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GENRE FEATURES OF ANDREI PLATONOV'S NOVEL "CHEVENGUR"

A. Khudzinska-Parkosadze

The work of Andrei Platonov constantly arouses the keen interest of literary critics and lovers of literature. Literary criticism is trying to find answers to the most basic questions regarding Plato's poetics, such as the definition of the genre of the only completed novel of the writer "Chevengur". When solving this problem, scientists were divided into two main groups: the first considers this novel a dystopia, the second - a utopia. However, there is a third group that tries to classify this genre as both dystopian and utopian, despite their opposites.

On the one hand, critics emphasize that Chevengur, “an eerie place-mystery”, being outside of real space and time, meets the main feature of a utopian city: that is, a place that does not exist. This definition is supported by the utopian nature of the very idea of communism2, utopian time, which Platonov 3 embodied. Other terms are also used to define the genre of the novel: meta-utopia 4, trans-utopia 5, etc. A. Pomorsky calls the work “Chevengur” a pre-Orwellian dystopia along with “We” by E. Zamyatin6.

On the other hand, critics note that in Chevengur's novel, the features inherent in dystopia are clearly distinguished: the idea of socialism and universal happiness on earth, faced with a specific human fate, leads to a tragic ending7. O. Lazarenko sees the essential feature of dystopia in Chevengur in Platonov's recognition of the priority of eternal and natural life over the idea 8.

How adequate are such readings of Chevengur? In this regard, we agree with the opinion of V. Svitelsky, who notes that Platonov in Chevengur revealed the inevitability of a meeting between utopia and reality, expressed it in a "new, unprecedented, artistic synthesis." Platonov in the work,

the sacred real life, together with utopia gave its discussion, its correction by reality. V. Svitelsky calls the novel Chevengur a tragic utopia of Platonov 9.

So, if Chevengur cannot be unequivocally called a utopia or a dystopia, then the question

about the genre remains open. Maybe Platonov played some kind of joke with the reader "and so and vice versa." Perhaps it is no coincidence that Andrei Klimentov chose for himself a pseudonym similar to the name of one of his favorite philosophers - Plato 10. After all, Chevengur's picture in a strange way resembles the ideal state that Plato wrote about in his treatise. The philosopher believed that in an ideal state there is no place for what is useless and harmful (including the sick, crippled, "pests" of society, etc.). This approach is reminiscent of the approach of the Chevengur Bolsheviks to the old Chevengurs and gives grounds to assert that the author of Chevengur's genre orientation is towards Plato's State.

Plato believes that in an ideal state, power should be concentrated in the hands of wise philosophers, "saviors", who know best what is good and what is bad. Here there is an avant-garde, and the guards of the borders and the guardians of order. This is a kind of version of Fedorov's "guards", that is, a true reflection of the image of the Chevengur Bolsheviks. They constitute the power elite and, according to Plato, must give up property and live in a Spartan way. Representatives of the authorities understand the needs and requirements of others best of all. Those who are enemies of the new order, and the very state and the gods, will face a death sentence. For the sake of the good of the state, it is necessary to restrict freedom of thought and action.

Plato knew that in a non-ideal world it is impossible to create an ideal state, but he was convinced that people should strive to realize the ideal. He founded his

the project of an ideal state based on the belief that the ideal world (that is, the world of perfect ideas) has as its ultimate goal the realization in matter. Matter in the Cosmos becomes more perfect as it approaches the world of pure ideas, that is, the Universe. This striving for perfection through beauty Plato calls love 12. Plato writes about the need to unite all people with one goal for the sake of creating a just state and educating a perfect person 13. However, as scientists note, in its details and methods of implementation, Plato’s theory scorns freedom and happiness of a person as a person 14.

The ideal state of Plato is considered a utopia 15, since it embodies the model of the “best” earthly device. At the same time, the image of the Platonic state also corresponds to the model of the totalitarian system of power 16. From this we can conclude that the definition of Chevengur as a utopia or anti-utopia is connected with the mystery of the definition of the Platonic State. After all, utopias created in antiquity are myths that turned into anti-utopias in the 20th century. Utopia is a project of a rationally organized society. The sphere of dystopia is the private existence of a person, something intimate and deeply individual. Its hero is a person who tries to build his existence according to the ideas of spiritual harmony 17.

The influence of Plato's ideas on Platonov's worldview has already been repeatedly noted by critics 18. It was emphasized precisely the fact that Plato is the ancestor of utopia, and the fact that Platonov criticized idealism in one of his earliest articles in the newspaper "Voronezh Commune" dated 17 and October 20, 1920 under the title "Culture of the proletariat"19. Plato's philosophy shines through not only through Chevengur's genre form. As Ya. Shimak-Reiferova rightly noted, the influence of Plato also affected the ideas of the heroes of the novel about the soul and body. They "feel" and "formulate" the world according to Plato 20. In our opinion, Platonic philosophy is largely based on the Platonic myth, the core of which is the dualistic model of the world order.

The mythologism of thinking is directly related to the question of human perception of the world and the process of its comprehension 21. Myth is a model for other literary genres. Researchers have long noted the connection of some rituals, tribal customs, beliefs with the fairy tale genre. Most researchers do not doubt the fact of the origin of the fairy tale from the primitive myth 22.

The fairy-tale plot reinterpreted mythological representations, sometimes reproducing them in a literal sense. The most stable mythological motifs and themes that the fairy tale absorbed include the theme of paradise, the search for “another kingdom” (“the other world”), the theme of the hero’s initiation and trials during his wanderings. Vladimir Propp traced the plot scheme of a fairy tale to two main cycles of mythological representations. The first is associated with the rite of initiation, that is, the transition of the hero to a new status, and the second reflects ancient ideas about the place of the afterlife of souls and the journey to another world 23. It should be emphasized here that it is difficult to draw a clear line between these cycles, since the rite of initiation and presentation "other world" is inherent in many beliefs. The rite of initiation was associated with the subsequent resurrection.

According to W. Propp, a fairy tale is distinguished primarily by the repetition of functions, that is, the uniform actions of the characters that are important for the development of the plot.24 Hence the homogeneity of the composition. The scientist names several main motifs that define the genre of a fairy tale. Chevengur as a novel, which means a more complex genre in its structure, has two storylines, one relates to the father, a fisherman, and the other to Sasha. Nevertheless, both storylines meet the compositional requirements of a fairy tale.

Let's start with Sasha's father: a temporary departure from home can be understood as a departure from this world to the world of death. Therefore, the impermissibility of depriving oneself of one's life appears here as a prohibition. Interestingly, in relation to Sasha, this prohibition does not apply to him directly, but to other persons, that is, the prohibition of taking the life of other people refers to the murder of old Chevengurs by the Bolsheviks, but to

the murder of them by a gang of nomads. Although Sasha is not a violator of this prohibition, it is he who seeks to overcome its sinister power - the element of death.

V. Propp considered the violation of the prohibition to be the main element of the plot of the action and the beginning of the intrigue. Accordingly, the suicide of Sasha's father represents the beginning of the action and the beginning of Sasha's journey. According to the requirements of the fairy tale genre, her hero must become a type of seeker who is forced to leave the house and go in an indefinite direction. Sasha is a seeker of the truth of life, he is forced to first leave the house of his adoptive father, Prokhor Abramovich Dvanov, then the grave of his father, a fisherman, and, finally, the house of Zakhar Pavlovich. The hero of the novel goes first to beg, and then to look for communism.

Sasha Dvanov is, like the hero of a fairy tale, a type of peasant, he is the son of a fisherman. In the novel, his external characteristics are practically absent. The main feature of Sasha is nobility, which is based on his desire to help others. He also possesses another basic quality of a magical hero - the ability to sympathize with others. It is curious that in Russian fairy tales, the character personifies love for his father, whose last request he fulfills as a sacred duty. Recall that Sasha decided to go to Chevengur after he saw his father in a dream and he told him: “Do something in Chevengur: why are we going to lie dead ...”25. It is this episode of the novel that combines the fabulous function of a connecting moment and mediation.

It is symptomatic that in Platonov's novel the function of a magical assistant and antagonist is performed by one hero - Sasha Dvanov's adopted brother - Prosha Dvanov. The leading feature of the magical helper is greater activity than the protagonist's passivity. For us, the fact that Sasha is guided in life by the call of his open heart, and Prosha, in contrast to him, by a cold-blooded mind, is of essential importance. It is this circumstance that formed the basis of the antagonistic relationship between these two characters.

By the same principle, the compositional axis of a fairy tale is made up of two antagonistic realms. In Chevengur, these kingdoms acquire a truly ontological content - firstly, the earthly kingdom, that is, this world, and secondly, the kingdom of darkness, that is, that light. The city of Chevengur itself also refers to the symbolism of the kingdom of darkness, since it is in opposition to the "outside" world around it. There, “time was hopelessly slipping back to life” (Ch., p. 225), it was “difficult to enter Chevengur<...>and it is difficult to get out of it” (Ch., p. 231). Therefore, Chevengur turned out to be the place where the protagonist was tested.

The main functional feature of the test is that only one who possesses a magical agent can pass it. In Sasha's case, the motif of an open heart performs the function of a magic tool. Among all the heroes, only he feels true love for all the people he meets, saturated with compassion and ready for self-sacrifice.

Characteristically, according to the compositional requirements of the fairy tale genre, the plot of the action is realized through an episode of absence, that is, one of the family members must leave home. The story of Sasha Dvanov begins with the death of his father, a fisherman who wanted to “live in death and return” (Ch., p. 8). However, despite his intentions, he violated the ban on suicide, as he died “not because of weakness, but because of his curious mind” (Ch., p. 9). By his death, he created a shortage in the life of his son, who has since experienced a lack of happiness, understood in terms of Platonic "warmth". Sasha hopes to find this "warmth" first in the house of Prokhor Abramovich Dvanov, but unsuccessfully. His fate changes when the antagonist Prosha agrees to bring the begging foster brother to Zakhar Pavlovich under the pretext of alms. The function of complicity is realized through Sasha's obedient submission to the will of Prosha, despite the fact that he had previously committed an act of sabotage, calling him a "parasite" and driving his father Prokhor Abramovich out of the house. For the second time, Prosha caused the lack experienced by Sasha, a feeling of loneliness, longing for his own father and human “warmth”.

The function of trial and sacrifice is realized at two levels: preparatory and final. The first test refers to the first part of the novel, in which Sasha goes on a business trip to Russia and meets a squad of anarchists. As a result of an anarchist attack, Sasha was wounded in his right leg. The symbolism of this wound is of great importance for an adequate understanding of this scene and the finale of the novel. A wound in the right leg means that the hero is at the very beginning of the spiritual path 26 and, having given part of himself as a self-sacrifice, he became a demigod and acquired knowledge. Moreover, this symbolic scene of injury brings the image of the hero closer to the image of Jesus Christ, since, aiming at Sasha, the anarchist says: “On the scrotum of Jesus Christ” (Ch., p. 69). Having been wounded, Sasha “rolled off the edge of the ravine to the bottom” (Ch., p. 69). Falling to the bottom is a symbolic descent into hell and symbolic death. Just as Satan “tested the strength of the spirit” of Christ in the desert for forty days (Luke 4, 1-15), so the incident with the anarchists was a test of Sasha’s strength of spirit and preparing him for the main sacrifice at the end of the novel. The fact that Sasha was stripped naked and that at the same time he does not feel any anger, shame or humiliation seems to be significant. For him, this turned out to be only a physical humiliation, which, in its essence, should prepare the hero for the final spiritual test and sacrifice. This scene of the first test and the first victim is also connected with the birth of the "magic tool" - a sympathetic heart. It must be emphasized that the parallel Sasha-Christ that we have outlined should be understood in a philosophical, but not in a religious-dogmatic framework.

