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61 pages 2 hours read

Boris Pasternak

Doctor Zhivago

Fiction | Novel | Adult | Published in 1957

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Themes

Tension Between Opposing Values

At numerous points in Doctor Zhivago, characters find themselves torn between opposing values. In a broad sense, these dualities can be divided into the political and the personal. The conflict between competing political forces is evident. The Russian Revolution is such a force, pitting the proletariat against the bourgeoisie and the past against the future. In this sense, Russia itself is torn between two competing visions of what the country is and should be. The Bolsheviks' theory of revolution emphasizes the collective over the individual, seeking to build a more egalitarian and collective social order. This plan is quickly opposed by the reactionary tsarist forces, culminating in a civil war between the Red Army and the White Army. In these political dualities, compromise is seemingly impossible. The revolution is an attempt to destroy the past and bring about the future. The White Army, less ideologically homogeneous than the Red, seeks to preserve a connection to the past, and must crush the revolutionary Red Army to do so. For this reason, the White Army is funded by foreign countries seeking to preserve the status quo and contain the contamination of Marxist ideology. Though they come from the same country and the same history, the Red Army and the White Army cannot co-exist, much in the same way that the past cannot exist alongside the future. Pasternak uses characterization to show how tension arises not only out of difference but out of similarity, as the civil war makes irreconcilable enemies out of those who were once friends. Pasha and Yusup were childhood friends who came to lead opposing armies. Despite their formerly close bond, they seek to annihilate one another. They represent the dual product of their society, illustrating the thin line between red and white, between one side and the other.

In the personal sphere, emotions and identities provide the tension between opposing forces. Yuri, for example, is in love with two different women. He finds himself caught between Tonya and Lara, unable to fully pledge himself to one and abandon the other. He is not alone. Lara is similarly torn between Pasha and Yuri, even though one has abandoned her and the other is a married man. Pasha himself is caught in a dualistic conflict regarding his identity. After his presumed death, he reemerges as Strelnikov. The tension between the hard, cynical Strelnikov and young, naïve Pasha shows how war and suffering can change a person. This tension is eventually resolved when Yuri tells Pasha that Lara always loved him. Contained within this confession is a triple denouement. Yuri accepts that he cannot love Lara because, as she told him, her heart belongs to Pasha, while Pasha is gratified that he has never lost the love of his life. The duality of the characters brings them into conflict not in a physical sense but in an emotional sense. These dualities must be resolved for the narrative to move forward.

In this sense, Yuri emerges as the battleground of many different dualities. He is the man of the present, caught between nostalgia for the past and fear of the future. He is caught between two women, two armies, and the two friends who are now heads of opposing militaries. Yuri is rarely able to resolve this tension, as he hates making decisions. He fears indecision so much that he allows the tension to fester to unbearable levels, to the point where decisions must be thrust upon him. Tonya writes to him from Paris, telling him to be with Lara. Komarovsky visits him, telling him to lie to Lara to allow her to escape. Yuri is caught in the tense space between so many competing dualisms that he should emerge as a synthesis of the competing forces. Instead, however, the tension overwhelms him, and he surrenders his agency.

The Collapse of the Social Order

The Russian Revolution of 1917 centered around social class. The early chapters of Doctor Zhivago, prior to the outbreak of the revolution, depicted a society defined by extreme social and economic inequality. Yuri's family may have lost their fortune, but he is part of a privileged class that is willing to offer him help and protection. He grows up in the Gromeko household as the ward of another wealthy family, wanting for nothing. This comfortable existence contrasts with the plight of neighbors such as Lara (who is forced to endure Komarovsky's affections to support her family) or the nearby laborers (who work long and hard for the rich, suffering in much worse living conditions). In these early chapters, it’s easy to see the roots of the dissatisfaction that grows into violence as the story progresses. The 1905 revolution failed to address these issues, and characters like Mikulitsyn and Tiverzin bear the physical and emotional scars of that conflict while feeling that they have nothing to show for it. As the novel opens, social inequality persists in Russia and, with the rise of Marxist ideology, communism, and Bolshevism, the working-class people of Moscow and Russia are equipped with the ideological to forcibly disrupt the social order.

The social order depicted in Doctor Zhivago collapses slowly and then all at once. The outbreak of the revolution in 1917 turns Yuri’s prior privileges into marks against his character. Yuri does not believe in the revolution. He has not endured the suffering of the working class, and the status quo has only served to benefit him throughout his life, even if he has his own personal traumas. Yuri struggles to empathize with those for whom the social order of tsarist Russia was intolerable. As a result, he sees the war only as a source of violence and chaos—the implacable force that robbed him of the happy life he could have had. The novel itself presents an agnostic view of the value of revolution. This is a key reason why it was banned in the Soviet Union for many years. The pre-revolutionary social order, as depicted in the novel, was deeply unjust, but its collapse means the collapse of all social restraint, and atrocities are committed on both sides. Yuri criticizes the Bolsheviks for lacking a cohesive plan for life after the revolution. Though the chaos of the civil war justifies Yuri’s argument, it is notable that the novel’s working-class characters generally do not agree with him. Yuri never argued for social change; he was insulated from the perils of working-class life until the moment that the working-class people decided that they would take no more. Yuri’s criticisms of the revolution are not without merit, but given that Yuri has no apparent interest in any other form of social change, his objections function as a tacit endorsement of the prior, unjust social order.

