Doctor Zhivago

Doctor Zhivago

by

Boris Pasternak

Doctor Zhivago: Part 14: In Varykino Again Summary & Analysis

Summary
Analysis
Yuri returns home from the hospital as winter sets in again in Yuriatin. Lara informs him that Komarovsky has stopped in the city on his way to the Far East. Komarovsky, Lara explains, visited her and insisted that the couple and Strelnikov are all in great danger and only he can save them. Yuri is resistant to the idea of meeting Komarovsky but agrees to speak with him for Lara’s sake. Komarovsky arrives and immediately addresses Yuri on friendly terms, based on his relationship with the Turi ’s father. Yuri is hostile to him, but Komarovsky is unfazed; he explains that Yuri is a known target of the local party, led by Pavel Ferapontovich Antipov and Tiverzin, who are planning one last major purge as the civil war winds down and the Bolshevik government prepares for peacetime and legal normality.
After fainting, Yuri was hospitalized and took some time to recover. Whether his mental state, exhaustion from the return journey, or the health issues alluded to earlier is to blame remains unclear. Komarovsky reappears for the first time since Lara and Pasha Antipov’s wedding, though it’s unclear how he survived the revolution. Komarovsky does not reveal whether he is aware that Yuri knows Komarovsky is responsible for Yuri’s father’s death, or if he feels any responsibility for it at all. Instead, Komarovsky focuses exclusively on practical matters, pointing out to the couple what they already know: that they are not safe from the new Red terror.
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Komarovsky argues that while Yuri is free to do as he wishes, he has no right to risk Lara and Katenka’s safety. Komarovsky is headed to the Far East to join the last remaining White government, whose existence the Bolshevik authorities in Moscow tacitly tolerate, at least for now. He offers to bring Yuri, Lara, and Katenka with him; he is also planning a prisoner exchange to secure Strelnikov’s freedom. Yuri refuses to join them, telling Lara it is a decision she must make for herself.
Komarovsky correctly points out that Lara’s plan to hide Katenka with the Tuntseva sisters cannot guarantee her safety. The Bolsheviks allow the Whites to gather in the Far East both because it makes it easier to control the already Red parts of Russia if the Whites voluntarily flee and because they do not yet have the power to crush the Whites in the Far East, but they soon will—in 1922, the Red Army defeated the last remnants of the White Army in Vladivostok, Russia’s easternmost city. Yuri and Lara cannot tell if Komarovsky is genuinely trying to help them or to manipulate them—given his past actions, it’s most likely that he is motivated by some murky combination of generosity and self-interest.
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Yuri and Lara instead decide to relocate to Varykino and hide out in the Mikulitsyns’ abandoned house. Yuri worries that Lara is making a mistake, but she refuses to leave without him. Yuri suspects that Lara is pregnant and reflects on the poetic force of her recurring presence in his life. Securing a horse and supplies from Samdevyatov, they leave the city for Varykino, which is deserted and entirely covered in snow. The Mikulitsyns’ house remains in good condition, however, though someone else has clearly occupied it in the interim. Yuri and Lara quickly get to work restoring the house, but Yuri’s doubts about Lara’s decision continue to grow. He urges her to reconsider leaving with Komarovsky. When she refuses, he plans to return to writing, hoping that soon he will be able to publish again.
Yuri and Lara’s journey to Varykino is a desperate attempt to escape from the outside world, which threatens to tear them apart. What was a practical plan with Tonya—riding out the civil war in a quiet place—becomes with Lara a kind of dream, which both she and Yuri know cannot last. In this sense, the move becomes a symbol for their entire relationship. Yuri has lost his connections to the real, everyday world, and is entirely absorbed in his love for Lara and the poetic power of the world around him. His desire to start writing again reveals how deeply in denial he is about the gravity of their situation. The house’s clean, occupied state foreshadows the interruption of their sojourn by someone yet unknown.
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After Lara and Katenka go to sleep, Yuri spends the nights writing. He is extremely productive and feels the more creatively fulfilled than he has been in a long time, observing with wonder how happy he is here despite the circumstances. His midnight reveries are interrupted, however, by a howl; going outside, he realizes that the wolves have returned to Varykino and are prowling close to the house. Not wanting to worry Lara, Yuri decides not to tell her about the wolves. Despite his happiness, Yuri knows that his time with Lara in Varykino is limited. As he works the next night, the howls wake Lara. Though she mistakes the animals for dogs, she is frightened and insists that they leave the next day. Looking outside after she goes back to sleep, Yuri notices more wolves than before, closer to the house.
