0430\u0445\/ \u041f\u0440\u0435\u0434 \u0436\u0438\u0432\u044b\u043c \u0447\u0435\u0440\u043d\u043e\u043a\u043d\u0438\u0436\u044c\u0435\u043c,\/ \u0412 \u0438\u0445 \u0433\u043e\u0440\u044f\u0447\u0438\u0445 \u0440\u0443\u043a\u0430\u0445? (480; note the ‘black magic* motif, cf. (22)).<\/p>\n

The last example is remarkable for the unbridled intensity of the ‘immoral* but clearly positive drive; consider also the devil-may-care ‘orgiastic attitudes,’ which, far from being censured by the poet, often characterize his love and creativity:<\/p>\n

(40) \u0427\u0442\u043e \u0435\u043c\u0443 \u043f\u043e\u0447\u0435\u0442 \u0438 \u0441\u043b\u0430\u0432\u0430,\/ \u041c\u0435\u0441\u0442\u043e \u0432 \u043c\u0438\u0440\u0435 \u0438 \u043c\u043e\u043b\u0432\u0430\/ . . .\/ \u041e\u043d [the poet] \u043d\u0430 \u044d\u0442\u043e \u043c\u0435\u0431\u0435\u043b\u044c \u0441\u0442\u043e\u043f\u0438\u0442.\/ \u0414\u0440\u0443\u0436\u0431\u0443, \u0440\u0430\u0437\u0443\u043c, \u0441\u043e\u0432\u0435\u0441\u0442\u044c, \u0431\u044b\u0442 (384); \u041d\u043e \u0434\u043b\u044f \u043f\u0435\u0440\u0432\u043e\u0439 \u0436\u0435 \u044e\u0431\u043a\u0438\/ \u041e\u043d \u043f\u043e\u0440\u0432\u0435\u0442 \u043f\u0440\u043e\u0432\u043e\u0434\u0430,\/ \u0418 \u043a\u0430\u043a\u0438\u0435 \u043f\u043e\u0441\u0442\u0443\u043f\u043a\u0438\/ \u0421\u043e\u0432\u0435\u0440\u0448\u0438\u0442 \u043e\u043d \u0442\u043e\u0433\u0434\u0430! (479); \u0418 \u0437\u0430 \u043e\u0440\u0433\u0438\u044e \u0447\u0443\u0432\u0441\u0442\u0432 \u2014 \u0432 \u0437\u0430\u043f\u0430\u0434\u043d\u044e?\/ \u0421 \u0443\u0440\u0430\u0433\u0430\u043d\u043e\u043c \u2014 \u043a \u043e\u0440\u0434\u0430\u043b\u0438\u044f\u043c \u043f\u0430\u0440\u0442\u0438\u0439? (178); \u041b\u044e\u0431\u0438\u043c\u0430\u044f \u2014 \u0436\u0443\u0442\u044c! \u041a\u043e\u0433\u0434\u0430 \u043b\u044e\u0431\u0438\u0442 \u043f\u043e\u044d\u0442\/ …\/… \u041e\u043d \u0437\u043d\u0430\u0435\u0442 \u2014 \u043d\u0435\u043b\u044c\u0437\u044f\/ . . .\/ \u041e\u043d \u0432\u0430\u0448\u0443 \u0441\u0435\u0441\u0442\u0440\u0443, \u043a\u0430\u043a \u0432\u0430\u043a\u0445\u0430\u043d\u043a\u0443 \u0441 \u0430\u043c\u0444\u043e\u0440,\/ \u041f\u043e\u0434\u044b\u043c\u0435\u0442 \u0441 \u0437\u0435\u043c\u043b\u0438 \u0438 \u0438\u0441\u043f\u043e\u043b\u044c\u0437\u0443\u0435\u0442. (149; cf. also the title of an entire cycle \u2014 “\u0412\u0430\u043a\u0445\u0430\u043d\u0430\u043b\u0438\u044f”); \u0413\u0443\u043b\u044f\u0435\u0442, \u043a\u0430\u043a \u043f\u0440\u0438\u0437\u0440\u0430\u043a \u0440\u0430\u0437\u0432\u0440\u0430\u0442\u0430.\/ \u041f\u0443\u0448\u0438\u0441\u0442\u044b\u0439 \u0432\u0430\u0442\u0438\u043d \u0442\u043e\u043f\u043e\u043b\u0435\u0439 (364); \u0412\u0435\u0442\u0435\u0440 \u043f\u0440\u0435\u0442 \u043d\u0430 \u043e\u0449\u0443\u043f\u044c, \u043a\u0430\u043a \u0441\u043b\u0435\u043f\u043e\u0439,\/ . . .\/ \u0422\u0440\u044b\u043d-\u0442\u0440\u0430\u0432\u0430 \u0438 . . .\/ \u0414\u0443\u0435\u0442 \u0434\u0430\u043b\u044c\u0448\u0435 \u0441 \u0442\u043e\u0439 \u0436\u0435 \u043f\u0440\u044f\u043c\u043e\u0442\u043e\u0439 (282-283); recall also the lines discussed in the beginning: \u0412 \u0445\u043e\u043b\u043e\u0434\u043d\u044b\u0445 \u043e\u0431\u044a\u044f\u0442\u044c\u044f\u0445 \u0440\u0430\u0441\u043f\u0443\u0442\u0438\u0446\u044b\/ \u0421\u043e\u0439\u0434\u0443\u0442\u0441\u044f \u043a \u043e\u0433\u043d\u044e \u0436\u0438\u0437\u043d\u0435\u043b\u044e\u0431\u044b (414) and \u041f\u043e \u043f\u0438\u0430\u043d\u0438\u043d\u043e \u0432 \u043e\u0433\u043d\u0435 \u043f\u0440\u043e\u0431\u0435\u0436\u0438\u0442\u0441\u044f \u0438 \u0432\u0441\u043a\u043e\u0447\u0438\u0442 (130).<\/p>\n

Incidentally, ‘drunkenness’ is a favorite metaphor in Pasternak, cf.:<\/p>\n

(41) \u0418 \u0441\u043e\u043b\u043d\u0446\u0430 \u0434\u0438\u0441\u043a, \u0435\u0434\u0432\u0430 \u043f\u0440\u043e\u0441\u043f\u0430\u0432\u0448\u0438\u0441\u044c, \u0441\u0440\u0430\u0437\u0443\/ \u0411\u0440\u043e\u0441\u0430\u043b\u0441\u044f \u043a \u0436\u0436\u0435\u043d\u043a\u0435 \u0438. \u043a\u0440\u0443\u0448\u0430 \u0441\u0435\u0440\u0432\u0438\u0437,\/ \u0420\u0430\u0441\u0442\u044f\u0433\u0438\u0432\u0430\u043b\u0441\u044f \u0442\u0443\u0442 \u0436\u0435 \u0432\u043e\u0437\u043b\u0435 \u0432\u0430\u0437\u044b.\/ \u041d\u0430\u0440\u0435\u0437\u0430\u0432\u0448\u0438\u0441\u044c \u0434\u043e \u043f\u043e\u043b\u043e\u0436\u0435\u043d\u044c\u044f \u0440\u0438\u0437.\/ \u041f\u0440\u0438\u0447\u0438\u043d \u0441\u0440\u0435\u0434\u044c \u044d\u0442\u043e\u0439 \u0441\u043b\u0430\u0434\u043a\u043e\u0439 \u043b\u0438\u0445\u043e\u0440\u0430\u0434\u043a\u0438\/ \u041d\u0430\u0448\u043b\u043e\u0441\u044c \u043d\u0435\u043c\u0430\u043b\u043e (309-310); \u0421\u043e\u043b\u043d\u0446\u0435 \u0441\u0430\u0434\u0438\u0442\u0441\u044f, \u0438 \u043f\u044c\u044f\u043d\u0438\u0446\u0435\u0439\/ \u0418\u0437\u0434\u0430\u043b\u0438, \u0441 \u0446\u0435\u043b\u044c\u044e \u043f\u0440\u043e\u0437\u0440\u0430\u0447\u043d\u043e\u0439,\/ \u0427\u0435\u0440\u0435\u0437 \u043e\u043a\u043e\u043d\u043d\u0438\u0446\u0443 \u0442\u044f\u043d\u0435\u0442\u0441\u044f\/ \u041a \u0445\u043b\u0435\u0431\u0443 \u0438 \u0440\u044e\u043c\u043a\u0435 \u043a\u043e\u043d\u044c\u044f\u0447\u043d\u043e\u0439 (486).<\/p>\n

Yet other cases of figurative and positive ‘immorality* involve ‘lying, cursing, self-abasement’:<\/p>\n

(42) \u041c\u0435\u0436\u0434\u0443 \u043f\u0440\u043e\u0447\u0438\u043c, \u0432\u0441\u0435 \u0432\u044b, \u0447\u0442\u0438\u0446\u044b,\/ \u041b\u0433\u0430\u0442\u044c \u043e\u0445\u043e\u0442\u043d\u0438\u0446\u044b, \u0430 \u043b\u0433\u0430\u0442\u044c \u2014\/ \u0423 \u043e\u043a\u043e\u043d\u043d\u0438\u0446\u044b \u0443\u0447\u0438\u0442\u044c\u0441\u044f,\/ \u0412\u043e\u0442 \u0438 \u0432\u0441\u044f \u0432\u0430\u043c \u043d\u0435\u0434\u043e\u043b\u0433\u0430 (187); \u0422\u0430\u043c \u0440\u0435\u044f\u043b \u0434\u0443\u0445 \u0437\u0435\u043c\u043b\u0438,\/ \u041e\u0441\u0442\u0430” \u043d\u043e\u0432\u0438\u0432\u0448\u0438\u0439 \u0432\u0440\u0435\u043c\u044f,\/ \u041a\u043e\u0442\u043e\u0440\u044b\u043c \u043c\u044b, \u0432\u0440\u0430\u043b\u0438,\/ \u0422\u0430\u043a \u0433\u0440\u0435\u0437\u0438\u043b\u0438 \u0432 \u0431\u043e\u0433\u0435\u043c\u0435 (391); \u041a\u0430\u043a \u0441\u043f\u0443\u0449\u0435\u043d\u043d\u043e\u0439 \u0448\u0442\u043e\u0440\u044b \u0431\u0435\u0441\u043f\u043b\u043e\u0434\u044c\u0435,\/ \u0412\u0432\u043e\u0434\u044f\u0449\u0435\u0439 \u0444\u0438\u0430\u043b\u043a\u0443 \u0432 \u043e\u0431\u043c\u0430\u043d (364); \u042f \u0438 \u043d\u0435\u043f\u0435\u0447\u0430\u0442\u043d\u044b\u043c\/ \u0421\u043b\u043e\u0432\u043e\u043c \u043d\u0435 \u043f\u043e\u0431\u0440\u0435\u0437\u0433\u043e\u0432\u0430\u043b \u0431\u044b (145); \u0421 \u0441\u0443\u0448\u0438, \u0432 \u043f\u043e\u0440\u044b\u0432\u0435 \u043d\u0438\u0437\u043a\u043e\u043f\u043e\u043a\u043b\u043e\u043d\u0441\u0442\u0432\u0430\/ . ..\/ \u041f\u0430\u0434\u0430\u043b\u0438 \u043a\u0440\u044b\u0448\u0438 (291).<\/p>\n

