言情 》 日瓦戈医生 Doctor Zhivago 》
第一章-1
帕斯捷尔纳克 Boris Pasternak
大卫．里恩导演的史诗式战争文艺巨片，改编自苏联作家鲍利斯彼斯特纳克的诺贝文学奖作品，描写理想主义者的医生日瓦戈和热情奔放的护士娜拉之间的爱情故事。剧情曲折，壮丽的北国风光和动荡的革命背景亦增强了影片的可看性。奥玛．沙里夫饰汪日瓦戈，他从小被唐雅的父母收养长大后就娶了唐雅为妻。但是在第一次世界大战期间，日瓦戈认识了裁缝漂亮的女儿娜拉，两人坠入爱河时却碰上十月革命发生而被逼分离。日瓦戈回到旧地与妻子团聚时，却意外与娜拉重逢，压抑多时的热情遂一发不可收拾。当日瓦戈被红军俘虏押往前线，他为了见娜拉而冒险逃出，但结果还是不免分手的命运。茱莉．克丽丝蒂与杰拉尔丁．查普林分饰主角的情人与妻子，表现出各自的擅长。
第一章-1
他们走着，不停地走，一面唱着《永志不忘》，歌声休止的时候，人们的脚步、马蹄和微风仿佛接替着唱起这支哀悼的歌。行人给送葬的队伍让开了路，数着花圈，画着十字。一些好奇的便加入到行列里去，打听道：“给谁送殡啊？”回答是：“日瓦戈。”“原来是他。那就清楚了。”“不是他，是他女人。”“反正一样，都是上天的安排。丧事办得真阔气。”
剩下不多的最后这点时间也无可挽回地流逝了。“上帝的土地和主的意志，天地宇宙和苦苦众生。”神甫一边念诵，一边随着画十字的动作往玛丽亚·尼古拉耶夫娜的遗体上撒了一小把土。人们唱起《义人之魂》，接着便忙碌起来，合上棺盖，把它钉牢，然后放人墓穴。四把铁锹飞快地填着墓坑，泥土像雨点似的落下去。坟上堆起了一个土丘。一个十岁的男孩踏了上去。
在隆重的葬礼将要结束的时候，人们往往有一种迟钝和恍您的感觉。正是在这种情况下，大家觉得这个男孩似乎要在母亲的坟上说几句话。
这孩子扬起头，从高处先神地向萧瑟的荒野和修道院的尖顶扫了一眼。他那长着翘鼻子的脸顿时变得很难看，脖颈直伸着。如果一头狼意也这样仰起头来，谁都知道它马上就要嚎叫。孩子用双手捂住脸，失声痛哭起来。迎面飞来的一片乌云洒下阴冷的急雨，仿佛用一条条湿源源的鞭子抽打他的手和脸。一个身着黑衣、窄袖上镶了一圈皱壁的人走到坟前。这是死者的兄弟、正在哭泣的孩子的舅父，名叫尼古拉·尼古拉耶维奇·韦杰尼亚平，是个自愿还俗的神甫。他走到孩子跟前，把他从墓地领走了。
他们过夜的地方是修道院里的一间内室，这是靠着过去的老关系才给舅舅腾出来的。正值圣母节的前夕。明天，这孩子就要和舅舅到南方一个很远的地方、伏尔加河畔的一个省城去。尼古拉神甫在当地一家办过进步报纸的书局里供职。火车票已经买好，单间居室里放着捆扎停当的行李。从邻近的车站那边，随风传来远处正在调车的火车头如泣如诉的汽笛声。
到了晚上，天气骤然变冷了。两扇挨近地面的窗户，朝向周围种着黄刺槐的不值得观赏的一角菜园，对着大路上一个结了冰的水洼和白天埋葬了玛丽亚·尼古拉耶夫娜的那片墓地。除了几畦冻得萎缩发青的白菜以外，园子里空空荡荡。一阵风吹来，一丛丛落了叶的刺槐便发疯似的晃来晃去，向路边俯去。
夜里，敲窗声惊醒了尤拉。幽暗的单间居室不可思议地被一道晃动的白光照得很亮。尤拉只穿一件衬衣跑到窗前，把脸贴在冰冷的玻璃上。
窗外看不见道路，也看不到墓地和菜园。风雪在院子里咆哮，空中扬起一片雪尘。可以这样想象，仿佛是暴风雪发现了尤拉，并且也意识到自己的可怕的力量，于是就尽情地欣赏给这孩子造成的印象。风在呼啸、哀嚎，想尽一切办法引起尤拉的注意。雪仿佛是一匹白色的织锦，从天上接连不断地旋转着飘落下来，有如一件件尸衣覆盖在大地上。这时，存在的只有一个无与匹敌的暴风雪的世界。
尤拉从窗台上爬下来，头一个念头就是要穿好衣服到外面去干点什么。他担心修道院的白菜被雪埋住，挖不出来；他害怕风雪在荒野里湮没了母亲，而她无力抗拒，只能离他更远、更深地沉睡在地下。
结果仍然只是流泪。舅舅醒了，给他讲的故事，安慰他，后来打了一个呵欠，踱到窗前，沉思起来。他们开始穿衣服。天色渐渐发白。
母亲在世的时候，尤拉还不知道父亲早就遗弃了他们，一个人在西伯利亚的各个城市和国外寻欢作乐，眠花宿柳，万贯家财像流水一般被他挥霍一空。尤拉常听人说，父亲有时住在彼得堡，有时出现在某个集镇，但经常是在伊尔比特集市上。
后来，病魔缠身的母亲又染上了肺疾。她开始到法国南方和意大利北部去治疗，尤拉曾经陪她去过两次。就这样，在动荡不定的环境中，在一连串哑谜似的事件中，在常常变换的陌生人的照料下，尤拉度过了童年。他已经习惯于这些变化，而在无止境的不安定的情况下，父亲不在身边也就不使他感到奇怪了。
当初那个时代，许多风马牛不相及的东西都要冠上他家的姓氏，不过那时他还是个很小的孩子呢。
有过日瓦戈作坊，日瓦戈银行，日瓦戈公寓大楼，日瓦戈式领结和领带别针，甚至有一种用甜酒浸过的圆点心就叫日瓦戈甜饼。另外，无论在莫斯科的哪条街上，只要朝车夫喊一声：“到日瓦戈公馆！”那就等于说：“到最远的地方去！”小雪橇就会把您送到一个很远的地点。在您周围是一处幽静的园林。落在低垂的云杉枝权上的乌鸦，扑撒下树上的寒霜。它们“叭、叭”的联噪，仿佛干枝爆裂时的脆响，传送到四面八方。几条纯种猎狗从林间小径后面的几幢新房子中间跑出来，越过了大路。它们跑来的那个方向，已经亮起了灯火。夜幕降临了。