Sasha's path to Chevengur corresponds to the spatial movement of the hero of a fairy tale between two kingdoms. As we have said, the pattern of two antagonistic realms in the Platonic novel is the world of life and the world of death. The hero of the novel comes to Chevengur to see if it is really the only place on earth where the ultimate happiness of all mankind is located - communism. In Chevengur, the struggle between the protagonist and his antagonist will take place. Sasha, the owner of an "open heart", and Prosha, a supporter of re-

solving life issues with the help of the mind, are arguing about what is truth and how people can find happiness. Prosha believed that truth should be sacrificed for the sake of general moderate happiness, which the chosen ones would allocate to the rest as rations. According to the hero, “every truth should be a little and only in the very end” (Ch., p. 247). Sasha, however, convinced him by proving the opposite.

The function of a stigma, a mark, is performed by a kiss on the lips, which Prosha received from Sasha at the beginning of their conversation about the truth. Sasha kissed him as a sign of forgiveness, "noticing in him conscientious shame for his childhood past" (Ch., p. 245). This act of mercy turned Prosha from an antagonist into Sasha's helper and follower. Immediately after the fatal conversation with his brother, Prosha sets off in search of wives for "others", for the first time wanting to do something disinterestedly for others, and at the end of the novel he sets off to look for Sasha because of longing for his disappeared brother.

Sasha wants to stay in Chevengur to live with the "others", because only here he felt happy. This fact testifies to the elimination of the shortage experienced earlier by the hero. However, Sasha's favorable stay in Chevengur is interrupted by a sudden invasion of a gang of nomads, which exterminated all the Chevengurs except for Sasha. He miraculously escapes the chase and escapes. On a horse, called by Kopenkin the Proletarian Force, he returns to the beginning of his journey - to his native village. There his unrecognizable arrival will take place, since the only old man he met in the village, Pyotr Fedorovich Kondaev, does not recognize him.

The denouement of the novel has a purely mystical character. It is impossible to understand the final scene without referring to its meaning encoded in mythological symbols. The main symbolic images in this episode are the lake as a chronotope of the kingdom of death and a ritual of self-sacrifice in the name of the common good. Consequently, the function of the usurper is assigned to the image of water in Lake Mutevo, which “once calmed<...>father in her depths” (Ch., p. 306), but now she was worried and attracted Sasha to her. He remembered that there was still “the living substance of the body” in it.

his father, and it is there that “the whole homeland of life and friendliness” is located (Ch., p. 306). The unfounded claim of the usurper is explained by the fact that a person must, in the Platonic manner, “make himself” and create in life and through life.

The essence of the difficult task facing Sasha lies in the fact that he must find the road “on which his father once walked in the curiosity of death” (Ch., p. 306), but go through it not into death, but into eternal life, while he must still expose the usurper. In order to fulfill the intended, his death should not be an act of suicide, but, on the contrary, a sacred act of love and mercy. Therefore, an important role is played in this context by the motif of the stigma-mark, that is, the kiss, understood as an act of mercy in relation to the antagonist. It is with the help of this act that the main dualism of the novel is overcome: heart / mind, life / death. Sasha "continues his life" (Ch., p. 306), plunging into the water of Lake Mutevo, because he dies "by virtue" of love. Thus, the transformation of the hero takes place and he defeats the main enemy - death. The act of Sasha's self-sacrifice to overcome the elements of death (the circle of death: the murder of old Chevengurians, the death of a child, the murder of new Chevengurians, etc.) acquires the meaning of ascension into the sphere of sacrum and unification with the absolute, and therefore performs the function of a wedding and ascension to the throne.

Yu.M. Lotman denies the possibility of applying to the novel the model developed by

V.Ya. Propp for a fairy tale. The literary critic sees a fundamental difference between fairy tale and novel texts. The main ones are: strict hierarchical closure of levels (the sum of the functions of a fairy tale), the detail-reality of the plot in a fairy tale is included only in the surface layer of the text (the exception is a “magic object”, that is, a tool with which a certain function is realized). But, on the other hand, Lotman admits that a characteristic feature of the Russian novel is the "mythology" of plots.27 It seems that Chevengur Platonov's novel is an exception to Lotman's rule.

The style of Chevengur also contains the characteristic properties of a fairy tale. In the light

In this article, the difference between myth and fairy tale is also important. V. Propp emphasizes that the myth, having lost its sociological significance, has turned into a fairy tale. Outwardly, the beginning of this process is marked by the separation of the plot from ritual. Consequently, the fairy tale loses the religious function of myth 28.

In the novel Chevengur, in our opinion, the composition and style of a fairy tale is enriched with philosophical and ontological content. Platonov raises questions about the meaning of life, about truth, about happiness. The answers and results of his search are captured in universal mythological symbols that create a single picture of the world. The purpose of the novel is not religious, but philosophical, since there are no obvious answers. The reader must find them. It seems that the fairy tale genre, which grew out of myth, can more adequately express the ideological and philosophical searches of the writer than others.

It is also significant that some of the main qualities of Platonic stylistics are called lyricism. R. Chandler emphasizes that Platonov does not offer the reader a confident and clear perspective of the events described. The writer reconciles and heals his heroes with words of love 29.

The similarity of Chevengur with a fairy tale was already noted by Yu. Pastushenko, pointing to the similarity of Sasha Dvanov to the hero of a fairy tale, when he goes on a journey not by himself, but fulfilling the task of the ruler. Moreover, the researcher emphasizes that Sasha is a special hero in special circumstances, similar to fairy tales. Dvanov is a type of hero whose roots go back to the ancient Russian cultural tradition associated with the lives of saints, utopian legends and fairy tales 30.

M. Zolotonosov also drew attention to the complex transformation of folk fairy-tale ideas about the ideal arrangement in the “otherworldly kingdom”. According to the critic, in Chevengur one can clearly see the mutual influence of knowledge and faith on the example of the description of the economic system of “Chevengur communism”31.

Undoubtedly, A. Platonov consciously turned to the fairy tale genre and rethought it, giving it an ontological character. It is significant that after

mobilization from the army in 1946, A. Platonov worked on fairy tales all the last years of his life (Magic Ring, 1950; Bashkir folk tales, 1949; Two crumbs, 1948). The writer believed that a true artist, translating a work of folklore, recreates and thereby affirms in the people's mind the best version of all the available versions of this plot. Platonov wrote about the role of the writer processing folk tales in the following way: “Writers further enrich and shape the folk tale with the power of their creativity and give it that final, ideal combination of meaning and form in which the tale remains for a long time or forever”32. It is also natural that Platonov created his own individual genre - an ontological fairy tale, in which he combined the form of a fairy tale with ontological content.

Plato's heroes are fabulous philosophers. They walk barefoot on the road, but touch “not road dust and dirt, but directly the globe”33. They are the children of the universe. With the help of the fairy tale genre, the writer fills the text with philosophical content. It is worth noting, however, that if a fairy tale usually told about some past events (“once upon a time”), then Platonov concentrates on the present and tells his contemporaries about their life, exposing lies and pointing to the essence - truth. After all, a fairy tale is the most accessible literary form of address to the people, to the most widely understood listener, not distorted by the experience of life.

The peculiar "poetics" of the name of the city, which is included in the title of A. Platonov's novel, is closely connected with the category of space. One of the first researchers who made an “approach” to clarifying its source was O.Yu. Aleinikov. The critic suggests that this name can be deciphered as CheVeNGUR - Extraordinary Military Invincible (Independent) Heroic Fortified Region, adjusted "for the writer's disguised grin"34. The author of the above article argues that this abbreviation was compiled taking into account the word-formation models common in post-revolutionary times, which gravitated “to the formation of words

according to the pronunciation of the initial syllables or the initial letters of several syllables. As an example, the researcher cites the following: Vikzhedor - the All-Russian Executive Committee of the Railway Trade Union, Vsekoles - the All-Russian Committee for Forestry, etc.36

However, the method of forming the names of other works of the writer shows that the above version of decoding is not typical for A. Platonov, since the writer sought nominative simplicity. These titles are often a kind of slogans, that is, concise but meaningful information: Pit, Doubting Makar, Symphony of Consciousness, etc.). Naturally, these names are often symbolic, two-dimensional, ambiguous, like the most Platonic works, in their origins simple.

A. Platonov already in 1922 (six years before Chevengur’s plan) wrote about himself “I am a singer, a wanderer and a bridegroom of the universe” in the poem Lunar Rumble, which, for reasons unknown to the end, was not included in the collection Blue Depth 37. In this The poem contains the following lines:

moon rumble,

The ringing groan of torn molecules is the universal fight against resistance and fire. By the way, when Sasha Dvanov first heard the word "Chevengur", he liked it because it "looked like an enticing rumble of an unknown country" (Ch., p. 138). In the poem Lunar Rumble, Platonov also writes: In the world I heard a deep breath, Underground movement of water.

As a result, it should be noted that Platonov looks at space and man's place in it not on the scale of the Earth alone, but on the scale of the entire Universe. We add that some researchers also drew attention to this feature of the "Platonic artistic universe." For example, N.P. Khryashcheva in her book “The Boiling Universe” by A. Platonova claims that the writer initially thought in terms of cosmic categories (meaning, first of all, the works of the “pre-Chevengur” period). As subtly noted in the work, it is no coincidence that projects of transforming

developments on a planetary and even galactic scale. The researcher emphasizes that the writer believes so deeply in the immediate practical expansion of earthly life to the limits of the Cosmos that in his works the temporal boundaries between the possibilities of earthly human consciousness are actually removed. N.P. Khryashcheva considers the ways and means of artistic design by the writer of a new model of the Universe and the results of its testing for the possibility of becoming a happy home for mankind 38. N.M. Malygina also emphasizes that thoughts about man - "an inhabitant of the Universe", a conqueror of the Cosmos, are embodied in Platonic poetic formulas (man is the "beloved child" of the sky, people are "descendants of the sun"), reflecting the essential features of A. Platonov's philosophy of nature 39.

We believe that the name of the novel Chevengur can be deciphered as: Che-ven-gur, that is, Che - through, ven - universal, gur - province, or Through-universal-rumble. This method of decoding is also suggested by the title of another work by A. Platonov (Che-che-o), which, by the way, was published in 1928, that is, when the author was intensively working on Chevengur. The title Che-che-o means: Through the Chernozem Okrug, that is, the area through which the writer made a trip, and then placed his impressions in the above-mentioned essay.

We assume that the last syllable "gur" means the word "province". When explaining this judgment, we refer to the conclusions of M.A. Dmitrovskaya, who connects the image of Chevengur with the symbolic image of the "underwater" world and draws a parallel between this image and the scene of the death of Dvanov's father in Lake Mutevo. The researcher emphasizes that Father Dvanov's ideas about death coincide with the description of Chevengur flooded with moonlight: "... he saw death as another province, which is located under the sky, as if at the bottom of cool water, and it attracted him" (Ch., p. eight). We add that some researchers drew attention to the fact that the motive of the call is constant in Chevengur as the motive of labor. E.G. Mushchenko sees the call not as a cause, but as a consequence of the call - work, case 40. The researcher notes that Sasha Dvanov

feels the attraction of the earthly distance, as if all distant and invisible things were “calling to him”41.

A. Livingston claims that Sasha is primarily a "listener of the universe." The literary critic is convinced that “Platonov himself wanted in some sense to discover his own language of the world (universe)”42. And the name "Chevengur" in the text of the novel can be perceived as the first known word of a song or language that Sasha Dvanov is looking for, that is, the own language of the Universe.