Yuri experiences a burst of productivity and inner peace not despite but because of the adverse circumstances he and Lara face, and he turns inward instead of facing the challenges before them. The returning wolves are at once a literal threat to Lara and Yuri’s safety and a powerful metaphor for the increasing dangerous situation they are in, and Yuri’s decision not to tell Lara is yet another stage of denial.
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Quotes
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Day after day, Lara continues to anxiously insist that they leave and pack their things, only to change her mind at the last minute. Though she is packed and ready to go, Lara breaks down and pleads with Yuri to stay and enjoy one more evening together. He consoles her, tells her to unpack, and takes the horse to his family’s old shed to retrieve more firewood. Arriving at his old home, the doctor is struck by the sad, empty appearance of the once-again ruined manor, and he feels a great sense of loneliness. Yuri’s reflections are interrupted by his horse, who suddenly turns toward the Mikulitsyns’ house and neighs. Yuri surmises that the horse smells another horse and worries that they were wrong to think that Varykino was abandoned. Returning home, he finds another horse outside and recognizes Komarovsky’s voice inside arguing with Lara.
Lara remains more practically minded than Yuri despite her own equally desperate longing to escape their historical circumstances, though her better judgement manifests as panic and mania. Yuri struggles to separate his feelings of love for Lara and his guilt and sadness over his separation from his family. His moral crisis is heightened by his return to the last place he saw Tonya—and the last time he was happy with her. The horse’s actions worry Yuri that the Bolsheviks have finally found them, but he is eternally lucky and only finds Komarovsky waiting for him instead.
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Komarovsky greets Yuri and explains that he is offering them one last chance to join him—he is leaving Yuriatin the next morning. Yuri remains unmoved, telling Lara and Komarovsky that he will not leave but that Lara should make her own decision—for Katenka and for herself. Lara still refuses to go without Yuri , and Komarovsky urges the doctor to reconsider for her sake. Komarovsky asks to speak to Yuri in private. Moving to the kitchen, Komarovsky tells the lawyer that Strelnikov has been executed—or so the rumors say. He proposes another plan: if Yuri refuses to go with them, he should lie to Lara, telling her to go with Komarovsky and that Yuri will meet them at the train station. Yuri agrees, though he wonders aloud if he is making a terrible mistake.
Though Komarovsky is clearly motivated by some degree of genuine feeling for both Lara and Yuri, his desperation and their intransigence lead him to employ increasingly manipulative tactics to convince them to come with him. Strelnikov’s alleged death may just be one more attempt to trick them. Komarovsky’s arguments are deeply dishonest, but he feels he has no choice as Yuri and Lara refuse to listen to reason. Yuri’s willingness to act rationally with regard to Lara but not himself reveals the depths of his own depression, as he is no longer capable of taking action even for basic self-preservation.
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After Komarovsky, Lara, and Katenka depart, Yuri instantly regrets his decision and considers rushing out to catch up with them. He imagines Lara’s thoughts: her happiness that he finally relented, and the disappointment she will feel when she learns the truth. Standing on the porch, he watches a bend in the road where they can be seen passing by; Lara too stops, looks back toward him, and they exchange silent goodbyes. As the sun sets, Yuri goes back inside. To distract himself from his grief, he focuses on practical plans, resolving first to make practical arrangements for his own survival, and next to plan his return to Moscow. Instead, however, he finds a bottle of alcohol left behind by Komarovsky and drinks himself into a stupor.  
Yuri’s decision to help Komarovsky deceive Lara is one of the most painful choices he has ever made; the fact that it is almost entirely self-imposed does not make it any easier for him. His next actions are typical of someone in a near-suicidal state, as he obsessively turns to immediate practicalities and details while ignoring the truly significant problems in his life: the likely permanent loss of the women he loves, and the great physical danger he is still in from the Bolsheviks.