5. TRANSGRESSION<\/b><\/p>\n

‘Transgression of norms’ is a natural outgrowth of exuberant, ecstatic states. The figurative ‘transgressions’ we are interested in can infringe on mere appropriateness or even the criminal code itself.<\/p>\n

5.1. ‘Improper behavior, mischief’ minor offence<\/b><\/p>\n

One characteristic image is that of ‘pranks, frolics’:<\/p>\n

(43) \u042f \u043b\u044e\u0431\u043b\u044e \u043f\u0435\u0440\u0435\u0434 \u0431\u0443\u0440\u0430\u043d\u043e\u043c\/ \u041f\u0440\u0438\u0441\u043c\u0438\u0440\u0435\u0432\u0448\u0438\u0435 \u0434\u0432\u043e\u0440\u044b,\/ \u0411\u0443\u0434\u0442\u043e \u043f\u0440\u044f\u0442\u043a\u0438 \u043f\u043e \u0447\u0443\u043b\u0430\u043d\u0430\u043c\/ \u041d\u0430\u0448\u0430\u043b\u0438\u0432\u0448\u0435\u0439 \u0434\u0435\u0442\u0432\u043e\u0440\u044b (382); \u041a\u0430\u043a \u043d\u0435 \u0432 \u0441\u0432\u043e\u0435\u043c \u0440\u0430\u0441\u0441\u0443\u0434\u043a\u0435,\/ \u041a\u0430\u043a \u0434\u0435\u0442\u0438 \u043e\u0441\u043b\u0443\u0448\u0430\u043d\u044c\u044f,\/ \u041e\u0431\u043b\u0438\u0437\u044b\u0432\u0430\u044f\u0441\u044c, \u0441\u0443\u0442\u043a\u0438\/ \u0428\u0443\u0442\u044f \u043c\u044b \u043e\u0441\u0443\u0448\u0430\u043b\u0438 (185); \u041d\u0435\u0431\u043e \u0432\u0431\u0435\u0437\u0434\u043d\u0435 \u043f\u043e\u0432\u043e\u0434\u043e\u0432,\/ \u0427\u0442\u043e\u0431 \u043d\u0430\u0431\u0435\u0434\u043e\u043a\u0443\u0440\u0438\u0442\u044c (125); \u041d\u043e\u0432\u043e\u043b\u0443\u043d\u044c\u044e \u0443\u043b\u044b\u0431\u0430\u044f\u0441\u044c,\/ \u041a\u0430\u043a \u043d\u0430 \u0448\u0430\u043f\u043a\u0435 \u0448\u0430\u043b\u043e\u043f\u0430\u044f,\/ \u0421\u043e\u0445\u043d\u0435\u0442 \u043a\u0440\u0430\u0441\u043a\u0430 \u0433\u043e\u043b\u0443\u0431\u0430\u044f\/ \u041d\u0430 \u0441\u044b\u0440\u044b\u0445 \u043a\u043e\u043d\u0446\u0430\u0445 \u0441\u0435\u0440\u043f\u0430 (299); \u041c\u0435\u0448\u0430\u0435\u0442\u0441\u044f \u0432\u043e \u0432\u0441\u0435 \u0434\u0435\u043b\u0430,\/ \u0412 \u0445\u0430\u043b\u0430\u0442\u0435 \u043a\u0440\u0430\u0434\u0435\u0442\u0441\u044f [cf. ‘stealth’ in (31)] \u043a \u043a\u0440\u043e\u0432\u0430\u0442\u0438,\/ \u0421\u0440\u044b\u0432\u0430\u0435\u0442 \u0441\u043a\u0430\u0442\u0435\u0440\u0442\u044c \u0441\u043e \u0441\u0442\u043e\u043b\u0430\/ . . .\/ \u041a\u0442\u043e \u044d\u0442\u043e\u0442 \u0431\u0430\u043b\u043e\u0432\u043d\u0438\u043a-\u043d\u0435\u0432\u0435\u0436\u0430\/ \u0418 \u044d\u0442\u043e\u0442 \u043f\u0440\u0438\u0437\u0440\u0430\u043a \u0438 \u0434\u0432\u043e\u0439\u043d\u0438\u043a?\/ . . .\/ \u0421\u0442\u0435\u043f\u043d\u043e\u0439 \u043d\u0435\u0447\u0435\u0441\u0430\u043d\u044b\u0439 \u0440\u0430\u0441\u0442\u0440\u0435\u043f\u0430,\/ . . .\/ \u0418\u044e\u043b\u044c\u0441\u043a\u0438\u0439 \u0432\u043e\u0437\u0434\u0443\u0445 \u043b\u0443\u0433\u043e\u0432\u043e\u0439 (451); \u0412\u0441\u0435 \u0448\u0430\u043b\u043e\u0441\u0442\u0438 \u0444\u0435\u0439, \u0432\u0441\u0435 \u0434\u0435\u043b\u0430 \u0447\u0430\u0440\u043e\u0434\u0435\u0435\u0432 . . . (623); \u0422\u044b \u043c\u043e\u0436\u0435\u0448\u044c \u0438\u043c [the statues in the garden] \u0432\u044b\u043f\u0430\u0447\u043a\u0430\u0442\u044c \u0433\u0443\u0431\u044b \u0447\u0435\u0440\u043d\u0438\u043a\u043e\u0439.\/ \u0418\u0445 \u0448\u0430\u043b\u043e\u0441\u0442\u044c\u044e \u043d\u0435 \u043e\u043f\u043e\u0438\u0448\u044c (115); \u041f\u043e \u043a\u0440\u0430\u044f\u043c \u043f\u0440\u043e\u043f\u0430\u0441\u0442\u0435\u0439 \u043a\u0443\u0440\u043e\u043b\u0435\u0441\u044f\/ . . .\/ \u0421\u043e\u0432\u0435\u0440\u0448\u0430\u043b\u043e \u043f\u043e\u0434\u044a\u0435\u043c \u043c\u0435\u043b\u043a\u043e\u043b\u0435\u0441\u044c\u0435 (368); [\u0413\u0443\u043b] \u0448\u0430\u043b\u044c\u043d\u043e\u0439, \u0448\u0435\u0432\u0435\u043b\u044e\u0440\u0443 \u0435\u0440\u043e\u0448\u0430,\/ \u0412 \u0437\u0430\u043c\u0435\u0448\u0430\u0442\u0435\u043b\u044c\u0441\u0442\u0432\u0435 \u0441\u043c\u044b\u0441\u043b \u0442\u0435\u043c\u043d\u044f,\/ \u041e\u0448\u0430\u0440\u0430\u0448\u0438\u0442 \u0442\u0435\u0431\u044f \u043d\u0435\u0445\u043e\u0440\u043e\u0448\u0435\u0439,\/ \u0413\u043b\u0443\u043f\u043e\u0439 \u0441\u043a\u0430\u0437\u043a\u043e\u0439 \u0441\u0432\u043e\u0435\u0439 \u043f\u0440\u043e \u043c\u0435\u043d\u044f (189); \u0421\u0442\u043e\u044f\u043b\u043e \u0443\u0442\u0440\u043e, \u043b\u0435\u0442\u043d\u0435\u0433\u043e \u0442\u0435\u043f\u043b\u0435\u0439,\/ \u0418 \u043e\u0437\u043d\u0430\u043c\u0435\u043d\u043e\u0432\u0430\u043b\u043e\u0441\u044c \u043f\u0435\u0440\u0432\u043e\u0439 \u043a\u0440\u0443\u043f\u043d\u043e\u0439\/ \u0413\u043e\u043b\u043e\u0432\u043e\u043c\u043e\u0439\u043a\u043e\u0439 \u0432 \u0436\u0438\u0437\u043d\u0438 \u0442\u043e\u043f\u043e\u043b\u0435\u0439 (317; \u0433\u043e\u043b\u043e\u0432\u043e\u043c\u043e\u0439\u043a\u0430 ‘reprimand,\u00a0lit<\/em>. head-washing’, presents rain as a punishment for mischief).<\/p>\n

Some of the other forms of lovable minor offence (by the elements, trees, crockery, the poet. his beloved, etc.) are ‘laziness, absenteeism, parasitism, and delinquency’:<\/p>\n

(44) \u041a\u0430\u043a \u0431\u0438\u0442\u044b\u043c\u0438 \u0434\u043d\u044f\u043c\u0438 \u0431\u0430\u043a\u043b\u0443\u0448\u0438\/ \u0411\u044c\u044e\u0442 \u0437\u0438\u043c\u043d\u0438\u0435 \u0442\u0443\u0447\u0438 (365); \u041f\u0440\u0438\u0440\u043e\u0434\u0430 \u0436 \u2014 \u043d\u0435\u043d\u0430\u0434\u0435\u0436\u043d\u044b\u0439 \u044d\u043b\u0435\u043c\u0435\u043d\u0442\/ . . .\/ \u0413\u0434\u0435 \u0432\u0435\u0449\u0438 \u0440\u044b\u0449\u0443\u0442 \u0432 \u0440\u0430\u0441\u0442\u0432\u043e\u0440\u0435\u043d\u043d\u043e\u043c \u0432\u0438\u0434\u0435 (320); \u042f \u0437\u043d\u0430\u043b, \u0447\u0442\u043e \u043f\u043e\u0436\u0438\u0437\u043d\u0435\u043d\u043d\u044b\u0439 \u043c\u043e\u0439 \u0441\u043e\u0431\u0435\u0441\u0435\u0434\u043d\u0438\u043a [i.e., God]\/ . . .\/ \u041c\u043e\u043b\u0447\u0438\u0442, \u043a\u0440\u0435\u043f\u044f\u0441\u044c \u0438\u0437 \u0441\u0438\u043b \u043f\u043e\u0441\u043b\u0435\u0434\u043d\u0438\u0445,\/ \u0418 \u0432\u0435\u0447\u043d\u043e \u0447\u0438\u0441\u043b\u0438\u0442\u0441\u044f \u0432 \u043d\u0435\u0442\u044f\u0445 (100); \u0418 \u043a \u043d\u043e\u0447\u0438 \u043c\u0435\u0441\u044f\u0446 \u0432 \u0443\u043b\u0438\u0446\u044b \u0432\u043e\u0442\u0440\u0435\u0442\u0441\u044f (376); \u0418 \u044d\u0442\u043e \u043b\u0438 \u043f\u0440\u043e\u0438\u0441\u043a\u0438 \u041c\u0435\u0440\u0438-\u0430\u0440\u0444\u0438\u0441\u0442\u043a\u0438 . . .? (356); \u041e\u043f\u044f\u0442\u044c \u043a \u043e\u0431\u0435\u0434\u0443 \u043d\u0430 \u043f\u0440\u043e\u0433\u0443\u043b\u043a\u0435\/ \u041d\u0430\u0441\u0442\u0443\u043f\u0438\u0442 \u0442\u0435\u043c\u0435\u043d\u044c, \u043f\u0440\u043e\u0441\u0442\u043e \u0441\u0442\u0440\u0430\u0441\u0442\u044c,\/ \u041e\u043f\u044f\u0442\u044c \u043d\u0430\u0443\u0447\u0438\u0442 \u043f\u0435\u0440\u0435\u0443\u043b\u043a\u0438\/ \u041e\u0445\u0443\u043b\u043a\u0438 \u043d\u0430 \u0440\u0443\u043a\u0438 \u043d\u0435 \u043a\u043b\u0430\u0441\u0442\u044c (345; i.e. “the pitch darkness will teach the side-streets not to neglect their interests”, with the resulting impression of thugs lurking in dark lanes right by the house; cf. the epigraph from Axmatova); \u041d\u043e \u043d\u0435\u0436\u0434\u0430\u043d\u043d\u043e \u043f\u043e \u043f\u043e\u0440\u0442\u044c\u0435\u0440\u0435\/ \u041f\u0440\u043e\u0431\u0435\u0436\u0438\u0442 \u0432\u0442\u043e\u0440\u0436\u0435\u043d\u044c\u044f \u0434\u0440\u043e\u0436\u044c (365; the “invader” is the poet’s beloved).<\/p>\n