B.A. Chalmaev deciphered the name "Chevengur" as a word formed from two words "cheva" - bast shoes and "gur" (grumbling) - hum, vanity, roar. The result is a “rumble from paws”43. However, it is worth remembering that the name "Chevengur" has an internal syllable "ven" and not "va". Based on this decoding, the name “Chevagur” is obtained, and not “Chevengur”. In addition, the “rumble of bast shoes” refers more to the subject than to the problems and idea of the novel. In other words, to earthly reality, which does not exhaust the content of the work. In our opinion, A. Platonov was too attentive to the titles of his works in order to suspect him of such a superficial syllable. In a similar way, the name "Chevengur" is interpreted by V.V. Vasiliev, who understands this word as a “grave of bast shoes” (from “cheva” - a paw, a cast of bast shoes; “gur” is a grave, a tomb, a crypt) - a symbol of the end of the original, Russian truth-seeking, because in Chevengur, according to the Bolsheviks, it has come the end of history and the time of universal happiness 44. Naturally, our approach to trying to unravel the name "Chevengur" is only one of the options for deciphering the title of the novel, in our opinion, the most plausible, taking into account the "stylistics" of Plato's works.

Platonov wanted to be understandable to everyone, he wrote with the thought of humanity as a whole, therefore it seems appropriate to use the fairy tale genre. After all, the fabulous "surface", which to some extent is inherent in parables, hides in its depths a truly philosophical depth. Platonov tried to extract from this depth the truth of human existence, to reveal the meaning of life to his contemporaries, to force them to

think about the fact that they are involved in and responsible for the life that is happening before their eyes and that they themselves (consciously or unconsciously) create. These are not just fairy tales about the struggle between good and evil in the distant past, but an understanding of what is happening, the essence of which is in the genre of an ontological fairy tale.

NOTES

2 Vasiliev V. Andrey Platonov. Essay on life and creativity. M., 1990. S. 141, 152.

3 Aleinikov O. The story of A. Platonov "Juvenile Sea" in the social and literary context of the 30s // Platonov A. Research and materials / Ed. T.A. Nikonov. Voronezh, 1993. S. 72.

4 Günther H. Genre problems of utopia and "Chevengur" by A. Platonov // Utopia and utopian thinking. M., 1991. S. 252.

5 Kovalenko V.A. "Demiurges" and "tricksters" in Platonov's creative universe // Andrey Platonov. Problems of interpretation / Ed. T.A. Nikonov. Voronezh, 1995. S. 74.

6 Pomorski A. Duchowy proletariusz: przyczyne k do dziejów lamarkizmu spolecznego

i rosyjskiego komunizmu XIX-XX wieku (na marginesie antyutopii Andrieja Platonowa). Warszawa, 1996. S. 30.

7 Lazarenko O. The problem of the ideal in anti-utopia. "We" by E. Zamyatin and "Chevengur" by A. Platonov // Platonov A. Research and materials. S. 39.

8 Ibid. pp. 45-46.

9 Svitelsky V. Facts and conjectures: On the problems of mastering the Platonic legacy // Ibid. pp. 87-88.

10 Sliwowscy W.R. Andrzej Platonow. Warszawa, 1983. S. 40. Of course, we are not trying to refute the fact that this pseudonym was also formed on behalf of the writer's father, Platon Firsovich Klimentov. See: Vasiliev V.V. Decree. op. C. 3.

11 Parniewski W. Szkice z dziejów mysli utopijnej (od Platona do Zinowjewa). - Lodz, 2000. S. 27.

14 Tatarkiewicz W. Historia filozofii. T. 1. Warszawa, 2002. S. 101. It is significant that Plato chose the Sun as a symbol reflecting the idea of good, that is, the eternal principle. Sun, co-

According to Plato, it illuminates things and makes their life and development possible.

15 Ibid. See also: Parniewski W. Op. cit. S. 27.

16 See: Popper K.R. The Open Society and Its Enemies. L., 1945. S. 140; Pieszczachowicz J. Wyspa Utopia i jej przeciwnicy // Literatura. 1990. No. 2. S. 45.

17 Zverev A. Mirrors of anti-utopias // Anti-utopias of the XX century. M., 1989. S. 337.

18 See: Semenova S.G. Ordeals of the ideal. To the publication of Andrey Platonov's "Chevengur" // Novy Mir. 1988. No. 5. S. 219; Kantor K.M. It's a shame to live without truth // Questions of Philosophy. 1989. No. 3. S. 14-16; Zolotonosov M. False sun. "Chevengur" and "Pit" in the context of the Soviet culture of the 1920s // Questions of Literature. 1994. Issue. 5. P. 12.

19 Zolotonosov M. Decree. op.

20 Szymak-Reiferowa J. Rycerze Rózy Luksemburg // Andrzej Píatonow. Czewengur. Bialystok, 1996. S. 355.

21 Eliade M. Traktat on historii religii. -Lódz, 1993. S. 416. Eliade argues that at all levels of human perception of the world, the archetype is always used to comprehend human existence and cultural values are created with its help.

22 Wujcicka U From the history of Russian culture. Bydgoszcz, 2002, p. 211.

23 Propp V.Ya. The historical roots of fairy tales. L., 1986. P. 18. See also: Propp W. Morfologia bajki. Warszawa, 1976, pp. 67-123.

24 Propp W. Nie tylko bajka. Warszawa, 2000. S. 91. All names of fairy tale functions are indicated in the text in italics.

25 Platonov A. Chevengur // Platonov A. Sobr. cit.: In 5 vols. T. 2. M., 1998. S. 181. Further citations are based on this edition.

26 Julien N. Dictionary of symbols. Chelyabinsk, 1999, p. 448.

27 Lotman Yu.M. The plot space of the Russian novel of the 19th century // On Russian literature. Articles and studies: history of Russian prose, theory of literature. SPb., 1997. S. 712-729.

28 Propp W. Nie tylko bajka. Warszawa, 2000. S. 179-180.

29 See: Chandler R Between faith and insight // Philological Notes. 1999. No. 13. S. 77; Pod-shivalova E.A. On the generic nature of A. Platonov's prose of the late 20s - early 30s // Platonov A. Research and materials / Ed. T.A. Nikonov. Voronezh, 1993; Orlitsky Yu.B. Verse beginning in A. Platonov's prose // Andrey Platonov. Problems of interpretation / Ed. T.A. Nikonov. Voronezh, 1995; Kedrovsky A.E. Christian and socialist ideals in A. Platonov's story "Jan" // Realized opportunity: A. Platonov

tones and the twentieth century / Ed. E.G. Mushchenko. Voronezh, 2001; and etc.

30 Pastushenko Y. Mythological symbols in the novel "Chevengur" // Philological Notes. 1999. No. 13. S. 30, 3S.

31 Zolotonosov M. Decree. op. S. 6.

33 Ibid. pp. 124-125.

34 Aleinikov A.Yu. On the approaches to "Chevengur" (about one of the possible sources of the name) // Filologicheskie zapiski. 1999. No. 13. S. 182.

36 Ibid. pp. 182-183.

37 Platonov A. Blue depth // Platonov A. Collected works: In 5 vols. T. i. M., 1998. S. 79.

38 Khryashcheva N.P. "The Boiling Universe" by A. Platonov: The Dynamics of Image Creation and World Understanding in the Works of the 1920s. Yekaterinburg, 1998.

39 Malygina N.M. Aesthetics of Andrey Platonov. Irkutsk, 1985. S. 23.

40 Mushchenko E.G. A. Platonov's philosophy of "business" // Realized opportunity: A. Platonov and the XX century / Ed. E.G. Mushchenko. Voronezh, 2001, p. 19.

41 Ibid. S. 20.

42 Livingston A. Platonov and the tongue-tied motif // A realized opportunity. S. 209.

43 Chalmaeva V.A. Andrei Platonov: (Comments) // Platonov A. Collected Works. T. 2. S. 534.

44 Vasiliev V.V. Decree. op. S. 147.

He turned to the genre of dystopia. In his work, he combined utopia and dystopia. This is characteristic of all his work. At the beginning, his work was associated with hobbies for utopia. Then he turned to dystopia. He received a psychological education, like Zamyatin.

He entered literature as a "proletarian writer".

22 g - collection "Blue Depth" - poetry.

1927 is the year of the writer's approval in Russian literature. He publishes stories - "City of Gradov", "Intimate Man", "Etheric Path", etc. They review the ideas of unlimited power of man over nature. Departs from science, the theme of the little man sounds. Ideas of Russian Philosophy.

"Pit"

Andrey Platonov became known to a wide range of readers only recently, although the most active period of his work fell on the twenties of our century. Platonov, like many other writers who opposed their point of view to the official position of the Soviet government, was banned for a long time. Among his most significant works are the novel "Chevengur", the novels "For the future" and "Doubting Makar".

I would like to focus on the story "Pit". In this work, the author poses several problems. The central problem is formulated in the very title of the story. The image of the foundation pit is the answer that Soviet reality gave to the eternal question about the meaning of life. The workers are digging a hole to lay the foundation of a "common proletarian home" in which the new generation must then live happily. But in the process of work it turns out that the planned house will not be spacious enough. The pit had already squeezed out all the vital juices from the workers: “All the sleepers were as thin as the dead, the cramped place between the skin and bones of each was occupied by veins, and the thickness of the veins showed how much blood they must let through during the stress of labor.” However, the plan called for an expansion of the pit. Here we understand that the needs for this “house of happiness” will be enormous. The pit will be infinitely deep and wide, and the strength, health and labor of many people will go into it. At the same time, the work does not bring any joy to these people: “Voshchev peered into the face of the unrequited sleeper - whether it expresses the unrequited happiness of a satisfied person. But the sleeper lay dead, his eyes were deeply and sadly hidden.

Thus, the author debunks the myth of a “bright future”, showing that these workers do not live for the sake of happiness, but for the sake of a foundation pit. From this it is clear that the genre of "Pit" is a dystopia. The terrible pictures of Soviet life are contrasted with the ideology and goals proclaimed by the communists, and at the same time it is shown that man has turned from a rational being into an appendage of the propaganda machine.

Another important problem of this work is closer to the real life of those years. Platonov notes that for the sake of the industrialization of the country, thousands of peasants were sacrificed. In the story, this is very clearly seen when the workers stumble upon peasant coffins. The peasants themselves explain that they prepare these coffins in advance, as they anticipate an imminent death. The surplus appropriation took everything from them, leaving no means of subsistence. This scene is very symbolic, as Platonov shows that a new life is being built on the dead bodies of the peasants and their children.

The author especially dwells on the role of collectivization. In the description of the “organizational court”, he points out that people were arrested and sent for re-education even because they “fell into doubt” or “wept during socialization”. “Education of the masses” in this yard was carried out by the poor, that is, the most lazy and mediocre peasants who could not manage a normal economy received power. Platonov emphasizes that collectivization hit the backbone of agriculture, which was the rural middle peasants and wealthy peasants. In describing them, the author is not only historically realistic, but also acts as a kind of psychologist. The request of the peasants for a short delay before being accepted into the state farm, in order to comprehend the upcoming changes, shows that in the village they could not even get used to the idea of not having their own allotment of land, livestock, and property. The landscape corresponds to a gloomy picture of socialization: “The night covered the entire village scale, the snow made the air impenetrable and cramped, in which the chest suffocated. A peaceful cover covered the whole visible earth for the coming sleep, only around the stables the snow melted and the earth was black, because the warm blood of cows and sheep came out from under the fences.

Image of Voshchev reflects the consciousness of an ordinary person who is trying to understand and comprehend new laws and foundations. He does not even think of opposing himself to the rest. But he began to think, and so he was fired. Such people are dangerous to the existing regime. They are only needed to dig a pit. Here the author points to the totalitarian nature of the state apparatus and the absence of genuine democracy in the USSR.

