Skip to main content

Of Love and War


Maybe it is just me, but I found an intriguing resonance between Pasternak's Doctor Zhivago and Hemingway's A Farewell to Arms.  Doesn't seem much has been written on this possible connection, but the "love stories" are very similar and they are both set during World War I.

Hemingway's book preceded Pasternak's book by more than two decades, but no doubt Pasternak had long envisioned Zhivago.  Yury, like Hemingway's Frederic Henry, was a very strong part of himself.  You can read alot about the authors in both works.  Both opt for a very visceral style of writing, as they bring the reader into the war and force him to gain an understanding of the consequences.  Both were expatriates in their own ways.  Zhivago saw the Russia he knew reduced to ruin with the never-ending scramble for firewood to keep the stove going.


Frederic Henry, or Tenente, is an American expatriate who finds himself enveloped in WWI on the Western Front.  Although he comes from much more simple means, Henry has adopted a similar cynical view of war, no longer capable of understanding the reasons, and ever more appalled by the death toll.  At first he seeks comfort and then love in Catherine Barkley, a British volunteer nurse, with a much fuller realization of their romance in the second half of the novel.

The big difference between the two novels is the scope of the respective works.  Pasternak is much more complex.  He takes on the full width and breadth of Russia during the tumultuous civil war that followed, where Hemingway increasingly turns inward, treating Europe more as "battle fronts," with the romance between Frederic and Catherine taking center stage.  Yet, both end on very similar notes, leaving both characters with an abject emptiness.  Frederic's is made more poignant by the death of Catherine, whereas Zhivago consciously gives Lara up.

Hard to say whether Hemingway would have had any influence on Pasternak.  He was probably more drawn to the stories of Isaac Babel and other Russian writers who chronicled World War I.  But, it is fascinating how two well known writers could come up with similar stories of "The Great War."

Comments

Popular posts from this blog

Ward No. 6

Ward No. 6 is a short story written by Chekhov in 1892.  It has appeared in various collections of Chekhov short stories, including The Horse-Stealers and Other Stories translated by Constance Garnett in 1921.  In this story, Chekhov explores the inner working of a run-down lunatic asylum in a provincial town.  He  introduces the readers to a coarse porter who speaks mostly with his fists, various patients, a doctor who presides over this ward, and expresses his thoughts with a local postmaster.  It was recently made into a movie , featuring Vladimir Ilyin.  Here's a clip . There's also this very recent short film (30 min.) by Suzana Purkovic, with English subtitles.

Light and Dark

I'm still trying to sort out the ending.  The story had to end tragically but was surprised that Rogozhin actually sought forgiveness in Myshkin after what he had done to Nastya, although I think that Dostoevsky intended the two to be read as one, along similar lines as The Double .  He kept Rogozhin a shadowy figure throughout the novel, ever lurking in the dark of the Prince's soul.  Try as he might, Prince Myshkin could not alter events and thus the fantasy world he had lived in upon returning to Russia crumbled before his eyes, leaving him at a total loss as how to reconcile himself with it. Once again, Dostoevsky plumbs great depths of the human soul.  This is a psychological drama told in theatrical terms, perfectly suited for the stage.  Characters appear and disappear as if moving from the shadows of the stage.  I can see the "green bench" as the central stage piece.  In the final part, one gets the sense that Lebedev is orchestrating event...

The Morning of Our Motherland

I was watching a History channel special on Socialist Realism art of the Soviet Union and this was one of the grand canvases that is now stuffed away in the Tretyakov State Gallery .  The painter was Fyodor Shurpin and he had a wonderful eye for detail, right down to the secret service black car on the road to Stalin's right.  To the left, one sees a row of combines turning over the field of golden wheat, which became symbolic of Stalin's Soviet Union.  Утро нашей Родины is from 1949, with Stalin radiating a post-war confidence.  It is also known as  Dawn of our Fatherland and other titles. Shurpin was one of the better artists to carry over from the pre-war years.  The narrator pointed out how socialist realist art changed dramatically as a result of the war, becoming much more static and propagandist in appearance.  He pointed to two stops along the Moscow subway as an example of this divide.  Here, Shurpin essentially transposes Stalin fo...