5.2. Crime<\/b><\/p>\n

The metaphorical and magnificent ‘crime’ in Pasternak has several gradations. First of all, there is ‘crime as such’:<\/p>\n

(45) \u0412 \u0443\u0441\u0442\u0443\u043f\u0430\u0445 \u2014 \u043f\u0440\u0435\u0441\u0442\u0443\u043f\u043d\u044b\u0439 \u0438 \u043f\u0430\u0441\u043c\u0443\u0440\u043d\u044b\u0439 \u0422\u0430\u0443\u0435\u0440 (160); \u0412\u0441\u0435 \u0436\u0438\u0432\u043e\u0435 \u0431\u0435\u0437\u0437\u0430\u043a\u043e\u043d\u044c\u0435,\/ \u0412\u0441\u044f \u0434\u0443\u0448\u0435\u0432\u043d\u0430\u044f \u0431\u0443\u0440\u0434\u0430\/ \u0418\u0437 \u0437\u0430\u0447\u0430\u0442\u0438\u0439 \u0438 \u0430\u0433\u043e\u043d\u0438\u0439 . . . (299); cf. \u041e \u0431\u0435\u0437\u0437\u0430\u043a\u043e\u043d\u044c\u044f\u0445, \u043e \u0433\u0440\u0435\u0445\u0430\u0445 . . . (446); \u041c\u043d\u0435 \u0437\u0434\u0435\u0441\u044c \u0441\u043d\u043e\u0432\u0438\u0434\u0435\u043d\u044c\u0435 \u044f\u0432\u0438\u043b\u043e\u0441\u044c, \u0438 \u0441\u0447\u0435\u0442\u044b\/ \u0421\u0432\u0435\u0434\u0443 \u0441 \u043d\u0438\u043c \u0441\u0435\u0439\u0447\u0430\u0441 \u0436\u0435 \u0438 \u0442\u0443\u0442 \u0436\u0435 (79).<\/p>\n

‘Crime’ can be further detailed as ‘theft and robbery’ (sec (46)) and even ‘rape, gangsterism, murder, massacre’ (47).<\/p>\n

(46) \u0427\u0442\u043e \u0434\u0435\u043b\u0430\u0442\u044c \u0441\u0442\u0440\u0430\u0448\u043d\u043e\u0439 \u043a\u0440\u0430\u0441\u043e\u0442\u0435\/ \u041f\u0440\u0438\u0441\u0435\u0432\u0448\u0435\u0439 \u043d\u0430 \u0441\u043a\u0430\u043c\u044c\u044e \u0441\u0438\u0440\u0435\u043d\u0438,\/ \u041a\u043e\u0433\u0434\u0430 \u0438 \u0432\u043f\u0440\u044f\u043c\u044c \u043d\u0435 \u043a\u0440\u0430\u0441\u0442\u044c \u0434\u0435\u0442\u0435\u0439?\/ \u0422\u0430\u043a \u0432\u043e\u0437\u043d\u0438\u043a\u0430\u044e\u0442 \u043f\u043e\u0434\u043e\u0437\u0440\u0435\u043d\u044c\u044f,\/ …\/ \u0422\u0430\u043a \u043d\u0430\u0447\u0438\u043d\u0430\u044e\u0442\u0441\u044f \u0446\u044b\u0433\u0430\u043d\u0435.\/ . . .\/ \u0422\u0430\u043a \u043d\u0430\u0447\u0438\u043d\u0430\u044e\u0442 \u0436\u0438\u0442\u044c \u0441\u0442\u0438\u0445\u043e\u043c (179);.. . \u0440\u0430\u0441\u0441\u0432\u0435\u0442 \u0431\u044b\u043b \u0441\u043d\u043e\u0442\u0432\u043e\u0440\u043d\u044b\u043c. \u041d\u0435 \u0438\u043d\u0430\u0447\u0435:\/ \u041e\u043d \u0438\u043c \u0431\u044b\u043b \u043f\u043e\u0434\u0441\u044b\u043f\u0430\u043d \u2014 \u0437\u0430\u0432\u043e\u0434\u0430\u043c \u0438 \u0433\u043e\u0440\u0430\u043c \u2014\/ . . .\/ \u041a\u0430\u043a \u043e\u043f\u0438\u0439 \u043f\u043e\u043f\u0443\u0442\u0447\u0438\u043a\u0443 \u043e\u043f\u044b\u0442\u043d\u044b\u043c \u0432\u043e\u0440\u043e\u043c (86); \u041d\u043e\u0447\u043d\u0430\u044f \u0442\u0438\u0448\u0438\u043d\u0430\/ . . .\/ \u0412\u043b\u0435\u0442\u0430\u0435\u0442, \u043a\u0430\u043a \u043d\u0430\u043b\u0435\u0442\u0447\u0438\u0446\u0430,\/ \u041a \u043d\u0435\u0437\u043d\u0430\u044e\u0449\u0435\u043c\u0443 \u0441\u043d\u0430 (273); \u0414\u0432\u043e\u0440\u044b \u0442\u043e\u043d\u0443\u043b\u0438 \u0432 \u0441\u043a\u0432\u0435\u0440\u043d\u0435.\/ \u0412\u0435\u0441\u043d\u0443 \u0437\u0430 \u0432\u0437\u043b\u043e\u043c \u0441\u0443\u0434\u0438\u043b\u0438. \u0428\u043b\u0438 \u043a \u0432\u0435\u0447\u0435\u0440\u043d\u0435,\/ \u0418 \u043f\u0430\u043f\u0435\u0440\u0442\u0438 \u043a\u043e\u0441\u0438\u043b \u043f\u043e\u0432\u0430\u043b\u044c\u043d\u044b\u0439 \u043c\u0430\u0440\u0442 (66)<\/p>\n

(47) \u0412\u043e \u0441\u043d\u0435 \u044f \u0441\u043b\u044b\u0448\u0430\u043b \u043a\u0440\u0438\u043a, \u0438 \u043e\u043d\/ …\/ \u0418 \u0436\u0435\u043d\u0449\u0438\u043d\u043e\u044e \u043e\u0441\u043a\u043e\u0440\u0431\u043b\u0435\u043d\u043d\u043e\u0439,\/ \u0411\u044b\u0442\u044c \u043c\u043e\u0436\u0435\u0442, \u0438\u0437\u0434\u0430\u043d \u0431\u044b\u043b \u0432\u0434\u0430\u043b\u0438\/ . ..\/ \u0411\u043e\u043b\u044c\u0448\u043e\u0439 \u043a\u0430\u043d\u0430\u043b \u0441 \u043a\u043e\u0441\u043e\u0439 \u0443\u0445\u043c\u044b\u043b\u043a\u043e\u0439\/ \u041e\u0433\u043b\u044f\u0434\u044b\u0432\u0430\u043b\u0441\u044f, \u043a\u0430\u043a \u0431\u0435\u0433\u043b\u0435\u0446 (70; ”\u0412\u0435\u043d\u0435\u0446\u0438\u044f”: note also ‘flight,’ cf. (32)); \u0412 \u043a\u043e\u043d\u0446\u0435 \u0436, \u043a\u0430\u043a \u0436\u0435\u043d\u0449\u0438\u043d\u0430, \u043e\u0442\u043f\u0440\u044f\u043d\u0443\u0432\/ \u0418 \u0447\u0443\u0434\u043e\u043c \u0441\u0434\u0435\u0440\u0436\u0438\u0432\u0430\u044f \u043f\u0440\u044b\u0442\u044c\/ \u0412\u043f\u043e\u0442\u044c\u043c\u0430\u0445 \u043f\u0440\u0438\u0441\u0442\u0430\u0432\u0448\u0438\u0445 \u0433\u043e\u0440\u043b\u043e\u043f\u0430\u043d\u043e\u0432 . . . (367); \u0415\u0441\u043b\u0438 \u0431\u0440\u043e\u0432\u044c \u0440\u0435\u0437\u044c\u0431\u043e\u044e\/ \u041f\u043e\u0442\u043d\u044b\u0439 \u043b\u043e\u0431 \u0443\u043a\u0440\u0430\u0441\u0438\u043b\u0430,\/ \u0417\u043d\u0430\u0447\u0438\u0442 \u0438 \u0440\u0430\u0437\u0431\u043e\u0439\u043d\u0438\u043a?\/ .. .\/ \u0421\u043e\u043b\u043d\u0446\u0435, \u0441\u043b\u043e\u0432\u043d\u043e \u043a\u0440\u043e\u0432\u044c \u0441 \u043d\u043e\u0436\u0430,\/ \u0421\u043c\u044b\u043b \u2014 \u0438 \u0441\u0442\u0430\u043b \u043d\u0435\u043e\u0431\u044b\u0447\u0430\u0435\u043d.\/ \u0421\u043b\u043e\u0432\u043d\u043e \u043f\u0440\u0435\u0441\u0442\u0443\u043f\u043b\u0435\u043d\u044c\u044f \u0436\u0430\u0440\/ \u0417\u0430\u043b\u0438\u0432\u0430\u0435\u0442 \u0447\u0435\u0440\u043d\u044b\u043c \u0447\u0430\u0435\u043c (138; the poem is about lovers quarreling); [\u041d\u043e\u0447\u0438] \u0412\u0441\u043a\u0430\u043a\u0438\u0432\u0430\u044e\u0442: \u0437\u0430 \u043e\u0433\u0440\u0430\u0434\u043e\u044e\/ \u0421\u0435\u0432\u0435\u0440 \u0437\u043b\u043e\u0434\u0435\u0439\u0441\u0442\u0432 \u0441\u0435\u0440\u0435\u0435\u0442 (124; in an absolutely idyllic poem); \u041f\u043e \u0437\u0430\u0440\u0435 \u0432\u0435\u0447\u0435\u0440\u0435\u0432\u0448\u0435\u0439 \u043f\u0440\u043e\u0435\u0445\u0430\u0432,\/ \u041a\u043e\u043b\u0435\u0441\u0438\u043b\u043e \u043d \u0440\u0434\u0435\u043b\u043e \u0448\u043e\u0441\u0441\u0435.\/ \u041a\u0430\u0436\u0434\u044b\u0439 \u0441\u043f\u0443\u0441\u043a \u0438 \u043f\u043e\u0434\u044a\u0435\u043c \u0447\u0442\u043e-\u0442\u043e \u0447\u0443\u044f\u043b,\/ \u041a\u0430\u0436\u0434\u044b\u0439 \u0441\u0442\u043e\u043b\u0431 \u0432\u0441\u043f\u043e\u043c\u0438\u043d\u0430\u043b \u043f\u0440\u043e \u0440\u0430\u0437\u0431\u043e\u0439 (368; \u0430 Caucasus landscape); \u041f\u043e\u0441\u043b\u0443\u0448\u0430\u0439, \u0432 \u043f\u043e\u0441\u0430\u0434\u0435, \u043a\u0443\u0434\u0430 \u043d\u0438 \u043e\u0434\u043d\u0430\/ \u041d\u043e\u0433\u0430 \u043d\u0435 \u0441\u0442\u0443\u043f\u0430\u043b\u0430, \u043e\u0434\u043d\u0438 \u0434\u0443\u0448\u0435\u0433\u0443\u0431\u044b . . . (85; “\u041c\u0435\u0442\u0435\u043b\u044c”); cf. the same word as a subtextual pun in: \u0418 \u043f\u0435\u0441\u043d\u044f \u2014 \u043a\u0430\u043a \u043f\u0435\u043d\u0430, \u0438 \u2014 \u043d\u0430\u043f\u0435\u0440\u0435\u0440\u0435\u0437,\/ \u041b\u0430\u0437\u0443\u0440\u044c \u0437\u0430\u0431\u0438\u0440\u0430\u044f, \u043d\u044b\u0440\u043a\u043e\u043c, \u0434\u0443\u0448\u0435\u0433\u0443\u0431\u043a\u043e\u0439\/ \u0418 \u2014 \u043c\u0438\u043c\u043e … \u0438 \u0434\u043e\u043b\u0433\u043e \u0431\u0435\u0437\u043e\u043c\u043e\u043b\u0432\u0441\u0442\u0432\u0443\u0435\u0442 \u043b\u0435\u0441,\/ \u0421\u043b\u0435\u0434\u044f \u0441 \u043e\u0431\u043b\u0430\u043a\u043e\u0432 \u0437\u0430 \u043f\u0440\u043e\u043d\u0435\u0441\u0448\u0435\u0439\u0441\u044f \u0448\u043b\u044e\u043f\u043a\u043e\u0439 (182; \u0434\u0443\u0448\u0435\u0433\u0443\u0431 is a “murderer,” \u0434\u0443\u0448\u0435\u0433\u0443\u0431\u043a\u0430, a “small, unreliable canoe”; etymologically, both mean “soul-ruiner”); \u0418 \u0443\u0442\u0440\u043e \u0448\u043b\u043e \u043a\u0440\u043e\u0432\u0430\u0432\u043e\u0439 \u0431\u0430\u043d\u0435\u044e\/ . . .\/ \u0413\u0430\u0441\u0438\u0442\u044c \u0440\u043e\u0436\u043a\u0438 \u0432 \u043a\u0430\u044e\u0442-\u043a\u043e\u043c\u043f\u0430\u043d\u0438\u0438 (104); \u0413\u0440\u0435\u043c\u0438\u0442 \u043f\u043b\u0430\u0432\u0443\u0447\u0438\u0445 \u043b\u044c\u0434\u0438\u043d \u0440\u0435\u0437\u043d\u044f\/ \u0418 \u043f\u043e\u043d\u043e\u0436\u043e\u0432\u0449\u0438\u043d\u0430 \u043e\u0431\u043b\u043e\u043a\u043e\u0432 (87); \u0416\u0430\u0440\u044b \u043d\u0435\u0449\u0430\u0434\u043d\u0430\u044f \u0440\u0435\u0437\u043d\u044f\/ \u0421\u044e\u0434\u0430 \u043d\u0435 \u0441\u0443\u043d\u0435\u0442\u0441\u044f \u0441 \u043e\u043f\u0443\u0448\u043a\u0438 (209).<\/p>\n

