2023. № 2 (36), 229-243

V. V. Vinogradov Russian Language Institute of the Russian Academy of Sciences


In Pasternak’s poetry attention is drawn to the abundance of phrases with adverbs, which, along with their main meaning, convey the idea of intensity. This phenomenon was noted by researchers of Pasternak’s poetry and above all by A. K. Zholkovsky in the work “Circumstances of splendor: about one Pasternak’s part of speech” (1980). In our article, such non-standard Pasternak’s contexts with adverbs are analyzed from the point of view of semantic transformations, as well as qualitative-quantitative syncretism and synesthesia. It is noted that in Pasternak’s poetry the fullness and limit of action or a high degree of manifestation of a feature is designated diff erently each time, depending on the semantics of the verb or another defi ned word (the lexical function Magn), sometimes even an adverbial group is a phraseological unit. At the same time, adverbs that synthesize qualitative and quantitative meaning in themselves often carry the idea of chaos, disorder, improvisation, randomness, which refl ects the completeness and “magnifi cence” of Pasternak’s world.
Adverbs not only create a semantic shift in the context, introducing into it a semantic shade of intensity and improvisation, but also reveal a personifying meaning. In this case, only adverbs can be the personifying element, but in most cases the adverb creates personifi cation together with the verb, i.e. the adverb intensifi es the verbal metaphor, which is sometimes accompanied by paronymy, sewing together the entire line. Personifi cation is also combined with the intensity and limit of the feature. 
It is demonstrated that for Pasternak adverbs nastezh’ and naskvoz’ have idiostyle signifi cance, the fi rst is associated with openness, primarily in relation to the future, the second — with insight and the gift of foresight. It also shows how thanks to adverbs a holistic structure of the text is formed. An example is the adverb opyat’, which occurs 68 times in the collected works of Pasternak. Particularly illustrative are the stanzas from the third part of “The Waves”, where the anaphoric opyat’ literally permeates the text through, setting an iambic structure in it.