突然间这一切都烟消云散了。他们家破了产。
一九O三年的夏天，尤拉和舅舅并排坐在一辆四轮马车上，顺着田野驶向纺丝厂主、知名的艺术赞助者科洛格里沃夫的领地杜普梁卡，去拜访教育家兼普及读物作家伊万·伊万诺维奇·沃斯科博伊尼科夫。
正赶上喀山圣母节，也是收割大忙的时候。可能恰好是吃午饭的时间，或者也许是因为过节，田野里不见一个人影。阳光暴晒下还没有收割完的庄稼地，就像是犯人剃了一半头发的后脑勺。小鸟在田野上空盘旋。没有～丝风，地里的小麦秆挺立着，垂下麦穗。离大路远些的地方堆起了麦垛，如果长时间地凝望过去，它们就像是些活动的人形，似乎是丈量土地的人沿着地平线边走边往本子上记什么。
“这一片地呢？”尼古拉·尼古拉耶维奇向书局的杂役兼门房帕维尔问道；帕维尔斜身坐在驭者的位置上，拱着腰，一条腿搭在另一条腿上，这就表明他不是真正的车夫，赶车并非他分内的事。“这片地是地主的还是农民的？”
“这一片是老爷们的。”帕维尔一边答话，一边点着了烟，“那边的一片，”他用力吸了一口，烟头闪出了红火，停了半晌才用鞭梢指着另一边说，“才是农民的哪。驾！又睡着了？”他不时地朝马这么险喝，又不住地斜眼看看马背和马尾，仿佛火车司机不停地看气压表。
这两匹牲口也和天下所有拉车的马一个样，辕马天生憨厚，老实地跑着，拉边套的马不知为什么却像个十足的懒汉。
尼古拉·尼古拉耶维奇带来了沃斯科博伊尼科夫写的一本论述土地问题的书的校样。因为书刊审查制度越来越严，书局要求作者重新审阅一遍。
“乡下的老百姓造反了。”尼古拉·尼古拉耶维奇说，“潘科夫斯克乡里杀了个做买卖的人，烧了地方自治局的种马场。对这类事，你怎么看？你们乡里的人怎么说？”
帕维尔的看法原来比一心想打消沃斯科博伊尼科夫对土地问题的热情的书刊审查官还要悲观。
“他们怎么说？对老百姓太放纵了，宠坏了，就是这么说的。对待我们这些人能这样吗？要是由着农民的性子，他们会自己互相卡脖子，我敢向上帝发誓。驾！又睡啦？”
这是舅舅和外甥第二次到社普梁卡去。尤拉还以为记得这条路。每当田野向两旁远远地延伸开去，前后～望仿佛被树林镶上一条细边的时候，他觉得马上就能认出那个地方，从那儿起大路应该朝右转，拐过弯去，科洛格里沃夫庄园的全景就会展现在眼前，还有那条在远处闪闪发亮的河以及对岸的铁路，不过这一切很快又会从视野中消失。可是，每次他都认错了。田野接连不断，四周是一片又一片的树林。不断变换的一片片田野令人心旷神怡，情不自禁地产生出幻想并思考未来的渴望。
使尼古拉·尼古拉耶维奇日后成名之作，那时连一本也没有写出来，不过他的想法已臻成熟。他还不知道，造就他的时势已经迫近了。
这个人必将跻身于当代作家、教授和哲学家的行列并将崭露头角。他思索的是他们所考虑的所有命题，但是除了那些通用的术语外，他同他们通然不同。那些人都抱残守缺地信奉某些教条，满足于咬文嚼字，不求甚解。然而尼古拉神甫担任过神职，体验过托尔斯泰主义和，并且不停地继续探索。他热心追求的思想，应该是可以鼓舞人的东西，在前进中如实地指明种种木同的道路，能使世间的一切趋于完善；它有如横空的闪电或滚滚的雷鸣，即便是黄口小儿和目不识丁的人都可闻可见。他渴求的是崭新的观念。
和舅父在一起，尤拉觉得非常愉快。舅舅很像妈妈，同她一样，也是个崇尚自由的人，对自己不习惯的东西不抱任何成见。他像她一样，怀着同一切人平等相处的高尚感情。他也像她一样，对一切事一眼就能看穿，并且善于用最初想到的方式表达自己的思想。
尤拉很高兴舅舅带他到杜普梁卡去。那是个很美的地方，它的景色会让他记起酷爱大自然、常常带他一同散步的妈妈。另外使尤拉高兴的是，又可以和寄居在沃斯科博伊尼科夫家里的一个名叫尼卡·杜多罗夫的中学生见面。尤拉觉得尼卡可能看不起他，因为比他大两岁，每次问好的时候，尼卡总是握住手用力往下拉，头垂得很低，头发披下来遮住前额，挡住了半边面孔。
“赤贫问题之关键——”尼古拉·尼古拉耶维奇读着修改过的手稿。
“我认为最好改用‘实质’。”伊万·伊万诺维奇边说边在校样上作必要的改动。
他们是在一个带玻璃棚的昏暗的凉台上工作的。眼睛还可以分辨出地上乱放着的喷水壶和园艺工具。一把破椅子的靠背上搭了一件雨衣。墙角立着一双沾了干泥巴的沼泽地用的水靴，靴筒弯到地上。
“同时，死亡与出生的统计也表明——”尼古拉·尼古拉耶维奇口授着说。
“应该加上统计年度。”伊万·伊万诺维奇边说边写了下来。
凉台上透风。小册子的书页上压着花岗石块，免得让风掀起来。
修改结束以后，尼古拉·尼古拉耶维奇忙着要回家。
“要有雷阵雨，该回去了。”
“没有的事，我不放你走。我们这就喝茶。”
“天黑以前我必须赶回城里去。”
“说什么也没用，我不管你这些。”
从房前小花园里刮进茶炊的煤烟子味，冲淡了烟草和茉莉花的味道。仆人们正把熟奶油、浆果和奶渣饼从厢房端过去。这时候又听说帕维尔已经到河里去洗澡，把马也牵去了。尼古拉·尼古拉耶维奇只好答应留下来。
“趁着准备茶点的工夫，咱们到悬崖上去看看，在那儿的长凳上坐会儿。”伊万·伊万诺维奇提议。