A further level of fascinating violation and violence is achieved in the images of ‘plotting, rioting, hostilities and even chemical warfare’:<\/p>\n

(48) \u0420\u0430\u0441\u043f\u043e\u0440\u044f\u0436\u0435\u043d\u044c\u044f \u043f\u0443\u0440\u0433\u0438-\u0437\u0430\u0433\u043e\u0432\u043e\u0440\u0449\u0438\u0446\u044b\/ . . .\/ \u0411\u0443\u0448\u0443\u0435\u0442 \u0431\u0443\u043b\u044c\u0432\u0430\u0440\u043e\u0432 \u0431\u0435\u0437\u043b\u0438\u0441\u0442\u0432\u0435\u043d\u043d\u044b\u0445 \u0437\u0430\u0433\u043e\u0432\u043e\u0440.\/ \u041e\u0442: \u043f\u043e\u043a\u043b\u044f\u043b\u0438\u0441\u044c \u0438\u0437\u0432\u0435\u0441\u0442\u0438 \u0447\u0435\u043b\u043e\u0432\u0435\u0447\u0435\u0441\u0442\u0432\u043e\/ . . .\/ \u041f\u043e\u0434 \u043f\u0440\u0430\u0437\u0434\u043d\u0438\u043a \u043e\u0442\u043f\u0440\u0430\u0432\u044f\u0442\u0441\u044f \u043a \u043f\u0440\u0430\u043e\u0442\u0446\u0430\u043c \u043f\u0440\u0430\u0432\u043d\u0443\u043a\u0438.\/ \u041d\u043e\u0447\u044c \u0412\u0430\u0440\u0444\u043e\u043b\u043e\u043c\u0435\u0435\u0432\u0430 (85-86; “\u041c\u0435\u0442\u0435\u043b\u044c”); \u0418, \u0432\u0441\u044e\u0434\u0443 \u0441\u0435\u044f \u043c\u0443\u0441\u043e\u0440, \u0442\u043e\u0447\u043d\u043e \u0441\u043c\u0443\u0442\u0443,\/ \u0425\u043e\u0434\u0438\u043b\u043e \u043c\u043e\u0440\u0435 \u0437\u0435\u043c\u043b\u044f\u043d\u044b\u0445 \u0440\u0430\u0431\u043e\u0442 (327); \u0410 \u0432\u0434\u0430\u043b\u0438, \u0433\u0434\u0435. \u043a\u0430\u043a \u0437\u043c\u0435\u0438 \u043d\u0430 \u044f\u0439\u0446\u0430\u0445,\/ \u0422\u0443\u0447\u0438 \u0432 \u043a\u043e\u043b\u044c\u0446\u0430 \u0441\u0432\u0438\u0432\u0430\u043b\u0438\u0441\u044c, \u2014 \u0433\u0440\u043e\u0437\u043d\u0435\u0439,\/ \u0427\u0435\u043c \u0431\u044b\u043b\u044b\u0435 \u043d\u0430\u0431\u0435\u0433\u0438 \u043d\u043e\u0433\u0430\u0439\u0446\u0435\u0432\/ . . .\/ \u0411\u0443\u0434\u0442\u043e \u0432\u0435\u0447\u0435\u0440, \u043a\u0430\u043a \u0432\u0441\u0442\u0430\u0440\u044c \u0435\u0433\u043e [i.e., the city of Tiflis] \u0432\u044b\u0432\u0435\u043b\/ \u041d\u0430 \u0440\u0430\u0432\u043d\u0438\u043d\u0443 \u043f\u043e\u0434 \u043f\u0435\u0440\u0441\u043e\u0432 \u043e\u0431\u0441\u0442\u0440\u0435\u043b (369); [\u041a\u0430\u0432\u043a\u0430\u0437] \u0412\u0437\u0434\u044b\u043c\u0430\u043b, \u043a\u0430\u043a \u0437\u0430\u043b\u043f\u044b \u043f\u0435\u0440\u0435\u0441\u0442\u0440\u0435\u043b\u043a\u0438,\/ \u0417\u043b\u043e\u0440\u0430\u0434\u0441\u0442\u0432\u043e \u043b\u0435\u0434\u044f\u043d\u044b\u0445 \u0433\u0440\u043e\u043c\u0430\u0434 (349); \u041a\u0443\u0440\u0430 \u043f\u043e\u043b\u0437\u0435\u0442 \u0430\u0442\u0430\u043a\u043e\u0439 \u0433\u0430\u0437\u043e\u0432\u043e\u044e\/ \u041a \u0410\u0440\u0430\u0433\u0432\u0435, \u0441\u0434\u0430\u0432\u043b\u0435\u043d\u043d\u043e\u0439 \u0433\u043e\u0440\u0430\u043c\u0438 (370).<\/p>\n

6. LAW ENFORCEMENT<\/b><\/p>\n

‘Crime’ calls for ‘punishment,’ and Pasternak does not stop at bending to his positive ends even the notoriously unromantic institutions of law and order. Obviously, it is the ‘enforcement’ part of it, the exercise of supreme and universal power that he is fascinated with\u2014as well as, probably, with tapping yet another source of prosaic lexicon. The picture of judicial process is complete with ‘investigation, interrogation, trial, and conviction,’ all purely figurative:<\/p>\n

(49) \u041e\u043f\u044f\u0442\u044c \u043f\u043e\u0432\u0430\u043b\u044f\u0442 \u0441 \u043d\u0435\u0431\u0430 \u0432\u0437\u044f\u0442\u043a\u0438,\/ \u041e\u043f\u044f\u0442\u044c \u0443\u043a\u0440\u043e\u0435\u0442 \u043a \u0443\u0442\u0440\u0443 \u0432\u0438\u0445\u0440\u044c\/ \u041e\u0441\u0438\u043d \u043f\u043e\u0434\u0441\u043b\u0435\u0434\u0441\u0442\u0432\u0435\u043d\u043d\u044b\u0445 \u0434\u0435\u0441\u044f\u0442\u043a\u0438\/ \u0421\u0443\u043a\u043d\u043e\u043c \u0441\u0443\u0433\u0440\u043e\u0431\u043e\u0432 \u0441\u043d\u0435\u0433\u043e\u0432\u044b\u0445 (345); \u0422\u0430\u043a \u0432\u0441\u0435 \u0434\u043e\u0437\u043d\u0430\u043d\u044c\u044f \u0445\u043e\u0440\u043e\u0448\u0438\/ \u041e \u0432\u0430\u043a\u0445\u0430\u043d\u0430\u043b\u0438\u044f\u0445 \u0438\u0437\u043d\u0430\u043d\u043a\u0438\/ \u041d\u0435\u0441\u043a\u0443\u0447\u043d\u043e\u0433\u043e \u043b\u044e\u0431\u043e\u0439 \u0434\u0443\u0448\u0438 (180); \u0410 \u043d\u043e\u0447\u044c, \u0430 \u043d\u043e\u0447\u044c! \u0414\u0430 \u044d\u0442\u043e \u0436 \u0430\u0434. \u0434\u043e\u043c \u0443\u0436\u0430\u0441\u043e\u0432!\/ …\/ \u0418 \u0442\u044f\u0436\u0435\u043b\u0435\u0439 \u0434\u043e\u0437\u043d\u0430\u043d\u0438\u0439 \u0442\u0440\u0438\u0431\u0443\u043d\u0430\u043b\u0430 (172; about the speaker’s missing his beloved); \u041f\u043e\u043a\u0430 \u043b\u043e\u043c\u043e\u0432\u0438\u043a\u0438 \u0432\u0435\u0437\u0443\u0442 \u0442\u043e\u0432\u0430\u0440\u044b,\/ \u041e\u0441\u0442\u0430\u0442\u043a\u0438 \u043d\u043e\u0447\u0438 \u043f\u0440\u0435\u0434\u0430\u044e\u0442 \u0441\u0443\u0434\u0443 (309); \u042d\u0442\u043e \u0431\u044b\u043b \u043c\u043e\u0440. \u042d\u0442\u043e \u0431\u044b\u043b \u043c\u043e\u0440\u0430\u0442\u043e\u0440\u0438\u0439\/ \u0421\u0442\u0440\u0430\u0448\u043d\u044b\u0445 \u0441\u0443\u0434\u043e\u0432, \u043d\u0435 \u0441\u044a\u0435\u0437\u0436\u0430\u0432\u0448\u0438\u0445\u0441\u044f \u043a \u0441\u0435\u0441\u0441\u0438\u0438 (193); \u041d\u043e \u0438 \u044d\u0442\u043e\u0442, \u043f\u043e\u043d\u044b\u043d\u0435\/ \u0421\u0443\u0434\u044f\u0449\u0438\u0439\u0441\u044f \u0441 \u0434\u0430\u043b\u044c\u044e \u0441\u0443\u0442\u044f\u0433\u0430 . . . (267; about electricity); \u041d\u0430\u0431\u043b\u044e\u0434\u0430\u044f \u0442\u044f\u0436\u0431\u0443 \u043b\u044c\u0434\u0430 . . . (299).<\/p>\n