If the tsarist social order is characterized by a profound lack of empathy for the working class on the part of the wealthy, the revolution ushers in a reversal. For men like Yuri, the ideal conception of social class is distant and intellectual. He was raised by his revolutionary uncle, and knows how to discuss egalitarian political ideals in theory, but he does not connect those ideas with actual people—either members of the proletariat or people like himself. Even when he returns to Moscow in the wake of the revolution, Yuri does not comprehend anything that his uncle is saying. Instead, he sides with men like his father-in-law, who complain about their loss of privilege and status. This complete lack of empathy is one of the most persistent features of Yuri’s character: He wants to remain apolitical and detached and from events. However, this is not possible given the scale of the social collapse that is taking place. Yuri, like many of the wealthy bourgeois characters, cannot conceive of the desperation and the fear of the working-class people. This lack of class empathy permeates the bourgeois and leads them to perceive the revolution as some unwieldy, monstrous force that is impossible to comprehend. Since Yuri and his ilk are primarily concerned with maintaining their own privileges, they can never empathize with the Bolsheviks, whom they see as conspiring to take from them what is rightfully theirs. The lack of empathy from the rich toward the poor is then reflected in the brutal aftermath of the revolution, in which a person's social class can make them a target for the Bolshevik authorities. The profound inequality of tsarist Russia has eroded nearly everyone’s capacity for empathy. The collapse of the social order does nothing to reverse that erosion. Instead it means that the violence that previously had flowed from the top down in legalized ways now flows in all directions and affects everyone.

The Inevitability of Fate

Fate is an important theme in Doctor Zhivago, seemingly shaping the protagonist's life in ways he could never imagine. From the opening chapters, Yuri is beholden to fate. His father runs away, then his mother dies, leaving him as an orphan to be raised by his uncle and his foster family. This massive disruption occurred through no fault of his own. Instead, the trauma imposed on him by fate shapes his choices throughout the rest of his life. He spends many years trying not to become his father, though his efforts to reunite with his family are often half-hearted and hollow. Fate traps Yuri in circles, visiting similar tragedies on him numerous times as if trying to see whether he has changed. When he is faced with difficult choices—such as when he is recruited into the military or faced with the proposition of ending his affair with Lara—Yuri often feels powerless. He struggles to act, residing always in indecision. Yuri would prefer to make no decision than a bad decision. He surrenders himself to fate, choosing to express himself only through his writing. When he is writing, Yuri feels in control of the universe. He is able to order and comprehend reality because everything emerges from his pen. He throws himself on the mercy of fate when he needs to make big decisions because he considers himself to be the protagonist of reality: rather than make decisions, he exists to reveal the decisions—and thus the judgments and desires—of an unseen author. To Yuri, fate is an inevitability that removes all the responsibility from his actions. He allows himself to wallow in indecision by turning to fate as an exculpating force.

Yuri's belief in fate may not be so misguided. At many times in the novel, he is saved from danger by pure luck. Evgraf arrives on the scene to deliver him food when he is starving; Lara appears to nurse him back to health when he is sick. These fortuitous moments are not the product of Yuri's actions. He has done nothing to orchestrate the fortunate moments in his life, and indeed he often struggles to make any decisions or orchestrate anything. The result of the conspicuous nature of fate in the novel is that Yuri's indecisive nature is vindicated. Even morally vague characters like Samdevyatov provide Yuri with help at the perfect moment, and even when something goes wrong (such as when he is abducted by the Forest Brotherhood), he is rarely placed in direct danger. In a narrative sense, Yuri's belief in the machinations of fate is justified. His consistent good fortune provides Yuri with justification for his passivity.

The key issue for Yuri, however, is love. Though he has been married to Tonya for years, and though they have children, fate seems to want to bring Yuri and Lara together. Their paths cross fortuitously on numerous occasions, enough times to suggest to a man like Yuri that they are meant to be together. This fate-directed romance suggests to Yuri that his affair is blessed in some way, as though some external force is pointing him in a direction, and he is helpless to pursue his desire. In this sense, Yuri's surrender to fate is moral cowardice. Fate has returned him to Tonya just as many times and fate has saved his family on numerous occasions, particularly through the intervention of Evgraf. Nevertheless, Yuri chooses to read fate's intentions in only one direction. Because he allows himself to become invested in fate as a guiding force, he reads the intentions of this nebulous force through a subjective lens. Fate provides Yuri with the convenient excuse to act exactly as he pleases. Fate seems inevitable in Doctor Zhivago because Yuri chooses to believe that this is the case. The inevitability of fate is conditioned on the protagonist’s belief that he is not responsible for his actions.

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