因为是多年的至交，伊万·伊万诺维奇便占用了家资富有的科洛格里沃夫的管家住的两间厢房。这幢小屋子和屋前的花圃，坐落在大花园的一个阴暗、荒芜的角落里，门前是一条半圆形的旧林明路。林阴路杂草丛生，如今已经没有往来的车辆，只有垃圾车经过这里往堆放干垃圾的一条沟谷里倒立和废弃的砖石料。科洛格里沃夫是个既有进步思想又同情的百万富翁，目前正和妻子在国外旅行。住在庄园里的只有他的两个女儿娜佳和莉帕，还有一位家庭女教师和为数不多的仆人。
生机盎然的黑绣球花长成一道稠密的篱笆，把管家的小院同整个花园、池塘、草地和老爷的住宅隔开。伊万·伊万诺维奇和尼古拉·尼古拉耶维奇从外面沿着这道开满鲜花的篱笆走着，每走过同样距离的一段路，前方绣球花丛里就有数量相同的一群麻雀飞出来，使这道篱笆荡起一片和谐的惆嗽声，仿佛在尼古拉·尼古拉耶维奇和伊万·伊万诺维奇前面有一条流水淙淙的管道似的。
他们走过暖房、园丁的住房和一座不知道做什么用的石头建筑物的废墟。
“有才能的人并不少。”尼古拉·尼古拉耶维奇说道，“不过，目前盛行各式各样的小组和社团。任何一种组织起来的形式都是庸才的栖身之地，无论他信奉的是索洛维约夫，是康德，还是马克思。寻求真理的只能是独自探索的人，和那些并不真正热爱真理的人毫不相干。世界上难道真有什么值得信仰的吗？这样的事物简直是凤毛群角。我认为应该忠于不朽，这是对生命的另一个更强有力的称呼。要保持对不朽的忠诚，必须忠于！啊，您又皱眉头了，可怜的人。您还是什么也没有听懂。”
“嗯。”伊万·伊万诺维奇支吾了一声。淡黄色的细馨发和两络翘起的胡须使他很像个林肯时代的美国人（他不时地把胡子捻成一缕，用嘴唇去够它的两端）。“我当然不会表示意见。您也知道，对这类事我的看法完全不同。对了，顺便问一下，能不能告诉我您是怎么被免去教职的。我早就想问问。是不是胆怯了？革出教门了吗？”
“您不必把话扯开。就是革出教门又怎么样？别说啦，已经用不着再诅咒这些了。总之，是摊上了几件晦气的事，到现在还受影响呢。比方说，相当长的时期内不得担任公职，不允许到京城去。不过这些都无所谓。还是言归正传吧。方才我说过，要忠于。现在就来讲讲这个道理。您还不懂得，一个人可以是无神论者，可以不必了解上帝是否存在和为什么要存在，不过却要知道，人不是生活在自然界，而是生存于历史之中。接照当前的理解，历史是从开始的，一部《新约》就是根据。那么历史又是什么？历史就是要确定世世代代关于死亡之谜的解释以及如何战胜它的探索。为了这个，人类才发现了数学上的无限大和电磁波，写出了交响乐。缺乏一定的热情是无法朝着这个方向前进的。为了有所发现，需要精神准备，它的内容已经包括在福音书里。首先，这就是对亲人的爱，也是生命力的最高表现形式，它充满人心，不断寻求着出路和消耗。其次，就是作为一个现代人必不可少的两个组成部分：个性自由和视生命为牺牲的观点。请注意，这是迄今为止最新颖的观点。在这个意义上，远古是没有历史的。那时，只有被天花弄成麻脸的罗马暴君所干出的卑鄙的血腥勾当，他丝毫也意识不到每个奴役者都是何等的蠢材。那时，只有被青铜纪念碑和大理石圆柱所夸大的僵死的永恒。只是降生之后，时代和人类才自由地舒了一口气。只是在他以后，后代人的身上才开始有了生命，人不再死于路旁沟边，而是终老于自己的历史之中，死于为了战胜死亡而从事的火热的劳作之中，死在自己为之献身的这个主要任务之中。唉，俗话说得真不错，讲的人大汗淋漓，听的人一窍不通！”
“这是玄学，我的老兄。医生禁止我谈玄学，我的胃口也消受不了。”
“让上帝保佑您吧。算了，您不愧是个幸运儿！这儿的景色真美，简直叫人看不够！身在福中不知福，住在这儿的人反而感觉不到。”
往河面上看去，令人目眩。河水在阳光下起伏不停地流着，如同整块的铁板，突然间又皱起一条条波纹。一条满载着马匹、大车、农夫和农妇的渡船，从这边向对岸驶去。
“想不到刚过五点钟。”伊万·伊万诺维奇说道，“您瞧，那是从塞兰兹开来的快车，总在五点零几分从这儿经过。”
在平原的远处，一列明显的黄蓝颜色的火车从右向左开去。因为距离很远，显得很小。突然，他们发现列车停住了。机车上方升起一团团白色的蒸气。稍后，就从它那里传来了警笛的响尸。
“奇怪，”沃斯科博伊尼科夫说，“可能出事了。它没理由在那片沼泽地停车。准是发生了什么事。咱们回去喝茶吧。”
尼卡既不在花园，也没在屋子里。尤拉猜对了，他是有意躲避他们，因为觉得和他们在一起枯燥乏味，况且尤拉也算不上是他的伙伴。舅舅和伊万·伊万诺维奇到凉台上工作去了，于是尤拉有机会一个人漫无目的地在房子附近走走。
这儿真是个迷人的地方！每时每刻都能听到黄鹤用三种音调唱出清脆的歌，中间似乎有意停顿，好让这宛如银笛吹奏的清润的声音，丝丝入扣地传遍四周的原野。薄郁的花香仿佛迷了路，滞留在空中，被褥暑一动不动地凝聚在花坛上！这使人想起意大利北部和法国南部那些避暑的小村镇！尤拉一会儿向右拐，一会儿又转到左边，在悦耳的鸟啼和蜂呜当中，似乎听到了妈妈在天上的声音飘扬在草地上空。尤拉周身颤抖，不时产生一种错觉，仿佛母亲正在回答他的呼喊，召唤他到什么地方去。