Then follow ‘imprisonment, exile, deportation’ or even more cruel punishments:<\/p>\n

(50) \u041a\u0442\u043e \u044d\u0442\u043e, \u0433\u0430\u0434\u0430\u0435\u0442, \u0433\u043b\u0430\u0437\u0430 \u043c\u043d\u0435 \u0440\u044e\u043c\u0438\u0442\/ \u0422\u044e\u0440\u0435\u043c\u043d\u043e\u0439 \u043b\u044e\u0434\u0441\u043a\u043e\u0439 \u0434\u0440\u0435\u043c\u043e\u0439? (115; about a branch brought into a room); \u0414\u0430\u0439 \u0437\u0430\u043f\u0440\u0443 \u044f \u0442\u0432\u043e\u044e \u043a\u0440\u0430\u0441\u043e\u0442\u0443\/ \u0412 \u0442\u0435\u043c\u043d\u043e\u043c \u0442\u0435\u0440\u0435\u043c\u0435 \u0441\u0442\u0438\u0445\u043e\u0442\u0432\u043e\u0440\u0435\u043d\u044c\u044f (449); \u0422\u0430\u043c \u0431\u044b\u043b \u0437\u0438\u043c\u044b \u0435\u0441\u0442\u0435\u0441\u0442\u0432\u0435\u043d\u043d\u044b\u0439 \u0437\u0430\u0441\u0442\u0435\u043d\u043e\u043a,\/ ‘ \u0412\u0430\u043b\u044e\u0442\u043d\u044b\u0439 \u0444\u043e\u043d\u0434 \u043e\u0431\u043b\u0435\u0434\u0435\u043d\u0435\u043b\u044b\u0445 \u043d\u0435\u0434\u0440 (336); \u041f\u0443\u0441\u043a\u0430\u0439 \u043f\u043e\u0436\u0438\u0437\u043d\u0435\u043d\u043d\u043e\u0441\u0442\u044c \u0437\u0430\u0434\u0430\u0447\u0438\/ . . .\/ \u0417\u043e\u0432\u0435\u0442\u0441\u044f \u0436\u0438\u0437\u043d\u0438\u044e \u0441\u0438\u0434\u044f\u0447\u0435\u0439 \u2014\/ \u0418 \u043f\u043e \u0442\u0430\u043a\u043e\u0439 \u0433\u0440\u0443\u0449\u0443 \u043f\u043e \u043d\u0435\u0439 (344); \u041c\u0435\u043b\u043a\u043e \u0438\u0441\u043f\u0438\u0441\u0430\u043d\u043d\u044b\u0439 \u0438\u043d\u0435\u0435\u043c \u0434\u0432\u043e\u0440! \u0422\u044b \u2014 \u0442\u043e\u0447\u043d\u043e \u043f\u0440\u0438\u0433\u043e\u0432\u043e\u0440 \u043a \u0441\u0441\u044b\u043b\u043a\u0435 (74); \u0427\u0442\u043e \u043f\u043e\u0441\u043b\u0435\u0434\u043d\u0438\u0439 \u0438\u0437 \u0441\u043c\u0435\u0440\u0442\u043d\u044b\u0445 \u0432 \u043a\u0430\u0440\u0435\u0442\u0435\/ \u041f\u043e\u0434 \u0441\u0442\u0438\u0445\u043e\u043c \u0438 \u043f\u0440\u0438 \u043d\u0435\u043c \u0447\u0430\u0441\u043e\u0432\u043e\u0439 (156); \u0412 \u043a\u043e\u043b\u043e\u0434\u043a\u0430\u0445 \u043e\u0431\u043b\u0430\u043a\u043e\u0432\/ . . .\/ \u041e\u0431\u043e\u0437\u044b \u043b\u0435\u0434\u043d\u0438\u043a\u043e\u0432\/ \u0422\u0430\u0449\u0438\u043b\u0438\u0441\u044c \u043f\u043e \u044d\u0442\u0430\u043f\u0443 (391); \u0412\u0441\u0435 \u0438\u0434\u0443\u0442 \u0432\u0435\u0440\u0435\u043d\u0438\u0446\u0435\u0439,\/ \u041a\u0430\u043a \u0441\u043a\u0432\u043e\u0437\u044c \u0441\u0442\u0440\u043e\u0439 \u0430\u043b\u0435\u0431\u0430\u0440\u0434 (475; just crowding into a theater); . . . \u0440\u0442\u044b,\/ \u041a\u0430\u043a \u0443 \u0444\u0430\u043b\u044c\u0448\u0438\u0432\u043e\u043c\u043e\u043d\u0435\u0442\u0447\u0438\u043a\u043e\u0432, \u2014 \u043b\u0430\u0432\u043e\u0439\/ \u0414\u0443\u0445 \u0437\u0430\u0445\u0432\u0430\u0442\u0438\u0432\u0448\u0435\u0433\u043e \u043b\u044c\u0434\u0430 \u043d\u0430\u043b\u0438\u0442\u044b (83; so cold is the winter air); \u0418\u0445 [rugs and lamps] \u0447\u0435\u0442\u0432\u0435\u0440\u0442\u0443\u0435\u0442 \u0442\u0440\u0435\u0441\u043a\u043e\u0442\u043d\u044f \u0432\u0435\u0440\u0442\u0443\u0448\u0435\u043a.\/ \u041a\u0440\u043e\u0438\u0442 \u043d\u0430 \u0447\u0430\u0441\u0442\u0438 \u0437\u0432\u043e\u043d \u0438 \u043b\u044f\u0437\u0433 \u0434\u0432\u0435\u0440\u0435\u0439 (308; a cubist cityscape, cf. \u0418 \u043a\u0430\u043a \u043f\u0440\u0435\u0434\u043c\u0435\u0442 \u0441\u0435\u0447\u0435\u0442 \u043f\u0440\u0435\u0434\u043c\u0435\u0442 (344)); \u0418 \u0432 \u0430\u0432\u0433\u0443\u0441\u0442\u043e\u0432\u0441\u043a\u0438\u0439 \u0441\u0432\u043e\u0434 \u0438\u0437 \u043c\u0440\u0430\u043c\u043e\u0440\u0430,\/ \u041a\u0430\u043a \u043e\u0431\u0435\u0437\u0433\u043b\u0430\u0432\u043b\u0435\u043d\u043d\u044b\u0445 \u0433\u043e\u0440\u0442\u0430\u043d\u0438,\/ \u0417\u0430\u043d\u043e\u0441\u044f\u0442 \u044f\u0431\u043b\u043e\u043a\u0438 \u0430\u0434\u0430\u043c\u043e\u0432\u044b\/ \u041a\u0430\u0437\u043d\u0435\u043d\u043d\u044b\u0445 \u0437\u0430\u043c\u043a\u043e\u0432 \u043e\u0447\u0435\u0440\u0442\u0430\u043d\u044c\u044f (370).<\/p>\n

Even ‘captivity, hard labour, slavery’ are seen in a positive light\u2014curiously enough, along with their opposites ‘freedom,’ ‘escape,’ etc.:<\/p>\n

