Although Boris Pasternak’s novel Doctor Zhivago presents many political and intellectual ideals which, though revolutionary at the time of its printing, are not so extraordinary now, the novel is a testament to the triumph of the individual and the hopeful message that living, above anything else, is the point of life—themes prevalent in novels and stories today.
Thus, for writers of fiction, the novel should be examined within the contemporary literary context: first, as a study of the evolution of fictional writing style and second, as a discussion of art’s achievement of purpose and message.
Stylistic Differences in Doctor Zhivago
In his introduction, John Bayley, British literary critic, professor, and writer, claims the paradox between the solipsism of the main character and the communal aspect of the novel is the crux to Pasternak’s style. That style, which is also rooted in the fairytale folklore of Russia, is further influenced by Pasternak’s background as a poet.
In this way, Pasternak creates a world that is both realistic and highly imaginary, a world of political turmoil and social unrest that constantly changes and distorts. For the duration of the novel, this continual cycle of change is likened to the poetic symbolism of change, which, for Zhivago, is the great beauty of life and, communally, is either highly disturbing or something to be conquered and controlled.
In terms of style, the poetic presentation of life from the sometimes solipsistic point of view of Zhivago is the more contemporary stylistic choice. But for his poeticism and divided attention between themes of fairytale folklore and actuality, Pasternak is not quite at the modern standards. His description of the love between Zhivago and Lara, for instance, is, comparatively, unspecific, contrived, and unrealistic.
Is It Really Love?
For Bayley, this love defies the conformity preached by the emerging Soviet regime: “Pasternak is speaking out against a world that implicitly denies such love, or merely allots it a place in the ideological system, whereas the vision of the novel embraces the paradox that by being so wholly solipsistic such a love is wholly communal as well” (xvi).
And yet that love, which emerges over several chance encounters and finally blossoms when coincidence brings the two characters together for the second half of the novel, seems to be built only on a complementary poetic understanding: “But to them—and this made them exceptional—the moments when passion visited their doomed human existence like a breath of eternity were moments of revelation, of continually new discoveries about themselves and life” (Pasternak 395).
This poetic love supersedes their pitiful existence and retains the intimacy of their concern for one another; but, as Pasternak describes it, that love is an endangered kind of love and, eventually, the wolves of communism’s dark forest destroy it.
Zhivago's Artistic Purpose
With these stylistic differences, the novel may also be examined in terms of artistic purpose. According to Bayley, the novel is unconcerned with the reaction of the audience and instead seeks to exist for its own sake. Doctor Zhivago’s concern with life and love, topics directly influenced by Pasternak’s own experiences, are, truthfully, not conveyed in a modern style, but, as a writer, Pasternak is concerned with dispensing a message through his art and that concern, whether or not it is to achieve a solipsistic or universal purpose, is a self-conscious act which deserves a reaction.
The achievement of a reaction, whether it is primarily focused toward a specific group, in defiance of a political ideal or emerging consciousness, or even if it is intended solely for its author, is not just a modern concern—it is the purpose of all creative work.
References:
Pasternak, Boris. Doctor Zhivago. Pantheon Books: New York, 1997.
Bayley, John. Introduction. Doctor Zhivago. Pantheon Books: New York, 1991.