他走近～条沟谷，沿着土坡走下去，从上边覆盖着的稀疏、干净的林木中间下到长满谷底的赤杨树丛。
这里潮湿而晦暗，地面上到处是倒下的树木和吹落的果实。花很少，枝节横生的荆树权权很像他那本插图《圣经》里面的刻着埃及雕饰的权标和拐杖。
尤拉越来越感到悲伤，情不自禁地想哭。他双膝跪倒在地，放声痛哭。
“上帝的天使，我的至圣的守护神，”尤拉作起了祷告，“请指引我的智慧走上真理之路，并且告诉妈妈，我在这儿很好，让她不要牵挂。如果死后有知，主啊，请让妈妈进入天国，让她能够见到光耀如星辰的圣徒们的圣容。妈妈是多么好的一个人啊！她不可能是罪人。上帝啊，对她发慈悲吧，不要让她受苦。妈妈！”在心肝欲碎的痛苦中，他向上天呼唤着，仿佛呼唤上帝身边一个新的圣徒。他突然支持不住，昏倒在地上。
他昏厥的时间木长，苏醒后听到舅舅在上边的什么地方叫他。尤拉回答了一声，便向上走去。这时他忽然想起，还不曾像玛丽亚·尼古拉耶夫娜教给他的那样为自己那杳无音信的父亲祈祷。
可是一时的昏迷过后，他觉得心情很好，不愿失掉这种轻快的感觉。他想，如果下次再替父亲祈祷，也不会有什么不好。
“他会耐心等着的。”尤拉这么想着。对自己的父亲，他几乎没有任何印象。
在火车的一间二等卧车厢里，坐着从奥伦堡来的中学二年级学生米沙·戈尔东和他的父亲戈尔东律师。这是个十一岁的男孩子，沉思的面孔上长着一对乌黑的大眼睛。父亲是到莫斯科供职，孩子随着去莫斯科念中学。母亲和姐妹们已经先一步到达，正忙于布置新居。
男孩和父亲在火车上已经过了两天多。
被太阳照得像石灰一样白的灼热的尘雾中，俄罗斯、田野、草原、城市和村庄，飞快地掠过。大路上行驶着络绎不绝的大车，笨重地拐向铁道路口，从飞驰的列车上看去，车队仿佛是静止的，只见马匹在原地踏步。
每到一个大站，乘客们便忙不迭地跑向小卖部，西斜的太阳从车站花园的树林后边照到他们匆匆移动的脚步，照亮车厢下的车轮。
世界上任何个人的独自的活动，都是清醒而目标明确的，然而一旦被生活的洪流汇聚在一起，就变得混沌不清了。人们日复一日地操心、忙碌，是被切身利害的作用所驱使。不过要不是那种在最高和最主要意义上的超脱感对这些作用进行调节的话，这作用也不会有什么影响。这个超脱感来自人类生存的相互关联，来自深信彼此之间可以相互变换，来自一种幸福的感觉，那就是一切事物不仅仅发生在埋葬死者的大地上，而且还可以发生在另外的某个地方，这地方有人叫作天国，有人叫作历史，也有人另给它取个名称。
对这条法则来说，这个男孩却是个伤心而沉痛的例外。忧郁始终左右着他，无牵无挂也不能使他轻松和振作。他自知身上有着继承下来的特性，常常以一种神经过敏的警觉在自己身上捕捉它的征兆。这使他痛心，伤害着他的自尊。
从记事的时候起他就始终觉得奇怪，为什么有的人体质发育得同旁人并无二致，言语、习惯也与常人无异，却不能成为和大家一样的人，只能得到少数人的喜爱，却要遭到另一些人的嫌弃。他无法理解这样一种状况，那就是如果生来低人一等，便永远不可能改善处境。做一个犹太人意味着什么？为什么他还需要生存？这个只会带来痛苦的无能为力的名称，能得到什么报偿或者公正的解释？
当他请求父亲回答这些问题的时候，父亲便说他的出发点是荒谬的，不应该这样判断事物，但也提不出让米沙认为是深刻的想法，使他在这个摆脱不掉的问题面前无言地折服。
因此，除了父母以外，米沙渐渐对成年人充满了蔑视，是他们自己把事情弄糟而又无法收拾的。他相信，长大以后他一定要把这一切弄个一清二楚。
就拿眼前发生的这件事来说，谁也不能判定他父亲向那个冲到车厢门口的精神病人紧追过去的举动不对；谁也不能说那个人用力推开格里戈里·奥西波维奇，拉开车门，如同从跳板上跳水似的从快车上倒栽葱跳到路基上，他当时不应该让火车停下。
正因为扳了紧急制动闸的不是别人，而是格里戈里·奥西波维奇，结果列车才这么不明不白地停了下来。
谁都不了解火车耽搁下来的缘由。有人说是突然停车损坏了气动刹车装置；也有人说是因为列车停在一个坡道上，没有一个冲力机车就启动不了。同时又传来另一个消息，说死者是个很有地位的人，他的随行律师要求从离这里最近的科洛格里沃夫卡车站找几位见证人来作调查记录。这就是为什么司机助手要爬到电话线杆上去的原因，大概检道车已经在路上了。
Doctor Zhivago (Russian: До́ктор Жива́го, Doktor Zhivago Russian pronunciation: [ˈdoktər ʐɪˈvaɡə]) is a 20th century novel by Boris Pasternak, first published in 1957. The novel is named after its protagonist, Yuri Zhivago, a medical doctor and poet. It tells the story of a man torn between two women, set primarily against the backdrop of the Russian Revolution of 