A special place in the story is occupied by the image of a girl. Platonov's philosophy here is simple: the criterion for the social harmony of society is the fate of the child. And the fate of Nastya is terrible. The girl did not know the name of her mother, but she knew that there was Lenin. The world of this child is disfigured, because in order to save her daughter, the mother inspires her to hide her non-proletarian origin. The propaganda machine has already infiltrated her mind. The reader is horrified to learn that she advises Safronov to kill the peasants for the cause of the revolution. Who will grow up to be a child whose toys are stored in a coffin? At the end of the story, the girl dies, and along with her, the ray of hope for Voshchev and other workers dies. In a kind of confrontation between the foundation pit and Nastya, the foundation pit wins, and her dead body lies at the base of the future house.

The story "Pit" is prophetic. Her main task was not to show the horrors of collectivization, dispossession and the hardship of life in those years, although the writer did it masterfully. The author correctly identified the direction in which the society will go. The foundation pit has become our ideal and main goal. The merit of Platonov is that he showed us the source of troubles and misfortunes for many years. Our country is still floundering in this pit, and if the principles of life and worldview of people do not change, all forces and means will continue to go into the pit.

Features of the novel "Chevengur"

Platonov is not like anyone else. Everyone who opens his books for the first time is immediately forced to abandon the usual fluency of reading: the eye is ready to glide over the familiar outlines of words, but the mind refuses to keep up with the times. Some force delays the perception of the reader on every word, every combination of words.

And here is not the secret of mastery, but the secret of man, the solution of which, according to Dostoevsky, is the only thing worthy of devoting one's life to it. The heroes of Platonov speak of "proletarian substance" (Platonov himself spoke of "socialist substance"). In these terms, he includes living people. Platonov's idea and man do not merge. The idea does not close the person tightly.

In his works we see precisely the "socialist substance" which strives to build an absolute ideal out of itself. Of what does Platonov's living "socialist substance" consist? Of the romantics of life in the fullest sense of the word. They think in large-scale universal categories, and are free from any manifestations of egoism.

At first glance, it may seem that these are people with asocial thinking, since their mind does not know any social and administrative restrictions. They are unpretentious, they endure the inconveniences of everyday life easily, as if not noticing them at all. Where these people come from, what their past is, it is not always possible to establish, since for Platonov this is not the most important thing. All of them are world changers.

The humanism of these people and the quite definite social orientation of their aspirations lies in the set goal of subordinating the forces of nature to man. It is from them that we must expect the achievement of a dream. It is they who will someday be able to turn fantasy into reality and will not notice it themselves. This type of people is represented by engineers, mechanics, inventors, philosophers, dreamers - people of liberated thought.

Romantic heroes of Platonov are not involved in politics, as such. They regard the completed revolution as a settled political issue. All who did not want it were defeated and swept away. And also because they are not involved in politics, because in the early 1920s the new Soviet state had not yet taken shape, the power and the apparatus of power had taken shape.

The second group of characters are the romantics of the battle, people who formed on the fronts of the civil war. Fighters. Extremely limited natures, such as the era of battles usually produces in droves. Fearless, disinterested, honest, extremely frank. Everything in them is programmed for action. For obvious reasons, it was they, who returned from the front, who enjoyed unconditional trust in the victorious republic and the moral right to leadership positions. They get down to business with the best of intentions and with their inherent energy, but it soon turns out that most of them, in the new conditions, lead in a purely automatic way, as they commanded regiments and squadrons in the war.

Having received posts in management, they did not know how to dispose of them. Lack of understanding of what was happening gave rise to heightened suspicion in them. They are entangled in deviations, excesses, distortions, slopes.

Illiteracy was the soil in which violence flourished. In the novel "Chevengur" Andrei Platonov portrayed just such people.

Having received unlimited power over the county, they decided by order to abolish labor. They reasoned something like this: labor is the cause of people's suffering. Since labor creates material values that lead to property inequality. Therefore, it is necessary to eliminate the root cause of inequality: work. You should feed on what nature gives birth to.

Thus, due to their illiteracy, they come to substantiate the theory of primitive communism. The heroes of Platonov had no knowledge and no past, so they were replaced by faith. Since the thirties, Platonov has been calling us with his special, honest and bitter, talented voice, reminding us that the path of a person, no matter what social and political system he lives in, is always difficult, full of gains and losses.

For Platonov, it is important that man is not destroyed. The writer Andrei Platonov has a lot in common with his characters - truth-seekers: the same belief in the existence of some kind of "plan for a common life", the same dreams of a revolutionary reorganization of all life and no less, as on the scale of all mankind, the universe; the same utopia of the universal collective creativity of life, in the process of which the "new man" and the "new world" are born.

The writing

The peculiarity of Plato's satire is that the main philosopher, who creates the concept of bureaucracy, Shmakov, performs a double function in the story: he is a militant bureaucrat, but he is also the main exposer of the existing order. Doubts overcome Shmakov, a “criminal thought” is born in his head:

“Is not the law itself or another institution a violation of the living body of the universe, trembling in its contradictions and thus achieving total harmony?” The author entrusted him to say very important words about bureaucrats: “Who are we? We are for the proletarians! So, for example, I am the deputy of the revolutionary and the owner! Do you feel wisdom? Everything has been replaced! Everything has become fake! Everything is not real, but a surrogate!” All the power of Platonov's irony was manifested in this "speech": on the one hand, as if an apology for bureaucracy, and on the other, a simple idea that the proletarians do not have power, but only their "deputies" have it. Bormotov, a practicing bureaucrat with great experience, declares with conviction: "Destroy bureaucracy - there will be lawlessness!" That is, in principle, bureaucracy is indestructible, since power cannot exist without bureaucrats. This universal thought is also dear to Shmakov: "The office is the main force that transforms the world of vicious elements into the world of law and nobility."

In the story, Platonov opens a specific “Gradov school of philosophy” (an expression by L. Shubin), and this philosophy is revealed in a special language, in which it is only possible to write about what he writes about. This is the language of all-pervasive irony, a paraphrase of patterns expressing the narrowness and stupidity of the thinking of Gradov's philosophers and practitioners of bureaucracy. The speech of each of the characters cannot be conveyed in a normalized language - the whole meaning of the “expression” will be lost.

Platonov further appears as a master of the characterization of secondary characters - two or three lines are enough to create a vivid image. Expressive in this regard is the “speech” of the accountant Smachnev: “Nothing takes me - neither music, nor singing, nor faith - but vodka takes me! This means that my soul is so hard, it only approves of a poisonous substance ... I do not recognize anything spiritual, then it is a bourgeois deception. Such "solid souls" inhabit Gradov, creating their own philosophy of life, expressing the idea of its values. Here are some expressions from the text: “Beloved brothers in the revolution”, “contradictory tired eyes”, “an eagle breathes in my heart, and a star of harmony shines in my head”, “that is to say, every hero has his own bitch”, etc. Landscapes in There is practically no "city of Gradovo", and this is consistent with Shmakov's thought: "The worst enemy of order and harmony ... is nature. There is always something going on…”

The novel "Chevengur" was conceived in 1926 and written in 1927-1929. This is the only completed novel in Platonov's work - a great work, built according to the laws of this genre, although the writer, it seems, did not strive to strictly follow the canons of the novel. Its composition is complicated by various digressions from the main plot, which seem to have little connection with each other. But the internal unity of the novel is obvious: it has the main character, his fate from childhood to the last days of his life, there is a clearly defined frame, the echo of the motives of the beginning and the end, there is a set of ideas that give the generalized meaning of the novel completeness and purposefulness.

A large expanse of text is not divided into separate chapters. But thematically, it can be divided into three parts. The first part was entitled "The Origin of the Master" and published in 1929, the second part could be called "The Wanderings of Alexander Dvanov", the third is directly "Chevengur" - the story about him begins in the middle of the novel. This is the originality of his composition, since in the first half of "Chevengur" there is no question of Chevengur itself. But if modern criticism calls this work as a whole a dystopian novel, then not only because of the story about the commune on the Chevengurka River, but also taking into account the fact that dystopian tendencies in the novel are growing gradually and consistently. However, despite the author's ruthlessness in depicting Chevengur, this novel cannot be called a vicious caricature of the ideas of socialism.

The protagonist of the novel, Sasha Dvanov, is close to the author in some ways, Platonov gave him part of his autobiography, his thoughts of the early 20s. The fate of Dvanov is bitter and tragic. As a child, he was left an orphan. Sasha wandered for a long time like a beggar, until he found comfort and warmth with Zakhar Pavlovich, in whose appearance there are features of the prototype - Platonov's father. He is shown as a worker in the very essence of the soul, as a philosopher who preaches a "normal life", without the violence of human nature with ideas and power.

Sasha grew up, read a lot, and longing grew in his soul. He went to the same depot where Zakhar Pavlovich worked, to work as an assistant driver and study as a locksmith. “For Sasha - at that time of his early life - every day had its own, nameless charm, not repeated in the future ...” Many pages, saturated with lyricism, are dedicated to Dvanov the young man. A love for Sonya Mandrova was born, an interest in the world and in truth was born. But Sasha remained defenseless: “At the age of seventeen, Dvanov still had no armor under his heart - neither faith in God, nor other mental peace ...” The image of Dvanov is gradually becoming more complicated: Sasha was weak from longing for truth and from kindness, but at the same time fearless, patient and enduring.

After recovering from his illness, Alexander "agreed to look for communism among the amateurs of the population." He went "through the province, along the roads of counties and volosts." All that he saw and experienced during his journey in search of communism formed the middle part of the novel. Everywhere he went, Dvanov asked himself and the peasants the question: “Where is socialism?” Throughout the province, this word was understood in different ways: there really was complete "amateur activity" in the organization of a new life, the features of a popular utopia were clearly manifested. The most significant, which determined his future fate, was a meeting with Stepan Kopenkin, a wandering knight of the revolution, a fanatical admirer of Rosa Luxemburg; Kopenkin saved Dvanov. wresting it from the hands of the anarchists of Mrachinsky's gang. Further Dvanov and Kopenkin go together, actively acting and making speeches in order to move the people towards communism. But in his essence Dvanov is more of a contemplative and witness than a doer. The author ironically remarks: “Therefore, Dvanov was pleased that in Russia the revolution had completely weeded out those rare places of thickets where there was culture, and the people, as they were, remained an open field ... And Dvanov was in no hurry to sow anything ... "

Finally, Alexander heard about the place where "there is socialism." This is Chevengur. Everything that was in the villages and towns of the province in a scattered form - excesses, experiments, violence - was concentrated in Chevengur: the expectation of the immediate arrival of Paradise, the idea of communism as a life based on complete idleness, the destruction of values and property as a relic, complete the elimination of exploitation, understood as the elimination of bourgeois elements (kulaks, merchants, generally wealthy people), faith in a miracle - with a new life, you can resurrect the dead, the community of wives - "comrades-in-arms".

How do Chevengurs live and the reason for the collapse of Chevengur?

Due to the surviving remnants of food from the accursed past and also from the sun - from its "extra strength", emaciated, in tatters, without morality, without worries, "the people eat everything that grows on the earth", bypassing the "surrounding steppes". Instead of comradeship, there is the disintegration of all normal human relationships, "the city has been swept away by subbotniks into one heap, but life in it is decomposed into little things, and every little thing does not know what to grapple with in order to hold on."

Descriptions of the tragicomic scenes taking place in Chevengur are interspersed with the arguments of commune leaders: what is communism, what did they “build”? And the leaders are the fanatical Chepurny, the cunning and prudent Prokhor Dvanov, the cruel Piyusya and others. Kopenkin also came here, and then Alexander Dvanov and Gopner came. "Tired and gullible" Alexander looked for communism in Chevengur, but "did not see it anywhere." And here is the finale: the Cossacks attacked Chevengur, and he. powerless, helpless, unable to defend himself and was defeated. Kopenkin and almost all the defenders of the commune died heroically. Alexander and Prokhor Dvanov survived. But Alexander on the Proletarian Force - Kopenkin's horse - went to Lake Mutevo, in which his father died, trying to find out what death is; The Proletarian Force entered the water, and Alexander "he himself got off the saddle into the water - in search of the road along which his father walked in the curiosity of death ..."