(51) \u0425\u043e\u0440\u0430\u043b \u0432\u044b\u0445\u043e\u0434\u0438\u043b, \u043a\u0430\u043a \u0421\u0430\u043c\u0441\u043e\u043d,\/ \u0418\u0437 \u043a\u043b\u0430\u0434\u043a\u0438, \u0433\u0434\u0435 \u0431\u044b\u043b \u0437\u0430\u043c\u0443\u0440\u043e\u0432\u0430\u043d.\/ \u0422\u043e\u043c\u0438\u0432\u0448\u0438\u0439\u0441\u044f \u0432 \u043d\u0435\u0439 \u043f\u043e\u0434\u0435\u043b\u043e\u043c [!],\/ \u041d\u043e \u043f\u0443\u0449\u0435\u043d\u043d\u044b\u0439 \u0438\u0437 \u044d\u0430\u0442\u043e\u0447\u0435\u043d\u044c\u044f . . . (374); [\u0421\u043f\u0435\u043a\u0442\u043e\u0440\u0441\u043a\u0438\u0439] \u0412 \u043a\u043e\u043d\u0435\u0446 \u043f\u043e\u0434\u043f\u0430\u0432 \u043f\u043e\u0434 \u0432\u043b\u0430\u0441\u0442\u044c \u0433\u0430\u043b\u0438\u043c\u0430\u0442\u044c\u0438 [of the unexpected love]\/ . . .\/ \u041e\u043d\u043e [what brought the lovers together] \u0440\u0430\u0441\u043f\u043e\u0440\u044f\u0436\u0430\u043b\u043e\u0441\u044c \u0441 \u0441\u0430\u043c\u043e\u0434\u0443\u0440\u0441\u0442\u0432\u043e\u043c\/ \u041d\u0435\u0440\u0430\u0437\u0431\u0435\u0440\u0438\u0445\u043e\u0439 \u0438\u0437 \u043d\u0435\u0440\u0430\u0437\u0431\u0435\u0440\u0438\u0445 (328); \u041e\u043d [the forest] \u0441\u0430\u043c \u043f\u043e\u0432\u0435\u0441\u0442\u0432\u043e\u0432\u0430\u043b \u043e \u043f\u043b\u0435\u043d\u0435\/ \u0412\u0435\u0449\u0435\u0439, \u0432\u0432\u043e\u0434\u0438\u043c\u044b\u0445 \u043d\u0435 \u043d\u0430 \u0447\u0430\u0441 … (346); \u0422\u044b [the poet] \u2014 \u0432\u0435\u0447\u043d\u043e\u0441\u0442\u0438 \u0437\u0430\u043b\u043e\u0436\u043d\u0438\u043a\/ \u0423 \u0432\u0440\u0435\u043c\u0435\u043d\u0438 \u0432 \u043f\u043b\u0435\u043d\u0443 (463); \u041b\u0435\u0441 . . .\/ . . .\/ \u0441\u0442\u043e\u043d\u0435\u0442 \u0432 \u0441\u0435\u0442\u044f\u0445, \u043a\u0430\u043a \u0441\u0442\u0435\u043d\u0430\u0435\u0442 \u0432 \u0441\u043e\u043d\u0430\u0442\u0430\u0445\/ \u0421\u0442\u0430\u043b\u044c\u043d\u043e\u0439 \u0433\u043b\u0430\u0434\u0438\u0430\u0442\u043e\u0440 \u043e\u0440\u0433\u0430\u043d\u0430 (88; the organ is formed by singing birds’ throats); \u041d\u043e \u0441\u0442\u0430\u0440\u043e\u0441\u0442\u044c \u2014 \u044d\u0442\u043e \u0420\u0438\u043c, \u043a\u043e\u0442\u043e\u0440\u044b\u0439\/ . . .\/ \u041d\u0435 \u0447\u0438\u0442\u043a\u0438 \u0442\u0440\u0435\u0431\u0443\u0435\u0442 \u0441 \u0430\u043a\u0442\u0435\u0440\u0430,\/ \u0410 \u043f\u043e\u043b\u043d\u043e\u0439 \u0433\u0438\u0431\u0435\u043b\u0438 \u0432\u0441\u0435\u0440\u044c\u0435\u0437\/ . . .\/ \u041a\u043e\u0433\u0434\u0430 \u0441\u0442\u0440\u043e\u043a\u0443 \u0434\u0438\u043a\u0442\u0443\u0435\u0442 \u0447\u0443\u0432\u0441\u0442\u0432\u043e,\/ \u041e\u043d\u043e \u043d\u0430 \u0441\u0446\u0435\u043d\u0443 \u0448\u043b\u0435\u0442 \u0440\u0430\u0431\u0430 (371); \u0418\u0445 \u0432\u0441\u0435\u0445 \u043f\u043e\u0440\u0430\u0431\u043e\u0442\u0438\u043b\u0430 \u0432\u044b\u0441\u044c,\/ \u041d\u0430 \u043d\u0438\u0445 \u0434\u043e\u0445\u043d\u0443\u0432\u0448\u0430\u044f, \u043a\u0430\u043a \u044e\u043d\u043e\u0441\u0442\u044c (94); “\u041c\u0435\u043b\u044c\u043d\u0438\u0446\u044b”: \u041d\u043e \u043e\u043d\u0438 \u0438 \u043d\u0435 \u0436\u0430\u043b\u0443\u044e\u0442\u0441\u044f \u043d\u0430 \u043a\u0430\u0442\u043e\u0440\u0433\u0443 (103); \u0422\u043e\u0433\u0434\u0430 \u0442\u043e\u0441\u043a\u0430, \u043a\u0430\u043a \u043e\u043a\u043a\u0443\u043f\u0430\u043d\u0442,\/ \u041e\u0446\u0435\u043f\u0438\u0442 \u0434\u0430\u043b\u044c (213; the beginning of a storm).<\/p>\n

<\/a><\/p>\n

One form of legal enslavement favored by Pasternak is the imposition of ‘tribute, yoke, payments, debts’, etc.:<\/p>\n

(52) \u041a\u0440\u0435\u043f\u043a\u0438\u04354<\/a>\u00a0\u0442\u044c\u043c\u0435 \u043f\u043e\u043b\u044b\u0445\u0430\u043d\u044c\u0435\u043c \u043e\u0433\u043d\u0435\u0439!\/ \u041a\u0440\u0435\u043f\u043a\u0438\u0435 \u0441\u0442\u0443\u0436\u0435 \u0441\u0442\u0440\u0435\u043b\u044c\u0431\u043e\u044e \u043f\u043e\u043b\u0435\u043d\u044c\u0435\u0432\/ . . .\/ \u041c\u0437\u0434\u043e\u0439 \u043e\u0431\u043b\u0430\u0433\u0430\u0435\u0442 \u0437\u0438\u043c\u0430, \u043a\u0430\u043a \u0431\u0430\u0441\u043a\u0430\u043a,\/ \u041e\u043a\u043d\u0430 \u0438 \u043f\u0435\u0447\u0438 . . .\/ \u0425\u0430\u043d\u0441\u043a\u0438\u0439 \u0443\u043a\u0430\u0437 \u043d\u0430 \u0432\u043e\u0449\u0435\u043d\u044b\u0445 \u0431\u0440\u0443\u0441\u043a\u0430\u0445\/ \u041e \u043d\u0430\u043b\u043e\u0436\u0435\u043d\u0438\u0438 \u0437\u0438\u043c\u043d\u0435\u0433\u043e \u0438\u0433\u0430 (75); \u0413\u043e\u043b\u043e\u0441, \u0432\u043b\u0430\u0441\u0442\u043d\u044b\u0439, \u043a\u0430\u043a \u043f\u043e\u043b\u044e\u0434\u044c\u0435 [as tribute],\/ \u041f\u043b\u0430\u0432\u0438\u0442 \u0432\u0441\u0435 \u043d\u0430\u043f\u0435\u0440\u0435\u0447\u0435\u0442 (384; about a Georgian poet); \u0410 \u0438\u0445 \u0437\u0430\u043b\u043e\u0436\u043d\u0438\u043a \u0438 \u0434\u043e\u043b\u0436\u043d\u0438\u043a\/ . . . \u0427\u0442\u043e\u0431 \u0432\u044b\u043a\u0443\u043f\u0438\u0442\u044c\u0441\u044f \u0438\u0437 \u044f\u0440\u043c\u0430\/ \u0423\u0436\u0430\u0441\u043d\u043e\u0433\u043e \u0437\u0430\u0438\u043c\u043e\u0434\u0430\u0432\u0446\u0430,\/ \u041e\u043d \u0434\u043e\u043b\u0436\u0435\u043d \u0441\u0433\u0438\u043d\u0443\u0442\u044c \u0437\u0430\u0434\u0430\u0440\u043c\u0430\/ . . .\/ \u0417\u0430\u0447\u0435\u043c \u0436\u0435 \u0431\u044b\u043b\u043e \u0431\u0440\u0430\u0442\u044c \u0432 \u043a\u0440\u0435\u0434\u0438\u0442\/ \u041f\u0430\u0440\u0438\u0436 . . .\/ \u0418 \u043f\u043e\u043b\u0435 . . . (205; “\u0411\u0430\u043b\u044c\u0437\u0430\u043a”); \u041e \u043b\u044e\u0431\u0432\u0438 \u0438 \u043e \u0436\u0435\u0440\u0442\u0432\u0435, \u0441\u0438\u0440\u0435\u0447\u044c,\/ \u041e \u0440\u0430\u0441\u0441\u0440\u043e\u0447\u0435\u043d\u043d\u043e\u043c \u043f\u043b\u0430\u0442\u0435\u0436\u0435 … (216); \u041e\u043d\u0430 [his room] \u0431\u044b\u043b\u0430 \u0441\u0432\u0435\u0442\u043b\u0435\u0439, \u0447\u0435\u043c \u0431\u0438\u0440\u044e\u0437\u0430\/ \u041f\u043e \u0432\u044b\u043a\u0443\u043f\u0435 \u0438\u0437 \u0434\u043e\u043b\u0433\u043e\u0433\u043e \u0437\u0430\u043b\u043e\u0433\u0430 (316); \u0418 \u044f \u043f\u0440\u0438\u043c\u0443 \u0442\u0435\u0431\u044f [Moscow], \u043a\u0430\u043a \u0443\u043f\u0440\u044f\u0436\u044c,\/ \u0422\u0435\u0445 \u0440\u0430\u0434\u0438 \u0431\u0443\u0434\u0443\u0449\u0438\u0445 \u0431\u0435\u0437\u0443\u043c\u0441\u0442\u0432.\/ \u0427\u0442\u043e \u0442\u044b, \u043a\u0430\u043a \u0441\u0442\u0438\u0445. \u043c\u0435\u043d\u044f \u0437\u0430\u0437\u0443\u0431\u0440\u0438\u0448\u044c\/ \u041a\u0430\u043a \u0431\u044b\u043b\u044c, \u0437\u0430\u043f\u043e\u043c\u043d\u0438\u0448\u044c \u043d\u0430\u0438\u0437\u0443\u0441\u0442\u044c (345).<\/p>\n

7. THE PLACE OF THE ‘SINISTER’ IN PASTERNAK’S WORLD<\/b><\/a><\/p>\n

Having established the versatility of the ‘positive figurative sinister’ in Pasternak, one naturally wonders how to account for the pervasiveness of so peculiar a motif. In interpreting the accumulated material I will first try to correlate it with a systematic description of Pasternak’s poetic world5<\/a>\u00a0and then venture some broader, if less precise, remarks on the Pasternakian treatment of the ‘sinister’ in the contemporary literary context.<\/p>\n

Since “poetic world” has been defined as a hierarchy of invariants, the task of relating a motif tto the author’s poetic world boils down to indicating the place the motif occupies in the hierarchy. More specifically, we have to identify the motif’s thematic-expressive links with: its immediate superiors, i.e. the more abstract invariants it embodies (= its functions, or meaning); its neighbors on the same level of abstraction (= its poetic synonyms); its varieties, or more concrete manifestations (= its expressions).<\/p>\n

To begin with those more abstract invariants which are likely to create the demand for ‘sinister’ motifs as their concretizations, Pasternak’s central theme can be formulated as<\/p>\n

(53) magnificence and unity of existence.<\/p>\n

Its first component, ‘magnificence\/ is conveyed, on the one hand, by various<\/p>\n

(54) direct manifestations of intensity: large quantities, b forces, great distances, exuberant emotional states, excessive energy, etc.,<\/p>\n

and, on the other, by the<\/p>\n

(55) striking difference between extremes of any kind (noise\/silence; day\/night; . . .), especially between magnificence and its opposites (big\/small; high\/low; sublime\/trifling; abstract\/physical; etc.)<\/p>\n

In other words, if (54) ‘intensity as such’ tends to the rhetoric of hyperbole, (55) ‘opposition of extremes’ relies on that of contrast. The second sub-theme, ‘unity,’ is, in its turn, promoted by a proliferation of ‘contacts’\u2014 both<\/p>\n

(56) direct physical, emotional, etc. interactions between partners: touching, crossing, perceiving, responding, etc.,<\/p>\n

and<\/p>\n

(57) contacts on the plane of poetic discourse, i.e. various figurative equations, or tropes: metaphors, metonymies, paronomasias, etc.<\/p>\n

Thus ‘unity’ naturally thrives on the rhetoric of similarity and contiguity.<\/p>\n