1917 and the subsequent Russian Civil War of 1918–1920. More broadly, the novel discusses the plight of a man as the life that he has always known is dramatically torn apart by forces beyond his control. The book was made into a film by David Lean in 1965 and has also been adapted numerous times for television, most recently as a mini-series for Russian TV in 2005.
Although it contains passages written in the 1910s and 1920s, Doctor Zhivago was not completed until 1956. The novel was submitted to the journal <<Новий Мир>> (Novy mir, Russian for both New World and New Peace) and rejected because of Pasternak's political viewpoint opposed by the Soviet authorities. The author, like Dr Zhivago, showed more concern with the welfare of individuals than with the welfare of society. Soviet censors construed some passages as anti-Marxist. There are implied criticisms of Stalinism and references to prison camps. In 1957, the Italian publisher Giangiacomo Feltrinelli smuggled the book manuscript from the Soviet Union and simultaneously published editions in both Russian and Italian in Milan, Italy. The next year, it was published in English, (translated from Russian by Manya Harari and Max Hayward) and was eventually published in a total of eighteen different languages. The publication of this novel led partly to Pasternak's being awarded the Nobel Prize for Literature in 1958. The Soviet government asked the committee not to award him the prize. Pasternak rejected the Nobel Prize in order to prevent a scandal in the Soviet Union. Boris Pasternak died on 30 May 1960, of natural causes.
Doctor Zhivago was finally published in the Soviet Union in 1988, in the pages of Novy mir, although earlier samizdat editions existed.
Plot summary
Yuri Zhivago is sensitive and poetic nearly to the point of mysticism. In medical school, one of his professors reminds him that bacteria may be beautiful under the microscope, but they do ugly things to people.
