{"id":31210,"date":"2013-01-18T14:59:57","date_gmt":"2013-01-18T19:59:57","guid":{"rendered":"http:\/\/fryeblog.blog.lib.mcmaster.ca\/?p=31210"},"modified":"2013-01-18T14:59:57","modified_gmt":"2013-01-18T19:59:57","slug":"frye-scoop-on-pasternaks-doctor-zhivago","status":"publish","type":"post","link":"https:\/\/macblog.mcmaster.ca\/fryeblog\/2013\/01\/18\/frye-scoop-on-pasternaks-doctor-zhivago\/","title":{"rendered":"Frye Scoop: On Pasternak’s Doctor Zhivago"},"content":{"rendered":"

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

The following review by Frye, overlooked for the Collected Works, appeared under the \u201cTurning New Leaves\u201d column of the Canadian Forum 38 (December 1958): 206\u20137.\u00a0 Frye reviews Boris Pasternak\u2019s <\/strong><\/em>Doctor Zhivago<\/strong>, trans. Max Hayward and Mania Harari (London: Collins and Harvill Press).<\/strong><\/em><\/p>\n

Reading this book is quite an experience; reviewing it, for one who knows no Russian, is an exercise in frustration. \u00a0It is abundantly clear that it is more of an epic poem than a novel. \u00a0The two main attributes of the conven\u00adtional novel, vitality of character drawing and logicality of plot, are hardly present at all. \u00a0The story is a series of detached episodes connected by the most preposterous coincidences. \u00a0Characters wander in and out, or die and come back to life under other names. Only the incidental char\u00adacters are described with much vividness, while the main figures loom up as cloudily as the heroes of Ossian. \u00a0But all the time we are aware that some different principle of unity is holding the book together, a principle based, as in most poetry, on the imagery, and on the symbolic values attached to that imagery. \u00a0It is not the picture of the revolution and civil war that organizes the narrative; it is the meaning that the author gives to such figures as the caryatids on a building, to iced rowanberries and lilacs, to the weeping face of the heroine Lara, to a waterfall that is associated with the dragon of a knight-errant romance, to the Siberian forest and its wolves, to the incessant references to the festivals of the Church, especially Christmas and Easter. \u00a0The author himself says that his hero was a poet interested in the tech\u00adniques of symbolisme, <\/em>because it is based on the principle \u201cthat communion between mortals is immortal, and that the whole of life is symbolic because the whole of it has meaning.\u201d \u00a0A series of poems at the end, supposedly by Zhivago, provide the symbolic keys to the story. \u00a0But nobody can unravel this kind of writing except in the original language. \u00a0The translators do their best, but candidly admit that their translation has been done in a hurry and that it makes no attempt to give much more than the general sense. \u00a0What follows is consequently very tentative, and is designed only to encourage others to read the book for themselves.<\/p>\n

The story itself is simple enough. \u00a0Yury Zhivago, whose father\u2019s suicide starts the book off, is brought up in Czarist Russia and studies medicine. \u00a0He is also a poet, but does not regard poetry as a profession. \u00a0Drafted as a medical officer in the First World War, he sees the revolution bring unparalleled social chaos to Moscow, where he lives, and sets out with his wife and family to a village in the Urals. \u00a0There he manages, through the charity of an old friend, to live on the land for a while, though his emotional life is complicated by the reappearance of a girl he had known from childhood, Lara, now married to a non-party revolu\u00adtionary whose new name is Strelnikov. \u00a0In the civil war Zhivago is kidnapped by the Reds because of his medical knowledge, and spends some years with the partisans in incredible hardship and misery, while his family make their way back to Moscow, whence they are exiled from the country. \u00a0Released at last, Zhivago goes back to the Ural village and has a brief and beleaguered affair with Lara, until it becomes obvious that Lara and her husband are next on the shooting list. \u00a0A middle-age rou\u00e9 named Komarovsky, who had debauched Lara in her youth and who is one of those greased eels that can wriggle through any society, communist or bourgeois, takes Lara off to the \u201cFar Eastern Republic\u201d in East Siberia, while Strelnikov shoots himself and Zhivago goes back to Moscow, a broken man. \u00a0Zhivago dies of a heart attack in a Moscow street car, and Lara, back from the Far East, disappears into \u201cone of the in\u00adnumerable mixed or women\u2019s concentration camps in the north.\u201d \u00a0An epilogue, dated during the Second World War, says that \u201ca <\/em>presage of freedom was in the air throughout these post-war years, and it was their only historical meaning.\u201d \u00a0Thus the book ends in a mood of serenity and hope. \u00a0We, of course, know that it has a second epilogue.<\/p>\n