The death of Alexander Dvanov is not just a consequence of the fatal destiny to follow the path of his father. It symbolizes the collapse of hopes, despair from the destruction of the “great idea” in practice, hopeless sadness from the loss of their comrades. Platonov did not restrain himself in depicting the dark sides of human life and the gloomy episodes of the era; in the novel, naturalism that hits the nerves is often found in the description of individual scenes: for example, the scene of Alexander being tortured by Mrachinsky's gang, the terrible scene in Chevengur - Chepurny's attempt to resurrect the child, the episode that is difficult to explain (even using Freudianism) - Serbinov and Sonya in the cemetery, etc. Platonov is fearless in describing the death of people - and there are many deaths in Chevengur. The descriptions of nature and the surroundings of the characters in the novel are concise, capacious and saturated with a sense of longing and anxiety. There is no one to contemplate the landscapes, even Alexander Dvanov is convinced that "nature is still a business event." Nevertheless, images of nature and space in the novel are often found either in the form of "landscapes-reviews", or as the author's remarks commenting on the course of events or the state of mind of the characters, or as images-symbols of "eternal life", not stained by human existence. Sometimes Platonov, in two or three phrases, gives a general idea of the tragic state of the world in a difficult era for the people: “Horse fat burned in the skull with tongues of hell from district paintings; people were walking along the street towards the abandoned places of the surroundings. The civil war lay there in fragments of national property - dead horses, wagons, bandits' zipuns and pillows.

The image-symbol of the sun is expressive. It is presented in the novel as a through motif in the description of the "new life" in Chevengur. Undoubtedly, the stable phrase of the revolutionary era “the sun of a new life” is played up here. The meaning of the symbol of the sun as a cruel force is especially clearly revealed in the scene where Piyusya watches the sun rise and move across the sky.

The reason for the collapse of Chevengur is not only that its organizers made idleness and immoral behavior their ideal. In the future, in the "Pit", you can see a seemingly completely different situation - people are fiercely, continuously working. However, the work remains fruitless. The writer explored two principles in understanding the role of labor in human society, and both turn out to be abnormal, inhuman. “Labor is conscience” (701), wrote Platonov. When the meaning and goals of labor are torn away from the individual, from the human soul, from conscience, labor itself becomes either an unnecessary appendage to "complete freedom" or a cruel punishment.

Chevengur, as one of the novels of the 20th century, has a complex structure that incorporates various novel tendencies: it is both a “novel of the formation of a person”, and a “travel novel”, and a “trial novel” - a test of a person and an idea (Bakhtin's terminology) . M. Gorky called "Chevengur" a "lyrical satire" and expressed the opinion that the novel was "draged out" - this is hardly fair: in fact, it is difficult to find episodes that could be thrown out for the sake of shortening the text. But he is right that the novel is saturated with lyricism and has a "tender attitude towards people" - such is the nature of Platonic humanism.

Specialty HAC RF10.01.01
Number of pages 167

A.N. Platonov.

P-1. Features of narration and speech characteristics in the novel

Chevengur": a monologue in the form of a dialogue.

P-1-1. The word as a dominant in the works of A.P. Platonov.

P -1-2. Point of view and its carriers.

P-2. The system of characters as one of the ways of expressing the author's position.

P-2-1. The phenomenon of duality in the system of characters.

Chapter G. The plot-compositional organization of the novel "Chevengur" as an extra-subjective form of expressing the author's position.

Sh-1. The novel "Chevengur": from myth to reality, or "and so, and back."

Sh-1-1. Plato's "little trilogy".

Sh-1-2. Crossing the border: the principle of establishing a chronotope.

Sh-2. The idea of the novel and the "novel idea".

Introduction to the thesis (part of the abstract) on the topic “Forms of expressing the author's position in the prose of A.P. Platonov: Based on the novel "Chevengur"

Literature, in particular Russian literature, cannot be perceived outside the context of time. Among the writers who fully shared the fate of the "harsh and furious" era of the 20th century, Andrey Platonovich Platonov occupies a special place. His work is dedicated to the disclosure of the "crushing universal secret" - the secret of life and death, the very "substance of existence". A.P. Platonov "and perceived the revolution not only politically, but also philosophically - as a manifestation of the general movement, as the most important step towards the transformation of the world and man"1. V.V. Vasiliev, characterizing the artist's work, saw in his works not only the image of the tragic fate of the people in the revolutionary era, but also "the painful ideological drama of the artist himself, deeply hidden in the comically foolish style."

In the second half of the 1920s, A.P. Platonov wrote a number of major works in a short period. Among them, the novel "Chevengur" and the story "The Pit", being the creative pinnacle of the young writer, occupy a central place in the heritage of A.P. Platonova3. In the novel "Chevengur" the features of the style and artistic thinking of A.P. Platonov. No wonder researchers call this work “precious crystal” (S.G. Semenova), “creative laboratory” (V.Yu. Vyugin), “artistic result” (E.G.

1 Trubina JI.A. Russian literature of the XX century. M., 2002. S. 199.

2 Vasiliev V.V. Andrey Platonov. Essay on life and creativity. M., 1990. S. 190.

3 Many Russian and foreign researchers agree that The Pit and Chevengur are the culmination of young Platonov's talent. See, for example, Vyugin V.Yu. "Chevengur" and "Pit": the formation of Platonov's style in the light of textual criticism. SFAP. Issue. 4. M., 2000; Langerak T., Andrey Platonov. Amsterdam, 1995; Seifrid T. Andrei Platonov - Uncertainties of sprit. Cambridge University Press, 1992; Teskey A. Platonov and Fyodorov, The Influence of Christian Philosophy on a Soviet Writer. Avebury, 1982, etc.

Mushchenko) of the writer's work.

The fate of the novel "Chevengur" was dramatic. As is known, "Chevengur" was not published during the life of the writer. The novel became fully known to a wide range of readers in Russia in the second half of the 1980s. Until that time, only in the early 70s were some fragments and excerpts from the novel published4.

Readers in the West got acquainted with this work earlier than in the homeland of the writer. In 1972, in Paris, the novel "Chevengur" was published in Russian with a foreword by M.Ya. Geller. Although this edition did not contain the first part of the novel (“The Origin of the Master”), it can be said that A.P. became famous with this publication. Platonov abroad. The full text of the novel was first published in London in 1978 in English, and only ten years later it appeared in Russia5.

Despite the fact that in the Soviet Union readers were deprived of the opportunity to get acquainted with the literary heritage of A.P. Platonov, some researchers had the opportunity to access the author's archive, which preserved many letters, notes, manuscripts known only to the people closest to the writer. Although "Chevengur" was not published in the Soviet Union, it was known, apparently, in a handwritten version, although not to a very wide circle of readers. For example, JI.A. Shubin in the article "Andrei Platonov", which appeared in 1967 in the journal "New World", covers the work of A.P. Platonov, based on specific texts, including those that were not

4 As is known, some fragments of the novel were published during the life of the writer. For example, "The Origin of the Master"; "Adventure"; "Death of Kopenkin". However, with all the efforts of A.P. Platonov (for example, an appeal to A.M. Gorky), the whole novel was not published. In the 1970s, the Kuban magazine (1971, No. 4) published one of the final episodes under the title “The Death of Kopenkin”, in the same year another excerpt from the novel “Journey with an Open Heart” was published in the “Literaturnaya Gazeta” (1971. 6 Oct.).

5 In 1988, "Chevengur" was published in the journal "Friendship of Peoples" (No. 3, 4). In the same year, the full text of the novel was released as a separate edition (with introductory articles by S.G. known to the reader of that time, starting from early publications and ending with the writer's critical notes. In addition to already published works (stories), JI.A. Shubin often mentions novel “Chevengur.” In this article, the scientist asks the question, “whether the public consciousness, filling in the gaps and dashes of its knowledge, will be able to perceive this new organically and holistically, as “a chapter between chapters, as an event between events”6. JI.A. Shubin, a big gap in the history of Russian literature began to be filled in. The article "Andrei Platonov" marked the beginning of the "real study" of A.P. Platonov, in particular, the study of the novel "Chevengur".

Following JI.A. Shubin in the 70s, many researchers both in Russia and abroad began to actively study the novel "Chevengur". The researchers considered the novel from a variety of angles, while two approaches to the study of the work were noted: the first approach is aimed at studying the context of the work (in conjunction with the political situation, philosophical and natural science theories, etc.), the second one is aimed at studying the poetics of the writer.

At the initial stage, the researchers preferred the first approach, that is, the study of A.P. Platonov in the context of the socio-political situation of the 20s. Particular attention was paid to the philosophical system of the writer, the influence of various Russian and foreign philosophers on its formation. Many in the novel "Chevengur" (not only in the novel, but in general in the artistic system of A.P. Platonov) noted the influence of N.F. Fedorov: his ideas about the transformation of the world, about overcoming death, about immortality, about the victory of man over natural forces, about human brotherhood, about building a “common home” and so on. This trend

Semenova).

6 Shubin JI.A. The search for the meaning of separate and common existence. M., 1987. S. 188. was especially relevant from the beginning of the 70s to the mid-80s. The ideological, philosophical context of the writer is studied in the works of N.V. Kornienko, Sh. Lyubushkina, N.M. Malygina, S.G. Semenova, A. Tesky, E. Tolstoy-Segal, V.A. Chalmaeva and others.

The shift of emphasis to the study of the poetics of the novel "Chevengur" is observed relatively later, rather, after the publication of the novel in Russia. Researchers in this direction can be divided into two groups: the first was interested mainly in the thematic aspects of A.P. Platonov; the second was attracted by the problem of the peculiar form of his works. The first group includes researchers interested in aesthetic, thematic, mythopoetic, anthropological problems; to the second - considering, first of all, the problems of linguistic features, narration, point of view, structure and architectonics of the work. Despite the fact that these two groups of researchers had a different initial position, they had one common goal: to reveal and highlight the author's position in the work of A.P. Platonov, who is sometimes even "unknown to himself."

In the 80s, a number of works devoted to the creative biography of A.P. Platonov appeared, not only in Russia, but also abroad. In 1982, two significant works were published, in which separate chapters are devoted to the novel "Chevengur". A book by V.V. Vasilyev "Andrei Platonov: Essay on Life and Work", a monograph by M.Ya. Geller "Andrei Platonov in search of happiness". V.V. Vasiliev analyzes the "secret" utopian ideal of A.P. Platonov, shows the formation of the writer, based on facts from his biography, and the scientist reveals some of the characteristic features of the artist's poetics. As the titles of the chapters (“Platonov vs. Platonov”, “Projects and Reality”) show, the scientist noticed the initial contradiction and conflict in the artistic conception of the world by A.P.

Platonov. V.V. Vasiliev emphasizes the peculiarity of the author's position as follows: A.P. Platonov, as a proletarian writer, is organically alien to the position “above the people”, “above history”7 - he goes to the future from history, with the people”. Thus, highly appreciating the nationality of the writer's work, V.V. Vasiliev considers A.P. Platonov as a true heir and continuer of the tradition of Russian literature 8.

M.Ya. Geller in the chapters titled "Faith"; "Doubt"; "The Temptation of Utopia"; "Complete collectivization"; "Happiness or Freedom"; "The New Socialist Man", which show the change in the attitude of the writer to his time and ideal, outlines the literary route

A.P. Platonov from a young communist and aspiring writer to a mature master. The scientist showed particular interest in the novel "Chevengur". Referring the novel "Chevengur" to the menippea genre, M.Ya. Geller defines it for the first time as an "adventure novel", for which the "adventure of ideas" is important. The scientist raised a number of questions that relate to the ways and forms of expressing the author's position and are still relevant: the question of the genre, the plot-compositional structure of the novel and its context, etc.