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Alone in Varykino, Yuri slowly loses his grip on reality and spends his time drinking and writing. He writes new poems, many of them obliquely about Lara, but he also completes and edits older works that he left unfinished. He theorizes about history, imagining the slow and imperceptible changes that outlast—and overcome—the history of great individuals, revolutions, and wars. Samdevyatov visits him, bringing him more alcohol and news that Lara successfully left Yuriatin with Komarovsky. Seeing the state that the doctor is in, Samdevyatov promises to return in a few days and bring him back to the city. Yuri hallucinates, imagining the sound of Lara’s voice and of gunshots in the ravine—or so he thinks.
Yuri experiences a burst of creativity as an almost direct consequence of his isolation and retreat from the world around him. While the doctor’s writings are insightful and profound, there is something deeply ironic about the elaborate philosophies of history written by a man who has tried at every point to avoid participating in the great social changes upending his country. Whether Yuri lives according to his theories, or the theories are merely a justification for his own passive nature is left unclear.
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Late in the afternoon, Yuri hears footsteps approaching the house. He wonders who it is—Samdevyatov would arrive on horseback, any arresting officers would come for him in a group, and Varykino is far too isolated for random passersby. The stranger enters, and though it takes Yuri a moment to recognize him, he soon realizes it is none other than Strelnikov. Yuri and Strelnikov talk long into the evening, the soldier telling his story in a disjointed, disordered manner. Strelnikov returned from Siberia much like the doctor did, traveling on foot along the railroad—he too met Teresha Galuzin along the way, and Teresha failed to betray him to the authorities.
Yuri struggles to recognize Strelnikov at first both because he has only met him once (and in vastly different circumstances) and because he has become so used to his isolation that he struggles at first to relate to another person. Strelnikov’s survival proves that Komarovsky was lying, at least in part, but Yuri feels too hopeless to care about that now. Their reunion, as Strelnikov predicted, is a strange twist of fate in itself—even more auspicious is the nearly identical course of Strelnikov’s journey back to Yuriatin from Siberia.
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Yuri and Strelnikov burn candle after candle talking through the night. Strelnikov tells the doctor that he cannot understand the true meaning of the revolution because of his class background. He continues to interrupt himself, warning the doctor to leave before the authorities track him down—or before the wolves get them both. Strelnikov rambles, raging against the prerevolutionary oppressors, narrating the birth of revolutionary communism, and praising Lara’s beauty and angelic nature. Realizing that his praise for the revolution is wasted on Yuri , Strelnikov focuses on Lara, explaining that his quest was, in part, to avenge the wrongs she suffered.
Yuri and Strelnikov’s candlelit conversation recalls Yuri’s first poetic encounter with Strelnikov( though neither was aware of it at the time) when he passed by Antipov’s apartment on Christmas many years ago. Strelnikov has so completely rebuilt his life around the revolution that he cannot abandon it even as the Bolsheviks give up on him. On some level, however, even Strelnikov is aware that his political and moral principles are motivated by a more simple, human force: his love for Lara.
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Yuri tells Strelnikov what Lara told him—that she loves her husband more than anyone else in the world and would give up anything to be together with him as she once was. Strelnikov is deeply moved and asks Yuri to describe the exact circumstances of that conversation, especially Lara’s mannerisms, before anxiously returning to the subject of his imminent arrest. When they finally go to bed, Yuri has the first good night of sleep since Lara left. He dreams about his childhood and is briefly woken up by a noise which he assumes must be part of his dream. The next morning, he calls out to Strelnikov in the next room but receives no answer. He starts making coffee and goes out to the well for water, but in the front yard finds Strelnikov lying dead in the snow—he shot himself in the head.
Over the course of World War I, the revolution, and the civil war, Strelnikov has become so obsessed with his quest to prove himself that he has lost sight of the real object of his quest: Lara. It takes Yuri’s recounting of Lara’s words for them to sink in for Strelnikov, as his inferiority complex prevented him from listening to her when she expressed her love for him directly. Strelnikov dies by suicide because Yuri’s story reveals to him the hopelessness and pointlessness of his situation. In leaving home to remake the world for Lara’s sake, he has cut himself off from her forever, no matter how many revolutionary victories he experiences.
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