Doctor Zhivago <\/em>is not <\/em>by any means an anti-Red polemic, and it is only the terrified Soviet bureaucrats who have made it one. \u00a0In this country, where it is assumed that it is part of the job of a serious novelist to make serious criticisms of his society; it would hardly have raised a ripple or real controversy. \u00a0Zhivago was, like Pasternak himself, a grown man when the revolution began, and hence feels detached from the struggle to the extent of not accepting the official version of it as a crude melodrama of heroes and villains. \u00a0\u201cIt\u2019s only in bad novels,\u201d the author remarks, \u201cthat people are divided into two camps and have nothing to do with each other. \u00a0In real life everything gets mixed up.\u201d \u00a0But he makes it clear that however brutal and savage the Reds were, the Whites were far worse, as, like all Fascists, they added <\/em>sexual sadism to ordinary brutality. \u00a0Pasternak merely says what the communists themselves would say, in other and more carefully controlled contexts, that the real revolution, the bringing of freedom and equality to man, has not yet begun. \u00a0Also, like Tolstoy and Dostoevsky before him, though in a way quite different from either, he is comparing the Russian society of his time with the vision of life set out in the Christian Gospel.<\/p>\n

<\/p>\n

The conception which animates the whole book is outlined by an unfrocked priest at the beginning and repeated by other characters, including Zhivago himself, at intervals. \u00a0Up to the time of Christ, says the ex-priest, we have peoples with their gods, or man in a state of nature, where the individual is of little value in himself, and tyranny is the natural order of things, there being no suspicion that \u201cany man who enslaves others is inevitably second-rate.\u201d \u00a0Christ abolished both gods and peoples by putting the individual life in the centre of reality, and making love of one\u2019s neighbor, free personality and the sacrificial life primary facts. \u00a0As this recreated the true form of society as well as of the individual, it brought man from a state of nature into a state of history, for history really starts with Christ. \u00a0Judaism, with its emphasis on a people and its god, rejects this principle, and the Russian Revolution has so far followed Judaism rather than Christianity.<\/p>\n

The revolution began with a breathless moment like that of the Incarnation itself. \u00a0\u201cOnly real greatness,\u201d says the hero of the revolution, \u201ccan be so misplaced and so untimely.\u201d \u00a0But it soon becomes clear that the professionals who organized the revolution can only function in a state of revolution. \u00a0Revolution is the opiate of the bureaucrat, and it soon enters the \u201csecond stage\u201d in which the spirit of narrowness which led to the upheaval is worshipped as “holy.\u201d\u00a0 There must be constant purges and massacres, constant setting up of imaginary enemies, and falsehood becomes a way of life. \u00a0With a few deft touches Pasternak indicates the development of a new pseudo-morality. \u00a0When Zhivago, as a partisan conscript, reproaches his captain, who has become a dope addict, with embezzling his medical supply of cocaine, the captain instantly retorts with: \u201cYou cut the study circle again last night. \u00a0You have an atrophied social sense, just like an illiterate peasant woman or an inveterate bourgeois.\u201d \u00a0Zhivago is sickened by having his brain-washed friends tell him how much better they feel, and sees that men who are not free \u201calways idealize their bondage.\u201d \u00a0And he himself, when he realizes he has heart disease, notes that heart disease is often caused by the mental strain of living with so much lying.<\/p>\n

Christianity as Pasternak conceives it is not just a creed or an institution: religion, like revolution, also has a \u201csecond stage,\u201d which emphasizes the least important things.\u00a0 One can believe that history begins with Christ and still be an atheist, for the more abundant life that Christ brought can be conceived in purely secular terms, as a service to society that continues to live after death. \u00a0Marxism is a betrayal of Christ\u2019s view of man, not because it is atheistic, but because it has forsaken the concrete for the abstract. \u00a0The really material things, food, shelter, love, art and society, have been replaced by an abstract parody of them. \u00a0\u201cIn those days of the <\/em>triumph of materialism, matter had become an abstract notion, and food and firewood were replaced by problems of alimentation and fuel supply.\u201d \u00a0The gods may have gone, but the myths of power which were the real forms of those gods still remain. \u00a0\u201cOrdinarily, people are anxious to test their theories in practice, to learn from experience, but those who wield power are so anxious to establish the myth of their own infallibility that they turn their backs on truth.\u201d \u00a0Zhivago being a poet as well as a doctor, he sees how revolutionaries turn to the kind of rhetorical jargon which is diseased language, a sort of verbal cancer, and is an infallible sign of a diseased society. \u00a0\u201cInstead of being natural and spontaneous as we had always been, we began to be idiotically pompous with each other.\u00a0 Something showy, artificial, forced, crept into our conversation.\u201d\u00a0 The novel begins with the suicide of Zhivago\u2019s father, who was apparently what the Russians call an obyvatel<\/em>, a detached observer of society, driven to despair by the sense of his own sterility. \u00a0Zhivago\u2019s own death was not a suicide, but it helped to establish the fact that there is still a proletariat in Russia, in the Marxist sense of a group excluded from the benefits of society, and that this new proletariat is the group of those who can think and observe independently.<\/p>\n