To be sure, all these entities \u2014 the central theme (53) with its two separate subthemes and the routes of their separate realization ((54)-(55) and (56)-(57), respectively) \u2014 are constructs of a highly abstract order. Therefore, already at a sufficiently abstract level, the routes are bound to merge, producing Pasternak’s major arche-motifs, among them:<\/p>\n

(58) powerful impacts,<\/p>\n

(59) contacts between opposites,<\/p>\n

and<\/p>\n

(60) overstepping of boundaries.<\/p>\n

‘Powerful impact’ underlies such characteristically Pasternakian situations as ‘swinging, making shake,’ ‘penetration, invasion,’ ‘destruction, pulverizing\/ ’emotional shock,’ etc. In all these cases, the ‘power’ element represents (54) ‘intensity,’ i.e. ‘magnificence,’ while ‘impact’ represents (56) ‘interaction,’ i.e. ‘unity.* Or we could say that a contiguity is hyperbolized.<\/p>\n

The second archi-motif, (59) ‘contacts between opposites.’ applies the ‘uniting’principle of (56), (57) to (55) ‘magnificently contrasting extremes,’ thus bridging the gap of contrast with a similarity or contiguity. On the similarity side, this results in various tropes that equate extremes, in particular, the manifestations of ‘magnificence’and their opposites, producing the typically Pasternakian figure (61):<\/p>\n

(61) even small dirty, despicable triflesare important, beautiful and sublime, as. for instance, when the sunrays are said to soil the heroes’ sleeves (pp. 396397); cf. Pasternak’s direct formulation of this principle as early as “Marburg”: \u041a\u0430\u0436\u0434\u0430\u044f \u043c\u0430\u043b\u043e\u0441\u0442\u044c\/ \u0416\u0438\u043b\u0430, \u0438, \u043d\u0435 \u0441\u0442\u0430\u0432\u044f \u043c\u0435\u043d\u044f \u043d\u0438 \u0432\u043e \u0447\u0442\u043e,\/ \u0412 \u043f\u0440\u043e\u0449\u0430\u043b\u044c\u043d\u043e\u043c \u0437\u043d\u0430\u0447\u0435\u043d\u044c\u0438 \u0441\u0432\u043e\u0435\u043c \u043f\u043e\u0434\u044b\u043c\u0430\u043b\u0430\u0441\u044c (107).<\/p>\n

On the contiguity side, extremes are displayed in intimate proximity, as, for instance, when the loud clicking of a horse’s hooves on cobblestone is abruptly dampened as the horse steps into a patch of sand (p. 80); or when the sky touches the sea bottom with sea gulls (p. 258). Of course, literal interaction and figurative equation often combine. Thus, the sonic extremes in the hoove-clicking example are linked not only by the unities of time, place and action, but also by the phonetic (i.e. figurative) similarity of the two key words\u00a0\u0433\u0443\u043b\u043a\u043e<\/em>\u00a0‘loud’and\u00a0\u0433\u043b\u0443\u0445\u043e<\/em>\u00a0‘muffled’. In the other example, when the sea gulls make their actual dive, they are aided in it by a hyperbole and metonymically identified with the sky, so that the total effect amounts to a spectacular contact between the sky and the sea bottom.<\/p>\n

Finally. (60) ‘overstepping of boundaries’ is the pattern behind Pasternak’s favorite pictures of people, objects and other phenomena brimming with such exuberant intensity that they cross into the territory of other phenomena, invade them, blend with them, etc. On the plane of contiguity, this is the case when flooding water spills over a dam from one pond into another (p. 406) or when, in a more complex, typically Pasternakian construction<\/p>\n

(62) excessive intensity leads to a lack of intensity by way of “overpowering,” e.g. when tears are so intense that one cannot see (p. 630); the air is so damp that it dims the candles (p. 393); and so on.<\/p>\n

On the similarity side, ‘overstepping’ results in a figurative equation of different entities, e.g. when the visual picture of winter (p. 99) is seen as filling the frame to its limits, outgrowing it to turn into musical sound and then physically slipping out of (somebody’s) hands (cf. the flood image above).<\/p>\n

The rhetoric or ‘verstepping’ can be summed up as an excess breeding a contact, i.e. very roughly, as a hyperbole turned metonymy or metaphor. If, moreover, the contact thus achieved spans the distance between extremes, we have<\/p>\n

(63) hyperbole + metaphor\/metonymy + contrast, as in the image of stars seen so close to the ground that they are described as flowers (p. 135).<\/p>\n

Essentially the same comprehensive rhetoric as in (63) is at work in the sea gulls\/sea bottom example, with the difference that the major role is played there by actual interactions, rather than by figurative equations.<\/p>\n

These arethen the major archi-motifs of Pasternak’s poetic world, i.e. those “superiors” which must be now shown to determine the functions, or the meaning, of our ‘sinister’motifs. As for the expression of this meaning, the important question is whether all the sub-motifs of the ‘sinister’carry the same set of functions or, perhaps, some of them have their own, individual links to some archi-motifs but not others. And finally, each case of linkage, common or individual, defines the set of the (sub)motifs synonyms, i.e. of other invariants with links to the same superiors.<\/p>\n

All the ‘sinister’motifs listed in ss. 2-7 equate ‘bad with ‘good’ by figuratively ‘overstepping’ the boundaries of morality, normalcy, rationality and so on. In this capacity they align themselves with such Pasternakian motifs as ‘overturned positions, reverse sides,’ ‘destruction, pulverizing,’ ‘ovcrpoweredness, passing out,’ ‘chaos,’ ‘acting irrationally on the spur of the moment,’ ‘lovable dirt and smearing,’ ‘attractive sickness,’ etc.<\/p>\n

In addition, all ‘sinister’ motifs are ‘intense states’ (see (54)), some of them excessively so, e.g. ‘devilry,’ ‘shamelessness,’ ‘orgiastic behavior,’ ‘transgression’ and many individual examples in other sub-motifs. These ‘sinister excesses’ arc therefore synonyms of ‘quantitative excess,’ ‘brimming and overflowing,’ ‘being emotionally beside oneself,’ etc.<\/p>\n

Many of the ‘sinister’ motifs arrange ‘powerful emotional, social, etc. impacts.’ Such is the case of all variants of the ‘suspicious’ and ‘law enforcement’* and also of other sub-motifs \u2014 inasmuch as they involve dramatic interactions (e.g. ‘vengeance,’ ‘temptation.’ ‘crime.’ etc.). The synonyms of the ‘suspicious’ are the various ‘perceptions’ (‘seeing,’ ‘hearing’), ‘responses’ (‘being frightened,’ ‘being grateful’), and ‘mutual interactions’ (’embracing.’ ‘exchange’). The synonyms of ‘law enforcement’ are the various ‘compulsory impacts’ (‘b emotional links,’ ‘power of destiny.’<\/p>\n

In most cases the actual phenomena figuratively presented as ‘sinister’ are, although innocent and unthreatening, quite intense in themselves. For instance, the branches in the last two examples in (29) are literally involved in a snowstorm and a hot stormy night, respectively. Therefore, the figurative ‘apprehension,’ injected into the poetic discourse, serves to amplify and underscore an already existing physical intensity. In other cases, however, the actual situation is idyllically un-intense, so that the ‘figurative sinister’ has to do all the intensifying cf. in (29) such other examples of ‘apprehension* as warning against being watched by may-lilies or the little birdie’s being on guard at the forest entrance. These latter cases follow the pattern of equation (61) between the ‘trifling’ and the ‘magnificent.’ In the Pasternak world, where\u00a0\u043d\u0438\u0447\u0442\u043e \u043d\u0435 \u043c\u0435\u043b\u043a\u043e\u00a0<\/em>(150), every trifle and every inch of poetic space is imbued with magnificence\u2014in our case, with mock horrors\u2014so that one can get lost and face the end of the world just two paces away from home and dinner, cf. Amxatova’s lines in the epigraph and their apparent source:\u00a0\u041e\u043f\u044f\u0442\u044c \u043a \u043e\u0431\u0435\u0434\u0443 \u043d\u0430 \u043f\u0440\u043e\u0433\u0443\u043b\u043a\u0435<\/em>, etc.. see (44). Some of the synonymous motifs are: ‘cheap clothes and lodgings as a backdrop and symbol of great love,’ ‘stars, skies, etc. on the ground, under one’s feet,’ ‘sunlight as dirty smear,’ tropes equating ‘small trivial objects with great objects or sublime categories’ and, in a widening circle, any “pathetic” tropes that endow the ‘inert, inanimate* with human qualities.<\/p>\n

To sum up, all or some ‘sinister’ motifs figuratively equate ‘bad’ with ‘good.’ and ‘trifling’ with ‘magnificent’ and promote ‘intense,’ often ‘excessive,’ states and ‘powerful contacts.’ By displacing the ‘sinister’ from the literal actuality of human and social concerns into the realm of tropes and\/or landscapes Pasternak proves capable not only of reviving age-old Romantic cliches like ‘devilry,’ ‘magic,’ ‘sin,’ ‘crime,’ etc., but even of tapping such unconventional images as the ‘suspicious’ and ‘law enforcement.’<\/p>\n

The acceptance and glorification of ‘figurative evil’ seems then to be in keeping with the overall positiveness of Pasternak’s central theme: instead of leading to provocative moral ambivalence, it is pure rhetoric\u2014fireworks illuminating the poet’s unqualified admiration for the magnificent and harmonious universe: “The order of creation is deceptive\/ Like a fairy-talc with a happy ending” (see (33)). Should one not, however, question the purity of a rhetoric so obsessed with ‘sinister’ images, especially in the context of ‘literal evil,’ which is prominent enough in Pasternak’s poetry (see s. 1) and even more so in “\u0414\u043e\u043a\u0442\u043e\u0440 \u0416\u0438\u0432\u0430\u0433\u043e” in contemporary poetry (in particular, Mayakovsky’s) and in the reality of the times? As we know from “\u041e\u0445\u0440\u0430\u043d\u043d\u0430\u044f \u0433\u0440\u0430\u043c\u043e\u0442\u0430” (\u041f\u0430\u0441\u0442\u0435\u0440\u043d\u0430\u043a 1961:269 \u0435\u043b.), Pasternak solved the anxicty-of-influence problem of his attraction to\/rejection of Mayakovsky and his romantic version of poetry and the poet by deliberately casting off that dramatic posturing which follows from the false opposition of poet to non-poets. Stylistically. this meant that since “the position of master of metaphor was filled. . ., the poet became master of metonymy” (Jakobson 1969:149); thematically, that if in “Mayakovsky the collision [with the world] . . . inevitably culminated in a duel, . . . Pasternak says over and over again that the collision is illusory” (147), and that if Mayakovsky’s lyrical persona is active and heroic, “the\u00a0agens<\/em>\u00a0is excluded from [Pasternak’s] thematic material” (147). <\/a>his texts are “empty of action,” and “inevitable passive solution follows\u2014the hero goes off (148) and is “a constantly unlucky wretch” (150); and so on. To make the picture even more complicated, Mayakovsky is not merely active and romantic, but, in fact, full of hatred and sadism, arrogant and humiliating, spitting and weaponbrandishing, megalomaniacal and self-destructive;6<\/a>\u00a0while Pasternak’s passivity is not necessarily defeatist: rather it is akin to modesty, Christianity, harmonious merging with the surroundings, equal and constructive partnership with others and the world and, ultimately, to self-preservation and survival.<\/p>\n

