Pasternak's Russian translations of Shakespeare are works of real artistic beauty, if not entirely true to the original. He was Stalin's favourite poet, far too precious to arrest. His love of Georgia and translations of Georgian poetry endeared him to the Soviet leader. But even though he lived amid all the creature comforts of a Moscow gentleman, Pasternak was made to suffer from the Terror in a different way. He bore the guilt for the suffering of those writers whom he could not help through his influence. He was tortured by the notion that his mere survival somehow proved that he was less than honour-able as a man - let alone as a great writer in that Russian tradition which took its moral values from the Decembrists. Isaiah Berlin, who met Pasternak on several occasions in 1945, recalled that he kept returning to this point, and went to absurd lengths to deny that he was capable of [some squalid compromise with the authorities] of which no one who knew him could begin to conceive him to be guilty'.193
Pasternak refused to attend the meeting of the Writers' Union at which Akhmatova and Zoshchenko were denounced. For this he was expelled from the Union's board. He went to see Akhmatova. He gave her money, which may have led to the attack on him in
Shostakovich found another way to save his sanity. In 1948 he was dismissed from his teaching posts at the conservatories in Moscow and Leningrad - his pupils were also forced to repent for having studied with the 'formalist'. Fearing for his family, Shostakovich admitted his 'mistakes' at a Congress of Composers in April: he promised to write music which 'the People' could enjoy and understand. For a while, Shostakovich contemplated suicide. His works were banned from the concert repertoire. But, as in former times, he found a refuge and an outlet in the cinema. Between 1948 and 1953, Shostakovich wrote the music for no less than seven films.195 'It allows me to eat', he wrote to his friend Isaak Glickman, 'but it causes me extreme fatigue.'196 He
* Smuggled out of Russia and first published in Italy in 1957,
told fellow composers that it was 'unpleasant' work, to be done 'only in the event of extreme poverty'.197 Shostakovich needed all the money he could earn from this hack work. But he also had to show that he was taking part in the 'creative life of the Party'. Five of the film scores he composed in these years were awarded the prestigious Stalin Prize, and two of his songs from Alexandrov's