Characterizing the work of A.P. Platonov, literary critics unanimously call him “the most philosophical” (V. Chalmaev), “the most metaphysical” (S.G. Semenova) writer in Russian literature of the 20th century.

B.V. Agenosov considers Chevengur "one of the pinnacles of the Soviet

7 Vasiliev V.V. Andrey Platonov. M. 1982 (1990) S. 95.

8 Vasiliev V.V. Ibid., p. 118. About A.P. Platonov, see also: Malygina N.M. Aesthetics of Andrey Platonov. Irkutsk, 1985, pp. 107-118; Skobelev V.P. On the national character in Platonov's prose of the 20s // Creativity of A. Platonov: Articles and messages. Voronezh, 1970.

9 Geller M. Ya. Andrey Platonov in search of happiness. Paris, 1982 (M., 1999). P. 188. of a philosophical novel"10 and rightly writes about the polyphonism inherent in the novel: "if this idea" (utopian) were "the main and only one", then "Platonov would not need to write "Chevengur", it would be enough to create "The Foundation Pit" "eleven. E.A. Yablokov, supporting this tradition, considers Chevengur as a "novel of questioning", a novel of "last questions". The researcher notes the difficulty of determining the author's position, since it is often "not clear how the author himself relates to what he depicts"12.

T. Seyfried defines "Chevengur" not only as a dialogue between the writer and Marxism and Leninism, but also as "a novel about ontological issues"13. Emphasizing the ambivalence of the author's position, the scientist refers the novel to the genre of meta-utopia (G.S. Morson's term)14. The Dutch researcher T. Langerak also considers the ambivalence of the novel to be a distinctive feature of A.P. Platonov. According to the scientist, A.P. Platonov manifests itself not only at the structural level, but also “penetrates all levels of Chevengur”15.

Traditionally, many researchers resort to a mythopoetic approach, paying special attention to the “mythological consciousness” in the novel by A.P. Platonov and the archetypes of Platonic images and motifs. This tradition is still relevant and one of the main ones in the study of the poetics of the writer. The mythopoetic approach received a multifaceted development in the works of N.G. Poltavtseva, M.A. Dmitrovskaya, Yu.G. Pastushenko, X. Günther and others.

10 Agenosov V.V. Soviet philosophical novel. M. 1989. S. 144.

11 Ibid. S. 127.

12 Yablokov E. A. Hopeless sky (introductory article) // Platonov A. Chevengur. M., 1991. C.8.

13 Seifrid T. Andrei Platonov - Uncertainties of sprit. Cambridge University Press, 1992.

14 Ibid. S. 131.

15 Langerak T. Andrey Platonov: Materials for a biography 1899-1929. Amsterdam, 1995, p. 190.

In the 90s, especially after the appearance of the monograph by N.V. Kornienko

Here and Now”, notes the balance of philosophical-historical, linguistic and literary approaches to the study of creativity

A.P. Platonov16. In this work, N.V. Kornienko, based on textual research, traces the writer's creative path to the novel "Chevengur". Having defined the structure of the novel as "polyphonic", she sees in this the difficulty of determining the author's position.

Many of the writer's texts were reconstructed and published during these years thanks to the efforts of scientists. Dissertation studies have appeared that examine the poetics of the works of A.P.

Platonov from different points of view: mythopoetic (V.A. Kolotaev, Ya.V.

Soldatkin); language (M.A. Dmitrovskaya, T.B. Radbil); anthropological (K.A. Barsht, O. Moroz), etc. At the same time, serious attempts were made to analyze the textual analysis of the novel

Chevengur". In the thesis of V.Yu. Vyugin's textual analysis is combined with the study of the creative history of the novel "Chevengur" 17 .

Comparing the novel in different aspects with its first version "The Builders of the Country", the researcher notes the figurativeness and conciseness of the form and content of "Chevengur" compared to its previous version.

Among the works on Chevengur, monograph 18 deserves special attention.

E.A. Yablokov, where materials relating to the novel are presented and systematized.

In addition, not only in Moscow (IMLI), in St. Petersburg (IRLI), but also in Voronezh, the writer's homeland,

16 Kornienko N.V. Text history and biography of A.P. Platonov (1926-1946) // Here and Now. 1993 No. 1.M., 1993.

17 Vyugin V.Yu. "Chevengur" by Andrei Platonov (to the creative history of the novel). Dis. .kan. philol. Sciences, IRLSchPushkinsky Dom) RAS, St. Petersburg, 1991; also see: Vyugin V.Yu. From observations on the manuscript of the novel Chevengur // TAP 1. St. Petersburg, 1995; The story of A. Platonov "Builders of the country". To the reconstruction of the work // From the creative heritage of Russian writers of the XX century. SPb., 1995. conferences dedicated to the work of A.P. Platonov, as a result of which the collections "Country of Philosophers of Andrey Platonov" were published (issues 1-5); "The Creativity of Andrey Platonov" (issue 1.2) and others. In particular, the conference held at IMLI in 2004 was entirely devoted to the novel "Chevengur". This shows the unrelenting interest of researchers in this novel, which can unconditionally be attributed to the highest artistic achievements of A.P. Platonov.

However, despite the attention of literary critics to the work of A.P. Platonov, many questions still remain unresolved. Firstly, although Platonists have been actively engaged in textual research in recent years, there is still no canonical text of the novel "Chevengur". Therefore, when studying the product, one must keep in mind that

19 p there are different versions of the text. Secondly, the opinions of researchers regarding the interpretation of the author's position, individual episodes, even phrases of the work often diverge. For these reasons, the coverage of the author's position in the work of A.P. Platonov deserves special attention and special study. Thus, with all the literary interest in the novel "Chevengur", the problem of the author's position is still one of the most debatable. Understanding this problem opens up new perspectives for understanding a number of fundamental issues of A.P. Platonov, in particular, when studying the so-called chain of novel works of the writer

Yablokov E.A. On the shore of the sky Andrey Platonov's novel "Chevengur". SPb., 2001.

19 In this regard, the literary fate of "Kotlovan" turned out to be happier than that of "Chevengur". In 2000, an academic edition of the story was published, prepared by the staff of the IRLI (Pushkin House). Further, all references to the main text of the story "The Foundation Pit" are given to this edition with page numbers in parentheses. Platonov A. Pit, St. Petersburg, Nauka, 2000; If we are talking about "Chevengur", then there are two more or less "mass editions": 1) Platonov A.P. Chevengur. M.: Fiction, 1988. 2) Platonov A.P. Chevengur. Moscow: Higher school, 1991. There are almost no textual discrepancies between these editions. Further, all references to the main text of the novel "Chevengur" are given according to the second edition, indicating the pages in parentheses.

Chevengur", "Pit", "Happy Moscow"), which are a trilogy of "utopian project" by A.P. Platonov.

Thus, the relevance of the dissertation is determined by the increased interest of researchers in the problem of the author's position in works of art and the insufficient study of A.P. Platonov in this theoretical aspect.

The main material of the study was the novel "Chevengur". The dissertation compares the novel "Chevengur" with the story "The Foundation Pit" and the novel "Happy Moscow", which made it possible to identify typological patterns and emphasize the originality of the main work of A.P. Platonov.

The scientific novelty of the study is due to the fact that the text of the novel "Chevengur" is analyzed for the first time as an artistic whole in the chosen theoretical aspect. The dissertation deals syncretically with subjective and non-subjective forms of expressing the author's position and comprehends their relationship with the philosophical and aesthetic position of the author. The works under study (“Chevengur”, “Pit”, “Happy Moscow”) are considered for the first time as a novel trilogy.

The purpose of the dissertation is to reveal the features of the poetics of A.P. Platonov through the study of the specific forms of the artistic embodiment of the ideals of the writer in his work.

To achieve this goal, the following tasks are solved: 1. Theoretically comprehend the problem of the author and the author's position:

Clarify and draw a terminological distinction between the concepts of "author", "image of the author", "author's position", "point of view"; determine the forms of expression of the author's position in

20 Conditionally, we will attribute three works by A.P. Platonov ("Chevengur", "Pit", "Happy Moscow") to the novel genre. work.

2. To analyze the novel "Chevengur" in the selected theoretical aspect, based on the correlation of subjective and non-subjective forms of expressing the author's position. For this:

Consider the forms of narration in the novel "Chevengur";

To reveal ways of expressing different "points of view" in the novel;

To characterize the system of characters, with special attention to the phenomenon of "duality" as a form of revealing the author's position, as well as the use of dialogical relations in the work;

To study the plot-compositional structure of the novel as a "small trilogy", to consider the features of the chronotope of the work.

3. consider the artistic forms of expressing the author's position and identify the relationship between the forms of embodiment of the author's position and the author's ideals.

The methodology and specific research methodology are determined by the theoretical aspect and specific research material. The methodological basis of the work is the works of Russian and foreign scientists on the problems of the author and the hero (M.M. Bakhtin, V.V. Vinogradov, V.V. Kozhinov, B.O. Korman, Yu.M. Lotman, N.D. Tamarchenko and others), style, narration, correlation of points of view (N. Kozhevnikova, J. Jennet, B.A. Uspensky, V. Schmid, F, Shtanzel, etc.). The dissertation takes into account the results of research on the problems of the author's position in the work of A.P. Platonov (V.V. Agenosova, S.G. Bocharova, V.Yu. Vyugin, M.Ya. Geller, M.A. Dmitrovskaya, N.V. Kornienko, V. Rister, T. Seyfried, E. Tolstoy- Segal, A.A. Kharitonova, L.A. Shubina, E.A. Yablokova and others).

The work uses comparative historical and genetic methods to reveal the philosophical and aesthetic basis of the writer's work in the context of the era. The use of the principles of the structural method is due to the need to study the means of expressing the position of the author in the text.

The practical significance of the dissertation is due to the fact that the materials and results of the study, as well as its methodology, can be used in the development of teaching aids and in conducting classes on the history of Russian literature of the 20th century and the work of A.P. Platonov at the university and school.

Approbation. The main provisions of the study were discussed at the postgraduate seminar of the Department of Russian Literature of the XX century. Moscow State Pedagogical University, were tested in speeches at two international conferences (“Heritage of V.V. Kozhinov and actual problems of criticism, literary criticism, history of philosophy” (Armavir, 2002), “VI International scientific conference dedicated to the 105th anniversary of the birth of A.P. Platonov” (Moscow, 2004)) and at the interuniversity conference (“IX Sheshukov Readings” (2004)). The main provisions of the dissertation are presented in four publications. ,

The structure of the dissertation is determined by the purpose of the study and the tasks set. The dissertation consists of an introduction, three chapters, a conclusion, a list of references and a summary in English. The total volume of work is 166 pages. The list of references includes 230 titles.

Dissertation conclusion on the topic "Russian Literature", Yun Yun Sun

Conclusion

In the proposed dissertation, the forms of expressing the author's position in prose are investigated. A.P. Platonov. We analyzed the subjective and non-subjective forms of expressing the author's position, considering them an objective basis for characterizing the writer's work.

As the author's "final reflection" on the beginning of the last century, the novel "Chevengur" occupies a special place in the work of A.P. Platonov. Being a generalization, summing up the results of a significant period not only in the history of Russia, but also in the creative life of the writer himself, "Chevengur" at the same time represents the beginning of a new time in which "state residents" will live, such as the girl Nastya from the story "The Pit" or Moscow Chestnov from the novel "Happy Moscow".

Chevengur" is an interesting object for research, because it embodies those ideas that, in essence, have not changed since the very beginning of the writer's career. However, at the same time, the forms of expressing the author's position here are clearly different from previous works, in which the author actively relied on a number of "protective elements"1 or a masked role, and works of a mature period, in which the author already consciously simplifies the forms and keeps an aesthetic distance in relation to his own creation.