But although Christ delivered man from the state of nature, a genuinely free and creative human existence does not repudiate nature, but recovers its real relation to it.\u00a0 This is the point at which Pasternak\u2019s symbolism takes over, and at which the non-Russian reader feels his deficiencies sharply. \u00a0Evidently Pasternak thinks of man and nature as forming a common organism, in which the immortality of man is one with the death and rebirth of nature. \u00a0A good deal is made of Zhivago\u2019s interest in camouflage, or the way organism absorbs itself into its environment. \u00a0The farfetched coincidences in the plot, and the way in which so many of the characters disappear and return to life, are deliberately adopted as part of the book\u2019s convention, and seem to suggest that the human and historical counterpart of evolution is a kind of invisible providence, a larger design of which the individual is largely unconscious. \u00a0The containing form of this providence, and of the whole novel, is the ancient myth of the virgin-eating dragon killed by a hero who, in the original form of the myth, also dies. The poem which deals with this myth is translated twice at the end of <\/em>the book, and the myth itself is given in a realistic form in the epilogue, in the story of Zhivago\u2019s daughter. \u00a0\u00a0This daughter, along with Zhivago\u2019s mysterious half-Mongol brother Yevgraf, who seems to be invulnerable to purges and takes her under his protection at the end of the book, represents the continuing power of renewed life which will succeed the mutual sleep of the hero, his bride, and the dragon of chaos and terror.<\/p>\n

Doctor Zhivago <\/em>is a deeply impressive and moving novel in translation, and it may well be a very great one. \u00a0A novel derives its social <\/em>significance only from the resistance it happens to meet, and the fact that this book is banned in Russia and vociferously denounced by officials who have presumably not read it, has given it an extraneous and topical importance. \u00a0Its fate is typical, not exceptional, for the Soviet record in literature is a miserable one, with so many of their really first-rate writers having disappeared in purges or been driven to suicide or exile. \u00a0The functionaries of the Soviet Union could get the sputniks into the air, but cannot endure to be told that they are not meeting the ethical standards of the New Testament. \u00a0It is possible that their failure in the latter area may turn out to be more important, even historically, than their success in the former one.<\/p>\n","protected":false},"excerpt":{"rendered":"

The following review by Frye, overlooked for the Collected Works, appeared under the \u201cTurning New Leaves\u201d column of the Canadian Forum 38 (December 1958): 206\u20137.\u00a0 Frye reviews Boris Pasternak\u2019s Doctor Zhivago, trans. Max Hayward and Mania Harari (London: Collins and Harvill Press). Reading this book is quite an experience; reviewing it, for one who knows […]<\/p>\n","protected":false},"author":24,"featured_media":0,"comment_status":"open","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"_monsterinsights_skip_tracking":false,"_monsterinsights_sitenote_active":false,"_monsterinsights_sitenote_note":"","_monsterinsights_sitenote_category":0,"_jetpack_memberships_contains_paid_content":false,"footnotes":"","_links_to":"","_links_to_target":""},"categories":[1],"tags":[],"class_list":["post-31210","post","type-post","status-publish","format-standard","hentry","category-uncategorized"],"yoast_head":"\nFrye Scoop: On Pasternak's Doctor Zhivago - The Educated Imagination<\/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:\/\/macblog.mcmaster.ca\/fryeblog\/2013\/01\/18\/frye-scoop-on-pasternaks-doctor-zhivago\/\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Frye Scoop: On Pasternak's Doctor Zhivago - The Educated Imagination\" \/>\n<meta property=\"og:description\" content=\"The following review by Frye, overlooked for the Collected Works, appeared under the \u201cTurning New Leaves\u201d column of the Canadian Forum 38 (December 1958): 206\u20137.\u00a0 Frye reviews Boris Pasternak\u2019s Doctor Zhivago, trans. 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