Zhivago's idealism and principles stand in contrast to the brutality and horror of World War I, the Russian Revolution, and the subsequent Russian Civil War. A major theme of the novel is how mysticism and idealism are destroyed by both the Bolsheviks and the White Army alike, as both sides commit horrible atrocities. Yuri witnesses dismemberment and other horrors suffered by the innocent civilian population during the turmoil. Even the love of his life, Lara, is taken from him.
He ponders on how war can turn the whole world senseless, and make an otherwise reasonable group of people destroy each other with no regard for life. His journey through Russia has an epic, dreamlike, almost surreal feeling because of his traveling through a world which is in such striking contrast to himself, relatively uncorrupted by the violence, and to his desire to find a place away from it all, which drives him across the Arctic Siberia of Russia, and eventually back to Moscow. Pasternak gives subtle criticism of Soviet ideology: he disagrees with the idea of "building a new man," which, he suggests, is against nature.
Lara's life is also dealt with in considerable detail. Lara, whose full name is Larissa Feodorovna Guishar (later Antipova), is the daughter of a bourgeois mother. She becomes involved in an affair with Viktor Komarovsky, a powerful lawyer with political connections, who both repulses and attracts her. Lara is engaged to Pavel "Pasha" Antipov, an idealistic young student who becomes involved in Bolshevism through his father. To gain independence from Komarovsky, Lara spends three years working as a live-in nanny for a wealthy family (the Kologrivovs). Upon returning her brother begs her to get 700 rubles from Komarovsky to repay money that he has gambled away. Lara gets the money for her brother from her generous employer, Kologrivov. However, when her pupil Lipa graduates, she feels like she is on charity instead of working for her keep in the Kologrivov household. She decides that Komarovsky "owes her" and she will get money from him with which she will become independent. She goes to a party to demand the money from Komarovsky. He is playing cards all evening and she does not get his attention. She finally walks in and attempts to shoot him but misses.