1 These "protective elements" are closely related to the forms (especially subjective) of expressing the author's position. In the 20s, A. Platonov actively used defensive techniques: “pseudonymy”, “footnotes to texts”, “preface”, “afterword”, etc. See: Kornienko N.V. Platonov's narrative: "author" and "implicit reader" in the light of textual criticism // Sprache und Erzahlhaltung bei Andrei Platonov. Bern, 1998. that the subjective and non-subjective forms used are designed precisely to achieve this goal. Among the subject forms in the dissertation, the problem of narration, the problem of point of view and the system of characters are considered; as non-subjective - the plot-compositional organization of the work in connection with genre features. The main conclusions drawn as a result of studying the forms of expression of the author's position in the novel "Chevengur" are as follows.

Firstly, the attitude of the author and the hero to the word is important not only because "the word acquires the properties of a variable ideologeme with a mobile meaning" . In addition, A.P. Platonov, ideological contexts and the author's worldview are brought to the level of the "denoting" word. As a result of the "reduction of form" by the author, all connections and causes are concentrated in one word3. Such "once meaningful", according to the definition of V.Yu Vyugin, words serve as the basis for the construction of the Platonic text. Mention of N.V. Kornienko - “Russian literature is the literature of the Word, not the text” - unconditionally refers to the work of A.P. Platonov, especially to the novel "Chevengur". At the same time, the fundamental relationship between the “signifying” and “signified” in the word is transferred to the level of content and form of the whole text.

Secondly, as the narrative strategy of the novel shows, the author does not actively pretend to the main role, constantly receding into the background. At the same time, the author's attention is distributed to almost all characters. The heroes speak Plato, and the author, in turn, speaks the language of the heroes, the language of his time. Often the words are "own" and 2

Tolstaya Segal E. "Elemental Forces": Platonov and Pilnyak. P. 288. Although she had in mind the work of the mature A. Platonov, at least in Chevengur, such a perception of the word is also often observed.

3 Vyugin V.Yu. From observations on the manuscript of the novel "Chevengur" // Creativity of Andrey Platonov. SPb., 1995. S. 145. alien” - they mix, it is difficult to find the boundaries between them. As a result, the bearer of the author's point of view can be not only the main character, but also another character, even a minor one. Thus, the author, existing outside the dimension of space where the characters live, managed to be at the same time next to them4.

Thirdly, the system of characters, showing the attitude of the author to the hero, in the novel "Chevengur" is horizontally sequential. At the same time, the oppositional system of characters (the phenomenon of duality) in the poetics of A.P. Platonov is presented not only as a psychopathological manifestation of the hero, but also as a form of embodiment of the author's intention. The binary scheme in the system of characters is primarily intended to express the dialogic attitude of the author to the characters. It provides a full-fledged basis for the realization of a possible dialogue, penetrating the entire space of the work. This means that the internal dialogism in the novel is carefully hidden behind external dialogism, which, in essence, does not differ from “monologism”. Thus, despite the fact that the atmosphere of monologism and anti-dialogism reigns in the novel, the opposing system of characters contributes to dialogue in the broader sense of the word. Now not only the author is the only depicting subject, but the hero and the reader too. The confrontation "I" - "the other" replaces the traditional scheme of dialogue. The oppositional system “friend or foe” is inverted and expanded; as a result, it loses the value support characteristic of the traditional novel.

Based on the foregoing, one can define the author's position not as absent, but as open, at the same time ready for

4 For example, M. Mikheev believes that one can identify the position of the author of the novel "Chevengur" with the position of a "little spectator", "observer", "eunuch of the soul" inside Sasha. Since "he (the little spectator) lived parallel to Dvanov, but he was not Dvanov." See: Mikheev M. Into the world of Platonov through his language. M., 2003. reconciliation with the "alien": the position of the author in the novel is polyphonic, open and disposed to dialogue with other subjects, including the reader, to whom the entire structure of the novel is oriented. In this context, the statement of E. Tolstoy-Segal is justified: the main feature of Plato's prose, the researcher writes, "is precisely - and this is realized by the author - that the author "leans" now to one point of view, then to another, in a fit of higher justice he is not in a position to prefer "one point of view to another", but with equal generosity gives his mouth to opposing views.

We have studied the genre specificity of the novel and its plot-compositional structure, which are singled out as non-subjective forms of expressing the author's position. Analyzing the novel "Chevengur" as a small trilogy, which has its own artistic regularity, we examined its genre features; as well as autonomy and fragmentation in the structural plan, at the same time we singled out the author's links that help overcome the discreteness of the plot structure.

Thus, the artistic forms themselves, contributing to the embodiment of the author's position in the novel by A.P. Platonov, have a deep meaningful, "spiritualized" character.

As an ideological writer "using ideas as material"6, A.P. Platonov actively began to develop from the mid-20s. By the end of the 1920s, the writer completed the first stage of searching for a suitable form to express his ideological position. If "Chevengur" shows the process of development and formation of Platonic ideals, then the story "The Pit" is the artistic culmination of this search, since in it utopian ideas receive a kind of completion.

5 Tolstaya-Segal E. Ideological contexts of Platonov // World after the end. M., 2002. S. 307. and creative experiments of the writer.

The novel "Chevengur" is often compared with the story "Pit" in different aspects. At the same time, constant attention is paid not only to similarities, but also to differences between them. If the "ideals" of the author were constant, then the difference between the two works is manifested in the forms of expression of the author's position. First, in the process of evolution from "Chevengur" to "Pit", first of all, one notices the transition from the utopian project of building communism to its real implementation (digging a foundation pit and collectivization). Chevengur as a mythologized space, without losing the character inherent in Platonic utopia, is transferred to a more real space, to the city, where workers are digging a foundation pit for the construction of the "General Proletarian House", and to the collective farm "named after the General Line", where collectivization (liquidation of kulaks) takes place. The ideology tested in Chevengur is already being implemented in reality. In the story, the chronotope is simpler and more concise: unlike the novel "Chevengur", which is a kind of trilogy in structure, the story has a binary structure. As rightly noted by A.A. Kharitonov, it has the feature of a dilogy. The time, which in Chevengur lasts almost 20 years, is compressed in the story to six months: from summer to winter - from the day of Voshchev's "thirtieth anniversary of his personal life" to the day of Nastya's death.

Secondly, if in the novel "Chevengur" the system of characters is horizontally sequential, then in the story "The Foundation Pit" it becomes vertically hierarchical. In "Chevengur" the author does not show his sympathy or antipathy for the heroes of the work, the contrasting attitude is either absent or carefully hidden.

6 Ibid., p. 290

Therefore, in the novel "Chevengur" the attitude of the author to the depicted is both satirical and lyrical (ie "lyric-satiric"). However, in The Pit, the author's attitude is already clearly expressed, for example, towards Pashkin or the activist: the satirical beginning is clearly manifested in the work. Unlike Sasha Dvanov, who is a listener and does not evaluate a person, Voshchev, as one of the main bearers of the author's point of view, directly expresses his negative attitude towards the activist:

Oh you bastard! - Voshchev whispered over this silent torso, - So that's why I didn't know the meaning! You must have drunk not me, but the whole class, you dry soul, and we wander like a quiet thicket, and we don’t know anything! "(K, 110-111).

In connection with the system of characters, the problem of duality is also developed in the story "The Pit". Like Kopenkin and Serbinov, who in the novel "Chevengur" play the role of the "plot double" of the hero, the three imaginary brothers in the story (Voshchev, Prushevsky, Chiklin), who are not self-sufficient individuals, perform the function distributed between them by the author. For example, Chiklin performs a purely physical function, while Prushevsky performs an intellectual one. Voshchev, like Sasha in about

Chevengur”, is a mediator. . At the same time, if the heroes of the novel "Chevengur" do not very clearly feel the existence of their twins "by similarity" or "by contrast", then the heroes of the story are clearly aware of the presence of their twins: "Capitalism gave birth to us in twos" (Prushevsky - Voshchev); “You and I had the same person” (Prushevsky - Chiklin). Thus, in contrast to the novel, where duplicity is about

Sat this, see: Nemtsov M. Heroes of the story "Pit" as a system of characters // SFAP. Issue. 2. M., 1995. manifests itself on a hidden, intuitive level, in the story it stands out brighter and clearer - and becomes one of the main ways of expressing the author's position. The opposition pair of doubles, which was at the center of the poetics of "Chevengur", does not exist in the story "The Pit", but the complex schemes of doubles in "Chevengur" ("I am a stranger"; "my own - others"; "I am a stranger") are largely degrees are simplified: in the story, the duality scheme is exposed to more contrast and sharpened, the author's position is expressed through a generalized oppositional system of "friends or foes" (Voshchev / Prushevsky / Chiklin - Pashkin / activist).

Thirdly, the author's "novel idea" is embodied in the story "The Pit" in a more concise, concentrated artistic form. At the epicenter of the "Pit" is a universal (even cosmic) tragedy. If we define the genre of the story from the point of view of not external, but internal zhachrov specificity, "The Foundation Pit" can be called a full-fledged novel: here the author is concerned about the problem of the tragedy of all mankind and its salvation.

Chevengur" as a novel is free and autonomous in structural terms. It is not traditional in its genre form. And "The Foundation Pit", being a story according to external genre features, includes a "novel idea". It is concentrated in the space of the story and hidden in its structure.

The ending of The Pit is perhaps the darkest and most tragic among the endings of Plato's works of the 1920s. None other than Nastya - a small creature who was a "living symbol" of socialism and for whom all workers are digging a foundation pit - died. Now the foundation pit for the future home becomes an eternal refuge - a grave for Nastya. It is hardly possible to call this final "major" (T. Langerak's expression) 9 . However, the tragedy of the final cannot be understood as

9 Langerak T. Andrey Platonov. Materials for the biography. 1899-1929 P. 171. hopelessness”10. The desire of the heroes to save the dead body of Nastya shows not only their despair, but also the hope for the resurrection of the deceased11. Here one can clearly see the echoes with the open ending of "Chevengur", which is reinterpreted in a symbolic way in the tragic ending of the story.

Thus, the different forms and elements that A.P. Platonov in the novel "Chevengur", receive a compressed and concentrated embodiment in the story "The Pit". In this sense, "The Pit" is a kind of answer by the author to the question asked to himself in "Chevengur", which concerns not only the author's ideological position, but also the artistic form of its expression.

Direct authorial intervention, as one of the "protective elements", at the end of the story also shows the difference in the forms of expression of the author's position in the story "The Foundation Pit" from previous works. Without distancing himself from his creation, the author directly intervenes in the space of the work.

Thus, in the evolutionary perspective, there are differences in the forms of expression of the author's position in the story "The Foundation Pit" and the novel "Chevengur". It can be stated that A.P. Platonov ended with "Pit". Platonov's heroes smoothly moved from "Chevengur" to "Pit", and this transition from the mythological world to the real, from utopia to reality turned out to be extremely difficult. Plato's heroes came to the beginning of a new era, however, not even

10 See e.g. Vyugin V.Yu. The story "Pit" in the context of the work of Andrei Platonov (introductory article) // A Platonov, Pit. St. Petersburg: Nauka, 2000; Pastushenko Yu.G. Poetics of death in the story "Pit"; Kharitonov A.A. Ways of expressing the author's position in Platonov's story "The Pit" author. dis. .kan. philol. Sciences, IRLI, St. Petersburg, 1993. Researchers often pay attention to the semantics of the heroine's name. As you know, Nastya (Anastasia) means resurrected. See: Kharitonov A.A. Ibid.; Rister V. The name of the character in A. Platonov // Russian Literature (Amsterdam). 1988. V.23 No. 2. Having begun, it ended: for them, the death of a future inhabitant is equivalent to the death of the whole world, because the heroes-diggers lived for the sake of the future. Where could Plato's heroes go after Nastya's death?