How does this affect the domain of the ‘sinister’? Whereas Mayakovsky’s persona plays with fire by defiantly acting out all possible aggressivedefensive urges, Pasternak consistently\u2014shall we say suppresses?\u2014such impulses by tucking them away in the figurative aspects of his landscape painting. But by the same token he allows himself to develop and blow up these motifs, without tipping the harmonious balance of his magnificent world. Once he has abandoned the role of “brigand” (e.g. like that in the quasi-Mayakovskian treatment of unhappy love in ”\u041c\u0443\u0445\u0438 \u043c\u0443\u0447\u043a\u0430\u043f\u0441\u043a\u043e\u0439 \u0447\u0430\u0439\u043d\u043e\u0439,” 138-139, see ex. (47)) by transferring it to may-lilies, snowflakcs and mountain cliffs, he can make friends with the world and survive in it.<\/p>\n

<\/a><\/p>\n

Such a happy-end vision of the world, especially under the socialhistorical circumstances, was of course a precarious balancing act. The balance was constantly in danger. The ominous darkness and evil just two paces away from home and dinner (in the 1931 \u0440\u043eem “\u041c\u043d\u0435 \u0445\u043e\u0447\u0435\u0442\u0441\u044f \u0434\u043e\u043c\u043e\u0439, \u0432 \u043e\u0433\u0440\u043e\u043c\u043d\u043e\u0441\u0442\u044c .. .”) are not all that gratuitous and illusory\u2014rather they are part of a systematic, if subtextual, reflection of the sinister times.7<\/a>\u00a0And when later on Pasternak determines to reverse himself and confront the evil head-on in his novel, not much remains of the evil’s fairy-tale benignness. But even there, in the face of the literal, if romantic, villainy of Komarovskij, and of the assorted evils of war,<\/a> revolution, hunger, separation, and death, Pasternak the author and his hero in a sense stick to the unromantically modest and yet mystically (= romantically) salutary vision grown in the hothouse of his lyric poetry.<\/p>\n

<\/a><\/p>\n

NOTES<\/b><\/p>\n

<\/a>1<\/a>. This article was originally presented as a paper at the Symposium on “Myth in Literature,” held at New York University in the fall of 1981 and <\/a>organized by Professors Andrej Kodjak and Krystyna Pomorska. I would like to thank the organizers and participants of the Symposium for the opportunity to present the paper in an atmosphere of stimulating scholarly exchange.<\/p>\n

<\/a>2<\/a>. <\/a>Figures in parentheses refer to pages of Pasternak 1965, except those that exceed 600, which refer to Pasternak 1959.<\/p>\n

<\/a><\/a>3<\/a>. For a detailed exposition of the concept of invariants and poetic world, see Zholkovsky 1984: 63-82, 135-216.<\/p>\n

<\/a>4<\/a>. Pasternak himself footnotes the word, explaining that it means “subject to paying tribute.”<\/p>\n

<\/a><\/a>5<\/a>. I use my description of Pasternak’s poetic world (see Zholkovsky and Shcheglov 1980: 205243, Zholkovsky 1984:65-68, 135-158), <\/a>based, in many respects, on Jakobson 1969, Lotman 1978, Nilsson 1978.<\/p>\n

6<\/a>. These aspects of Mayakovsky’s poetic world are discussed in detail in Zholkovsky 1984\u0441.<\/p>\n

7<\/a>. For a detailed analysis of this poem see Zholkovsky 1984b.<\/p>\n

\n

REFERENCES<\/b><\/p>\n<\/div>\n

Jakobson, Roman\u00a0<\/b>1969 “The Prose of the Poet Pasternak,”\u00a0Pasternak, Modern Judgements<\/em>, ed.. Donald Davie and Angela Livingstone, Nashville\/London: Aurora Publishers. Inc., 135-151<\/p>\n

Livingstone, Angela\u00a0<\/b>1978 “Pasternak’s Last Poetry.”\u00a0Pasternak. A Collection of Critical Essays<\/em>, ed. Victor Erlich. Englewood Cliffs, New Jersey: Prentice-Hall, Inc, 166-175.<\/p>\n

Lotman, Yury\u00a0<\/b>1978 “Language and Reality in the Early Pasternak.”\u00a0Pasternak. A Collection of Critical Essays<\/em>, ed. Victor Erlich, Englewood Cliffs, New Jersey: Prentice-Hall. Inc., 21-31.<\/p>\n

Nilsson, Nils Ake\u00a0<\/b>1978 “Life as Ecstasy and Sacrifice. Two poems by Boris Pasternak.”\u00a0Pasternak. A Collection of Critical Essays, cd. Victor Erlich,\u00a0<\/em>Englewood Cliffs, New Jersey: PrenticeHall, Inc., 51-67.<\/p>\n

\u041f\u0430\u0441\u0442\u0435\u0440\u043d\u0430\u043a, \u0411\u043e\u0440\u0438\u0441\u00a0<\/b>1959\u00a0\u0414\u043e\u043a\u0442\u043e\u0440 \u0416\u0438\u0432\u0430\u0433\u043e<\/em>. Societe d’Edition et d’Impression Mondiale. 1961\u00a0\u041f\u0440\u043e\u0437\u0430 I915-1958.<\/em>\u00a0\u041f\u043e\u0434 \u0440\u0435\u0434. \u0413. \u041f. \u0421\u0442\u0440\u0443\u0435 \u0438 \u0411. \u0410. \u0424\u0438\u043b\u0438\u043f\u043f\u043e\u0432\u0430. Ann Arbor: The University of Michigan Press. 1965\u00a0\u0421\u0442\u0438\u0445\u043e\u0442\u0432\u043e\u0440\u0435\u043d\u0438\u044f \u0438 \u043f\u043e\u044d\u043c\u044b<\/em>. \u041c\u043e\u0441\u043a\u0432\u0430: \u0421\u043e\u0432\u0435\u0442\u0441\u043a\u0438\u0439 \u043f\u0438\u0441\u0430\u0442\u0435\u043b\u044c.<\/p>\n

Pomorska, Krystyna\u00a0<\/b>1975\u00a0Themes and Variations in Pasternak’s Poetics<\/em>. Lisse: The Peter de Ridder Press<\/p>\n

Zholkovsky, Alexander (= \u0416\u043e\u043b\u043a\u043e\u0432\u0441\u043a\u0438\u0439, \u0410. \u041a.)\u00a0<\/b>1984a\u00a0Themes and Texts: Toward a Poetics of Expressiveness<\/a><\/em>. Ithaca. New York, and London: Comell University Press.<\/p>\n

Zholkovsky, Alexander (= \u0416\u043e\u043b\u043a\u043e\u0432\u0441\u043a\u0438\u0439, \u0410. \u041a.)\u00a0<\/b>1984b\u00a0“‘\u041c\u043d\u0435 \u0445\u043e\u0447\u0435\u0442\u0441\u044f \u0434\u043e\u043c\u043e\u0439, \u0432 \u043e\u0433\u0440\u043e\u043c\u043d\u043e\u0441\u0442\u044c .. .’ \u041f\u0430\u0441\u0442\u0435\u0440\u043d\u0430\u043a\u0430: \u0421\u043e\u0446\u0438\u0430\u043b\u044c\u043d\u044b\u0439 \u0437\u0430\u043a\u0430\u0437. \u0442\u0435\u043c\u0430\u0442\u0438\u043a\u0430, \u0441\u0442\u0440\u0443\u043a\u0442\u0443\u0440\u0430”\u00a0<\/a>(forthcoming in Slavica Hierosolymitana).<\/p>\n

Zholkovsky, Alexander (= \u0416\u043e\u043b\u043a\u043e\u0432\u0441\u043a\u0438\u0439, \u0410. \u041a.)\u00a0<\/b>1984\u0441\u00a0“\u041e \u0433\u0435\u043d\u0438\u0438 \u0438 \u0437\u043b\u043e\u0434\u0435\u0439\u0441\u0442\u0432\u0435, \u043e \u0431\u0430\u0431\u0435 \u0438 \u043e \u0432\u0441\u0435\u0440\u043e\u0441\u0441\u0438\u0439\u0441\u043a\u043e\u043c \u043c\u0430\u0441\u0448\u0442\u0430\u0431\u0435. \u041f\u0440\u043e\u0433\u0443\u043b\u043a\u0438 \u043f\u043e \u041c\u0430\u044f\u043a\u043e\u0432\u0441\u043a\u043e\u043c\u0443”<\/a>\u00a0(in preparation).<\/p>\n

Zholkovsky and Shcheglov (= \u0410. \u041a. \u0416\u043e\u043b\u043a\u043e\u0432\u0441\u043a\u0438\u0439 \u0438 \u042e. \u041a. \u0429\u0435\u0433\u043b\u043e\u0432)\u00a0<\/b>1980: 205-243.\u00a0\u041f\u043e\u044d\u0442\u0438\u043a\u0430 \u0432\u044b\u0440\u0430\u0437\u0438\u0442\u0435\u043b\u044c\u043d\u043e\u0441\u0442\u0438<\/a>. \u0421\u0431\u043e\u0440\u043d\u0438\u043a \u0441\u0442\u0430\u0442\u0435\u0439<\/em>. (Wiener Slawistischer Almanach.\u00a0<\/em>Sonderband 2), Vienna.<\/p>\n\n\n\n<\/div>\n\n\n <\/div><\/div>\n","protected":false},"excerpt":{"rendered":"","protected":false},"author":355,"featured_media":0,"parent":0,"menu_order":0,"comment_status":"closed","ping_status":"closed","template":"","meta":{"_acf_changed":false,"footnotes":""},"class_list":["post-477","page","type-page","status-publish","hentry"],"acf":[],"yoast_head":"\nTHE 'SINISTER' IN THE POETIC WORLD OF PASTERNAK - Alexander Zholkovsky<\/title>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/dornsife.usc.edu\/alexander-zholkovsky\/bib43\/\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"THE 'SINISTER' IN THE POETIC WORLD OF PASTERNAK - Alexander Zholkovsky\" \/>\n<meta property=\"og:url\" content=\"https:\/\/dornsife.usc.edu\/alexander-zholkovsky\/bib43\/\" \/>\n<meta property=\"og:site_name\" content=\"Alexander Zholkovsky\" \/>\n<meta property=\"article:modified_time\" content=\"2023-10-09T16:29:04+00:00\" \/>\n<meta name=\"twitter:card\" content=\"summary_large_image\" \/>\n<script type=\"application\/ld+json\" class=\"yoast-schema-graph\">{\"@context\":\"https:\/\/schema.org\",\"@graph\":[{\"@type\":\"WebPage\",\"@id\":\"https:\/\/dornsife.usc.edu\/alexander-zholkovsky\/bib43\/\",\"url\":\"https:\/\/dornsife.usc.edu\/alexander-zholkovsky\/bib43\/\",\"name\":\"THE 'SINISTER' IN THE POETIC WORLD OF PASTERNAK - 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