Zhivago briefly encounters Lara while assisting his mentor who has been called by Komarovsky to the scene of the attempted suicide of Lara's mother in response to Lara's and Komarovsky's scandalous relationship. Zhivago also sees Lara at the Christmas party where she tries to shoot Komarovsky. Lara and Zhivago truly meet following a roadside encounter between First World War troop columns, one group being miserable retreating Russian Army deserting veterans and the other group are new recruits bound for the hopeless conditions at the Front. Lara has been serving as nurse while searching for her assumed-dead husband Antipov. The two fall in love as they serve together in a makeshift field hospital. They do not consummate their relationship until much later, meeting in the town of Yuriatin after the war.
Pasha Antipov and Komarovsky continue to play important roles in the story. Pasha is assumed killed in World War I, but is actually captured by the Germans and escapes. Pasha Antipov joins the Bolsheviks and becomes Strelnikov (the shooter), a fearsome Red Army general who becomes infamous for executing White prisoners (hence his nickname). However, he is never a true Bolshevik and yearns for the fighting to be over so he can return to Lara. (The film version would change his character significantly, making him a hard-line Bolshevik.)
Another major character is Liberius, commander of the "Forest Brotherhood", the Red Partisan band which conscripts Yuri into service. Liberius is depicted as loud-mouthed and vain, a dedicated and heroic revolutionary, who bores Yuri with his continuous lectures on the justice of their cause and the inevitability of their victory. He is also addicted to cocaine.
Komarovsky reappears towards the end of the story. He has gained some influence in the Bolshevik government and been appointed head of the Far Eastern Republic, a Bolshevik puppet state in Siberia. He offers Zhivago and Lara transit out of Russia. They initially refuse, but by lying about Pasha Antipov's death Komarovsky privately persuades Zhivago that it is in Lara's best interests to leave; Zhivago convinces Lara to go with Komarovsky, telling her (falsely) that he will follow her shortly.
Meanwhile, Antipov/Strelnikov falls from grace, loses his position in the Red Army, and returns to Varykino, near Yuriatin, where he hopes to find Lara. She, however, has just left with Komarovsky. After having a lengthy conversation with Zhivago, Pasha Antipov commits suicide and is found the next morning by Zhivago. (In the movie Komarovsky tells Zhivago that he was captured 5 miles outside of Yuriatin and on the way to his execution he grabbed a pistol from a guard and killed himself.) Zhivago's life and health go downhill from this point; he lives with another woman and has two children with her, plans numerous writing projects but does not finish them, and is increasingly absent-minded, erratic, and unwell. Lara eventually returns to Russia on the day of Zhivago's funeral. She gets Yevgraf, his half brother, to try to find her daughter but then disappears.
During World War II Zhivago's old friends Nika Dudorov and Misha Gordon meet up. One of their discussions revolves around a local laundress named Tonya, a bezprizornaya or parentless child, one of many left by the Civil War, and her resemblance to Zhivago. Much later they meet over the first edition of Zhivago's poems. It's unclear in the book why they haven't been published before or why they have been published now.
Other major characters include Tonya Gromeko, Zhivago's wife, and her parents Alexander and Anna, with whom Zhivago lived after he lost his parents as a child. Yevgraf (Evgraf) Zhivago, Yuri's younger illegitimate half-brother (son of his father and a Mongolian princess), is a mysterious figure who gains power and influence with the Bolsheviks and helps his brother evade arrest throughout the course of the story.
The book is packed full of odd coincidences; characters disappear and reappear seemingly at random, encountering each other in the most unlikely places.
Pasternak's description of the singer Kubarikha in the chapter "Iced Rowanberries" is almost identical to the description of the gypsy singer Nadezhda Plevitskaya (1884–1940) by Sofia Satina (sister-in-law and cousin of Sergei Rachmaninoff). Since Rachmaninoff was a friend of the Pasternak family, and Plevitskaya a friend of Rachmaninoff, Plevitskaya was probably Pasternak's "mind image" when he wrote the chapter; something which also shows how Pasternak had roots in music.
Names and places
Pushkin Library, Perm
* Zhivago (Живаго): the Russian root zhiv is similar to 'life'
* Larissa: a Greek name suggesting 'bright, cheerful'
* Komarovsky (Комаровский): komar (комар) is the Russian for 'mosquito'
* Pasha (Паша): the diminutive form of 'Pavel' (Павел), Russian rendering of the name Paul.