In the 30s, these desperate can be found in the capital of the world

12 revolutions, in "happy" Moscow. The last novel “Happy Moscow”, destroyed by the author, reveals a close connection with the novel “Chevengur” and the story “The Foundation Pit”. The unfinished novel becomes the “completion” of A.P. Platonov ("Chevengur", "Pit", "Happy Moscow").

The utopian projects of the young writer, which received a kind of artistic embodiment in Chevengur and perfected in The Pit, are realized in a more concrete space-time dimension in Moscow in the 1930s. At the same time, the writer does not lose hope of a utopian project, the essence of which lies in immortality and the salvation of mankind by it.

Undoubtedly, there are certain symbolic overlaps between the image of the city of Moscow and the image of the heroine, whose name is Moscow Chestnova. The fate of the heroine and her whole life, voluntarily or involuntarily, are rethought in the image of the city of Moscow itself; the identification of a woman with the city takes on a symbolic and mythologized duality. At the same time, the peculiarity of the embodiment of the author's intentions lies, first of all, in open symbolization and mythologization, using which the author directly counts on the active role of the reader's consciousness in the perception of the work. Therefore, in the process of reading, direct synchronous reader participation is required. I Kornienko N. V. Preface to A. Platonov's Notebooks. (ZK, 14).

At the same time, in the novel "Happy Moscow" the writer created new images of people that are necessary for the construction of a socialist society. Their love for one woman (for Moscow Chestnova) becomes the main pivot in the development of the plot. On this basis, the system of characters in the novel is cyclical: in the center of gravity is a woman, who is a dual being, around her, as in a solar system, new people are circling that are needed by Moscow, the woman and the city. If in Chevengur and in The Pit the love for the same woman shows a certain psychological similarity between the characters, then in the novel Happy Moscow the love of the characters (Bozhko, Sambikin and Sartorius) for Moscow Chestnova (and Moscow-city) becomes the main event in the plot-compositional plan.

In the notebooks of 1931 A.P. Platonov himself gives the answer to this question: “It is necessary to write with the essence, with a dry stream, in a direct way. This is my new way” (ZK, 100).

After the 30s in the work of A.P. Platonov begins a new stage, clearly different from the 20s. In many works of the second half of the 1930s and military stories of the 1940s, the writer rarely focuses on disguised forms of narration and avoids experimental elements in the structural plan of the work. In other words, its literary form itself passed from utopia to reality. The beginning of this phenomenon can be clearly traced in the chain of novels: in them, the process of the author's transition from utopia to the real world and the process of evolution of A.P. Platonov as a novelist. A concrete analysis of the transformation of forms and themes from the novel "Chevengur" to "The Foundation Pit" and "Happy Moscow" will be the object of our future research.

The novel "Chevengur", the first work of the novel genre in the work of A.1L Platonov, through different, sometimes contradictory, conflicting forms, gained the possibility of the most complete expression of the author's position. Thus, the novel "Chevengur" marks the end of one and the beginning of a new creative period of the writer and becomes the artistic foundation for the story "The Foundation Pit" and the novel "Happy Moscow".

The proposed dissertation is an attempt to reveal the essence of the poetics of the great prose writer of the 20th century through the specifics of the artistic embodiment of his philosophical and aesthetic views. It is no coincidence that A.P. Platonov says that one must write "not with talent, but with one's essence" (ZK, 81). Since he wrote not only about essence, but also about essence, A.P. Platonov cannot be separated from the essence of the very position of the author. This is precisely the specificity of the forms of expression of the author's consciousness in the work of A.P. Platonov.

For example, T. Seyfried states that mature A.P. Platonov resigned himself to the idea of utopia and became a socialist realist. In our opinion, this position should be rethought. The study and consideration of this problem is included in our long-term plan. Seifrid T. Andrei Platonov - Uncertainties of sprit. Cambridge University Press, 1992.

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181. Trubina L.A. Historical Consciousness in Russian Literature in the First Third of the 20th Century: Typology; Poetics: Dis. dr. philol. Sciences. M.: MPGU. 1999.

182. Her own. Russian literature of the XX century. M.: Flinta. Science, 1999.

183. Uspensky B.A., Poetics of composition // Semiotics of art. M., School of languages of Russian culture, 1995. S. 9-218.

184. Fedorov N.F. Philosophy of the common cause. Collected works in four volumes. M., 1995.

185. Fink L. Literature of the 20s in the light of universal human priority // History of Soviet literature: a new look, part 2.1. Moscow: Nauka, 1990.

186. Khalizev V.E., Theory of Literature, M.: Higher School, 2000.

187. Kharitonov A.A. Architectonics of A. Platonov's story "The Pit". To the creative history of Andrey Platonov's story "The Pit". Fragments of a draft autograph // Creativity of Andrey Platonov. SPb., 1995.

188. His own. The system of character names in the poetics of the story "The Pit" // Andrey Platonov's Country of Philosophers: Problems of Creativity. Issue. 2, M.: Heritage, 1995.

190. Hodel R. Translations of the novel "Chevengur" from the point of view of the problem of real-surreal space // Russian Literature (Amsterdam). 1999. V.46 No. 2.

191. His own. Uglossia tongue-tied, objective narration - a tale (To the beginning of the novel "Chevengur") // Sprache und Erzahlhaltung bei Andrei Platonov. Bern, 1998.

192. Khryashcheva N.P. The life of the creation of the Platonic heroes of the novel "Chevengur" in the light of Western philosophical experience // Voronezh region and abroad: A. Platonov, I. Bunin, E. Zamyatin, O. Mandelstam and others in the culture of the XX century. Voronezh: Ed. VSU, 1992.

193. Chalmaev V. A. Andrey Platonov as a “linguistic personality”: the dynamics of monologism in the “strategic” fragments of his narratives (Chevengur) // Sprache und Erzahlhaltung bei Andrei Platonov. Bern, 1998.

194. His own. Andrey Platonov. Essay on life and creativity. Voronezh, 1984.

195. His own. Living time, I'm all yours. M.: Modern Russia, 1990.

196. His own. A haven of dreams and anxieties. The artistic world of the utopian novel "Chevengur" by Andrey Platonov (introductory article) // Platonov A. Chevengur. M.: Modern Russia, 1989.

197. His own. At the human heart. Humanism of Andrey Platonov // Arches of the Rainbow. Lit. Portraits. M.: Modern Russia 1987.

198. Chandler R. Between faith and insight. Translator's preface to the English edition of A. Platonov's story "The Pit" // Philological Notes. Issue. 13. Voronezh, 1999.

199. Chudakov A.P. Vinogradov and his theory of poetics // Word thing - world. From Pushkin to Tolstoy. M., 1992.

200. Sheppard D. Love for the distant and love for the near in the work of A. Platonov // Andrey Platonov's country of philosophers: problems of creativity. M.: Heritage, 1994.

201. Schmid W. Narratology. M., 2003.

202. Shubin L.A. The search for the meaning of separate and common existence. - M.: Soviet writer, 1987.

203. His own. Man and his business, or how to be a writer // View, Criticism, Controversy, Publications. M.: Soviet writer, 1991. Issue Z, S. 340-359.

204. Shubina E. D. Adventure of an idea. On the history of the creation of the novel "Chevengur". Intro. article for publication // Lit. review. M., 1989. No. 9. S. 27-28.

205. Eidinova V.V. A Platonov and "Pass" // Voronezh region and abroad: A. Platonov, I. Bunin, E. Zamyatin, O. Mandelstam and others in the culture of the XX century. Voronezh: Ed. VSU, 1992.

206. Her own. On the dynamics of Platonov's style // Andrey Platonov's country of philosophers: problems of creativity. M.: Heritage, 1994.

207. Eikhenbaum B. M. About prose. L., 1969.

208. His own. About literature. M., 1987.

209. Epelboin A. Poetics of destruction (Word and consciousness of the heroes of A. Platonov) // Andrey Platonov's country of philosophers: problems of creativity. M.: Heritage, 1994.

210. Her own. Problems of perspective in the poetics of A. Platonov // Andrey Platonov's country of philosophers: problems of creativity. Issue. 4, M.: Heritage, 2000.

211. Esalnek A. Ya. Intra-genre typology and ways of its study. M.: 1985.

212. Her own. Typology of the novel. M., 1991.

213. Yablokov E. A. Hopeless sky (introductory article) // Platonov A. Chevengur. Moscow: Higher school, 1991.

214. His own. Between far and near (Andrey Platonov and Friedrich Nietzsche's metaphors) // Alfavit. Smolensk: Ed. SGPU, 2002.

215. His own. On the typology of A. Platonov's characters // Andrey Platonov's country of philosophers: problems of creativity. M.: Heritage, 1994.

216. His own. On the philosophical position of A. Platonov (prose of the mid-20s and early 30s) // Russian Literature. XXX P. 1992. S. 231-232.

217. His own. On the shore of the sky Andrey Platonov's novel "Chevengur". St. Petersburg: Dmitry Bulanin, 2001.

218. His own. The principle of artistic thinking of A. Platonov "And so, and vice versa" in the novel "Chevengur" // Filologicheskie zapiski. Issue. 13, Voronezh: Ed. VSU, 1999.

219. His own. Artistic understanding of the relationship between nature and man in Soviet literature of the 20-30s. (JI. Leonov, A. Platonov, M., Prishvin). Abstract dis. .kan. philol. Sciences, Moscow State University. Lomonosov, M., 1990.

220. Materials in English

221. Bethea D.M. The shape of Apocalypsis in Modern Russian Fiction. Princeton, New Jersey, 1989.

222. In loch E. The Utopian Function of Art and Literature. The MIT Press, 1988.

223. Livers K. Art and Artistic Language in Platonov "s Works of the 1920"s and 1930"s: The Poetry of "Useless" Things // Sprache und ErzShlhaltung bei Andrei Platonov. Bern, 1998.

224. Naiman E. Andrej Platonov and the Inadmissibility of Desire // Russian Literature. Amsterdam, 1988. V. 23, No. 4.

225. The Thematic Mythology of Andrej Platonov // Russian Literature.

226. Amsterdam, 1987. V. 21, No. 2.

227. Rister V. Grotesque, Roman // Russian Literature, Amsterdam. 1985, XVI.

228. Seifrid T. Andrei Platonov Uncertainties of sprit. Cambridge University Press, 1992.

229. On the Genesis of Platonov's Style in the Voronez Period // Russian1.terature. Amsterdam, 1988. V. 23, No. 4.

230. Writing against Matter: On the Language of Andrei Platonov's

231. Kotlovan // Slavic and East European Journal. 1987. V. 31, No. 3.

232. Tsvetkov A. The language of A. Platonov. The University of Michigan, 1983.

233. Teskey A. Platonov and fyodorov, The Influence of Christian Philosophy on a Soviet Writer. 1982 Avebury.

234. Zholkovsky A. Text Counter Text. Stanford, 1994.

235. Materials in other foreign languages

236. Locher J. P. Zum epischen Impuls in platonovs Narrativitat // Sprache und Erzahlhaltung bei Andrei Platonov. Bern, 1998.

237. List of conditional abbreviations

238. ZK Notebooks of Andrey Platonov. M.: Heritage, 2000. K - Platonov A. Pit. St. Petersburg: Heritage, 2000.

239. RM Platonov A. Stories about many interesting things // The old man and the old woman. Munich, 1984.

240. CW -Platonov A. Chevengur. Moscow: Higher School, 1991.* *

241. KLE Brief literary encyclopedia. T. 1-9. M., 1962-1978. LZTP - Literary encyclopedia of terms and concepts. M.: NPK "Intelvak", 2001.

242. The Summery of Dissertation

243. Expression of the author's position in the prose of A.P Platonov (the research on the novel "Chevengur").

Please note that the scientific texts presented above are posted for review and obtained through original dissertation text recognition (OCR). In this connection, they may contain errors related to the imperfection of recognition algorithms. There are no such errors in the PDF files of dissertations and abstracts that we deliver.

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