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“ ”I have always thought that art is not a category, not a realm covering innumerable concepts and derivative phenomena, but that, on the contrary, it is something concentrated, strictly limited. It is a principle that is present in every work of art, a force applied to it and a truth worked out in it. And I have never seen art as form but rather as a hidden, secret part of content…A literary creation can appeal to us in all sorts of ways — by its theme, subject, situations, characters. But above all it appeals to us by the presence in it of art...You can call it an idea, a statement about life, so all-embracing that it can’t be split up into separate words; and if there is so much as a particle of it in any work that includes other things as well, it outweighs all the other ingredients in significance and turns out to be the essence, the heart and soul of the work.
About Boris Pasternak
Boris Leonidovich Pasternak [Борис Леонидович Пастернак] (10 February 1890 – 30 May 1960) was a Russian poet and writer famous for his 1957 novel Doctor Zhivago. His first book of poems, My Sister, Life (1917), is one of the most influential collections ever published in the Russian language. He was awarded the Nobel Prize for Literature in 1958, an event which enraged the Communist Party of the Soviet Union, which forced him to decline the prize, though his descendants were later to accept it in his name in 1988.
Biography information from Wikiquote
Additional quotes by Boris Pasternak
How can you be yourself when you are being blown in a million different directions you can’t control?
After two or three stanzas and several images by which he was himself astonished, his work took possession of him and he experienced the approach of what is called inspiration. At such moments the correlation of the forces controlling the artist is, as it were, stood on its head. The ascendancy is no longer with the artist or the state of mind which he is trying to express, but with language, his instrument of expression. Language, the home and dwelling of beauty and meaning, itself begins to think and speak for man and turns wholly into music, not in the sense of outward, audible sounds but by virtue of the power and momentum of its inward flow. Then, like the current of a mighty river polishing stones and turning wheels by its very movement, the flow of speech creates in passing, by the force of its own laws, rhyme and rhythm and countless other forms and formations, still more important and until now undiscovered, unconsidered and unnamed.
At such moments Yury felt that the main part of his work was not being done by him but by something which was above him and controlling him: the thought and poetry of the world as it was at that moment and as it would be in the future. He was controlled by the next step it was to take in the order of its historical development; and he felt himself to be only the pretext and the pivot setting it in motion.
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In deciphering these scribbles he went through the usual disappointments. Last night these rough passages had astonished him and moved him to tears by certain unexpectedly successful lines. Now, on re-reading these very lines, he was saddened to find that they were strained and glaringly far-fetched.
لا أعتقد أن في استطاعتي أن أحبك كثيرًا إذا لم يكن هناك شيئًا تشكو منه أو تندم عليه. أن لا أحب الناس التي لم تسقط أو تتعثر أبدًا. فضيلتهم بلا حياة ولا قيمة. الحياة لم تكشف جمالها لهم.