* Strelnikov (Стрельников): strelok means 'the shooter'
* Yuriatin (Юрятин): the fictional town was based on the real Perm, near by which Pasternak had lived for several months in 1916.
* The original of the public reading room at Yuriatin was the Pushkin Library, Perm
Film, TV, or theatrical adaptations
the 1965 film adaptation starring Julie Christie and Alec Guinness
Doctor Zhivago has been adapted for film and stage several times:
* A 1959 Brazilian television film (currently unavailable) was the first film version.
* The most famous adaptation is the 1965 film adaptation by David Lean, featuring the Egyptian actor Omar Sharif as Zhivago and English actress Julie Christie as Lara, with Geraldine Chaplin as Tonya and Alec Guinness as Yevgraf. The film was commercially successful and won five Oscars, but was a critical failure; currently, it is widely considered to be a classic popular film. Maurice Jarre's score, featuring the romantic "Lara's Theme," is a big part of the film's appeal. Though faithful to the novel's plot, depictions of several characters and events are noticeably different.
* A 2002 television serial with Hans Matheson, Keira Knightley, and Sam Neill was broadcast by ITV in the UK in November 2002 and on Masterpiece Theatre in the US in November 2003.
Instead of the 1965 movie – where Zhivago has a daughter by his mistress, and a half-brother to tell the teenage girl about her father – the 2002 TV/Netflix DVD version depicts him as having a son who is almost the spitting image of Yuri Zhivago. Instead of dying of a heart attack in the streets of Moscow chasing after a woman he believes to be his beloved Lara, he dies of a heart attack trying to leave a restaurant all the while eying through the window his near-duplicate almost cloned son, and then right before his death, seeing his lover Lara calling out to her son, Yuri.
Then the 2002 TV/DVD version shows Lara and son at Zhivago's funeral and the boy looking into the casket of his father. Then the final ending leaves one completely up in the air as to what happens to the little boy, now about 6–8 years old. Lara is caught and arrested and sent off to a work camp because she left Kamorovsky, and the little boy is left to fend for himself, running down the streets of Moscow, clutching a leather-bound copy of the poems handwritten by his father Zhivago, about his mother, Lara. There is no mention or accounting for the young Yuri's half-sister – sired by the infamous Strelnikov with Lara. Presumably Yuri Jr. survives somehow because Yuri Jr. is the narrator of this ending.
The 2002 TV/DVD version also dwells in its opening scenes on the little boy Yuri Zhivago, who witnesses on a railroad train the suicide of his own father, after the father there learns from his scheming lawyer (coincidentally who is a younger version of Kamorovsky) that he has been financially ruined by some nefarious scheme – which the viewer is drawn to conclude has been presumably concocted by his own lawyer.
This 2002 TV version seems to depict a triumph of pragmatic self-serving chicanery (Sam Neill as Kamorovsky) over naive saintly humanity-serving goodness (Hans Matheson as Zhivago) as the two really central characters. Lara and Strelnikov are but side players to fill in the ongoing clash between dedicated good and opportunistic evil.
* A made-for-cable film remake was announced in 2002, and was to include Joseph Fiennes as Zhivago and Jeremy Irons as Komarovsky, but was canceled. It is unclear whether or not it was the Masterpiece Theatre production or a different version altogether.
* An eleven-part Russian mini-series was released in 2006 as produced by Mosfilm.
* Zhivago, a musical adaptation of Pasternak's novel rather than Lean's film, debuted at the La Jolla Playhouse in 2005 as a Page-To-Stage workshop, and then in a main-stage production which opened in May 2006. A Broadway debut was planned for 2007. It features music by Lucy Simon ("The Secret Garden"), a book by Michael Weller ("Hair," "Ragtime" screenplays), and lyrics by Michael Korie ("Doll" and the "Harvey Milk" opera libretto), and Amy Powers ("Lizzie Borden" and songs for "Sunset Boulevard").
* A musical called "Doktor Zhivago" was scheduled to premier in the Urals city of Perm on 22 March 2007, and to remain in the repertoire of Perm Drama Theatre throughout the 50th Anniversary year . Perm features in the novel under the name "Yuriatin" (which is a fictional city invented by Pasternak for the book) and many locations for events in the book can be accurately traced in Perm', since Pasternak left the street-names mostly unchanged. For example, the Public Reading-Room in which Yuri and Larissa have their chance meeting in "Yuriatin" is exactly where the book places it in contemporary Perm.
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请给我换一个看看！ 拜托，快把噪音停掉！我读累了，想听点音乐或者请来支歌曲！
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