Boris Pasternak

Art has two constant, two unending concerns: It always meditates on death and thus always creates life. All great, genuine art resembles and continues the Revelation of St John.

Man is born to live and not to prepare to live.

In every generation there has to be some fool who will speak the truth as he sees it.

The main misfortune, the root of all the evil to come, was the loss of confidence in the value of one__ own opinion. People imagined that it was out of date to follow their own moral sense, that they must all sing in chorus, and live by other people__ notions, notions that were being crammed down everybody__ throat.

All mothers are mothers of great people, and it is not their fault that life later disappoints them.

He is on his way to her. In a moment he will leave the wooden sidewalks and vacant lots for the paved streets. The small suburban houses flash by like the pages of a book, not as when you turn them over one by one with your forefinger but as when you hold your thumb on the edge of the book and let them all swish past at once. The speed is breathtaking. And over there is her house at the far end of the street, under the white gap in the rain clouds where the sky is clearing, toward the evening. How he loves the little houses in the street that lead to her! He could pick them up and kiss them! Those one-eyed attics with their roofs pulled down like caps. And the lamps and icon lights reflected in the puddles and shining like berries! And her house under the white rift of the sky! There he will again receive the dazzling, God-made gift of beauty from the hands of its Creator. A dark muffled figure will open the door, and the promise of her nearness, unowned by anyone in the world and guarded and cold as a white northern night, will reach him like the first wave of the sea as you run down over the sandy beach in the dark.

The rulers of your minds indulge in proverbs, but they've forgotten the main one, that love cannot be forced, and they have a deeply rooted habit of liberating people and making them happy, especially those who haven't asked for it. You probably fancy that there's no better place in the world for me than your camp and your company. I probably should even bless you and thank you for my captivity, for your having liberated me from my family, my son, my home, my work, from everything that's dear to me and that I live by.

Or again, take your red banner. You think it's a flag, isn't that what you think? Well, it isn't a flag. It's the purple kerchief of the death woman, she uses it for luring. And why for luring? She waves it and she nods and winks and lures young men to come and be killed, then she sends famine and plague. That's what it is. And you went and believed her. You thought it was a flag. You thought it was: "Come to me, all ye poor and proletarians of the world.

There shall be no more death, Because we have already seen all that, Its old and we are tired of it, And now we need something new, And this new thing is Eternal Life

Poetry is a rich, full-bodied whistle, cracked ice crunching in pails, the night that numbs the leaf, the duel of two nightingales, the sweet pea that has run wild, Creation's tears in shoulder blades.

February. Get ink, shed tears.Write of it, sob your heart out, sing,While torrential slush that roarsBurns in the blackness of the spring.Go hire a buggy. For six grivnas,Race through the noice of bells and wheelsTo where the ink and all you grievingAre muffled when the rainshower falls.To where, like pears burnt black as charcoal,A myriad rooks, plucked from the trees,Fall down into the puddles, hurlDry sadness deep into the eyes.Below, the wet black earth shows through,With sudden cries the wind is pitted,The more haphazard, the more trueThe poetry that sobs its heart out.

The sky, drunk with spring and giddy with its fumes, thickened with clouds. Low clouds, drooping at the edges like felt sailed over the woods and rain leapt from them, warm, smelling of soil and sweat, and washing the last of the black armor-plating of ice from the earth.

The poet gives his whole life such a voluntarily steep incline that it is impossible for it to exist in the vertical line of biography where we expect to meet it. It is not to be found under his own name and must be sought under those of others, in the biographical columns of his followers. The more self-contained the individuality from which the life derives, the more collective, without any figurative speaking, is its story.

Only the familiar transformed by genius is truly great.

You said that facts are meaningless, unless meanings are put into them. Well, Christianity, the mystery of the individual, is precisely what must be put into the facts to make them meaningful.

No single man makes history. History cannot be seen, just as one cannot see grass growing. Wars and revolutions, kings and Robespierres, are history's organic agents, its yeast. But revolutions are made by fanatical men of action with one-track mind, geniuses in their ability to confine themselves to a limited field. They overturn the old order in a few hours or days, the whole upheaval takes a few weeks or at most years, but the fanatical spirit that inspired the upheavals is worshiped for decades thereafter, for centuries.

The Mother of God is asked to 'pray zealously to her Son and her God,' and the words of the psalm are put into her mouth:'My soul doth magnify the Lord, and my spirit hath rejoiced in God my Savior. for He hath regarded the low estate of his handmaiden: for, behold, from henceforth all generations shall call me blessed.' It is because of her child that she says this, He will magnify her ('For He that is mighty hath done to me great things'): He is her glory. Any woman could say it. For everyone of them, God is in her child. Mothers of great men must have been familiar with this feeling, but then, all women are mothers of great men-it isn't their fault if life disappoints them later.

It is she who has a hold on him. Doesn't she see how much he needs her? She has nothing to be afraid of, her conscience is clear. It is he who should be ashamed, and terrified of her giving him away. But that is just what she will never do. To do this she does not have the necessary ruthlessness--Komarovsky's chief asset in dealing with subordinates and weaklings. This is precisely the difference between them. And it is this that makes the whole of life so terrifying. Does it crush you by thunder and lightning? No, by oblique glances and whispered calumny. It is all treachery and ambiguity. Any single thread is as fragile as a cobweb, but just try to pull yourself out of the net, you only become more entangled. And the strong are dominated by the weak and ignoble.