Traditions and innovation in Plato's poetry. "Connection of creativity A

TRADITIONS And INNOVATION in the literary process, two dialectically interconnected aspects of the literary process. Traditions(from Latin traditio - transmission) - the ideological and artistic experience transmitted to subsequent eras and generations, crystallized in the best works of folklore and literature, fixed in the artistic tastes of the people, realized and generalized by aesthetic thought, the science of literature. Innovation(from lat. novator - renovator) - updating and enriching both the content and the form of literature with new artistic achievements and discoveries: new heroes, progressive ideas, a new creative method, new artistic techniques and means. Innovation based on traditions, develops them and at the same time forms new ones; it becomes traditions, which in turn serve as the starting point innovation. In such an interaction, creativity and innovation are the dialectics of the progressive development of literature and art.

The reform of Russian verse, carried out by V.V. Mayakovsky, was a necessary consequence of the novelty of reality, which became the subject of Soviet poetry.

The secret of the Russian soul is hidden in national poetry. “In the lyrics of our poets,” wrote N.V. Gogol, “there is something that poets of other nations do not have, something close to the biblical.” The supreme source of lyricism is God, however, "some consciously, others unconsciously come to him, because the Russian soul, due to its Russian nature, already hears it somehow by itself, it is not known why."

In Russian classical poetry, the theme of rural Russia has always been one of the main ones (suffice it to mention at least the textbook Pushkin's "Village"). And it's not just "landscape" lyrics. In the elements of the Russian soul, "the ordering power of myth was always visible - the myth of the earth, soil, space." S. Frank in his article "Wise Testaments" expressed the following idea: "Using a later term, we can say that Pushkin was a convinced soil activist and had a certain "philosophy of soil", he best expressed it in a famous poem of 1830:

Two feelings are wonderfully close to us -

In them the heart finds food -

Love for native land

Love for father's coffins.

Such rootedness in the native soil, leading to the flowering of spiritual life, thereby expands the human spirit and makes it receptive to everything universal.

N. Nekrasov occupies a special place in Russian poetry. It was he who "revealed the first example of a poet living in the city, and suffering about the countryside." "Nekrasov is dear to me," wrote Y. Polonsky, "because he is, so to speak, our domestic poet, our soil worker; he brought us great benefit because, by cultivating our national soil and clearing it, it makes it possible to grow on it over time not only Russian, but also universal poetry."

The end of the 19th - the beginning of the 20th centuries is the time of a genuine upsurge of the "peasant line" in Russian lyrics. During these years, Leonid Trefolev, Ivan Surikov (the author of the famous "Rowan" and no less famous "Childhood" ("Here is my village") and poets of his circle ("Surikovites") worked: Savva Derunov, Dmitry Zharov, Alexei Razorenov, Matvey Kozyrev , Ivan Rodionov. They were joined by Ivan Osokin, Nyktopolion Svyatsky, Maxim Leonov, Spiridon Drozhzhin. In the 20s, the "new peasant" poets became widely known: Nikolai Klyuev, Sergei Yesenin, Sergei Klychkov, Petr Oreshin, Alexander Shiryaevets, Mikhail Artamonov, Pavel Radimov, Vasily Nasedkin and others. Ivan Molchanov, Dmitry Gorbunov, early Alexander Zharov, poet and artist Efim Chestnyakov, Pavel Druzhinin, Ivan Doronin, Vasily Eroshenko were close to them in terms of subject matter and spirit of creativity. The latter is better known in Japan, where he published The fact is that he wrote not only in Russian, but also in Japanese, traveled a lot, studied the folk culture of many countries, was familiar with Lu Xun and Rabindranath Tagore.

Among the Russian poets who promised to do so much but failed to find their own poetic path, one of the most penetrating lyricists was Sergei Chukhin. He began in the second half of the 60s, during the heyday of "quiet poetry". Silence is the most important word in his lyrics: "Nowhere to rest ... Such silence!", "And the soul is kept from the cold by this snow, this silence." It turns out that not only now the silence of the "stagnant" time is perceived as the "golden age" of modern Russian history:

You will not find a person in the village,

What is cloudy today, angry.

Like the beginning of a golden age

A golden day is worth it.

The names of Fet, Tyutchev, Polonsky are also "significant" for "quiet" lyrics:
The night is numb here, over the field,

And the stars of August are flying

And Fet is read avidly,

And the man is happy.

Now it becomes clear that the “quiet” lyrics were dominated not by elegiac silence, but by a vague foreboding, a feeling of calm before the storm:
And this strange feeling

Haunts the soul like delirium:

In the midst of peace and quiet

It's just that there is no peace.

The work of Nikolai Tryapkin also belongs to the tradition, which is inseparably linked "with the verbal art of the people, with its richest song, fairy tale, proverbial culture, which has a thousand-year history." According to the poet, he came "from the depths of rural Russia, From the great depths of the people..." , "Silver Ponds" (1966), "The Loon Flew" (1967), "My Fathers' Nest" (1967), "Selected Lyrics" (1970)) Tryapkin sang the happiness of peasant labor, poeticized the life of the modern village, using genre reserves folk art: songs ("The Song of Bread", "The Song of the Merry Freeze", "That Night", "The Loon Flew", "Song", "Only the Dawn-Dawn...", "Farewell"), ditties ( "A Merry Gadget", "Rookie", "I call you mine..."), epics ("Healing of Muromets", "Return of Razin"), carols ("Kalyada-malyada..."), as well as thoughts, legends , were. Tryapkin introduced fabulous images into his poems ("Letter", "Snow and Evening...", "Awakening"), not forgetting about the song of literary origin - his poems "Hymn", "Reeds, reeds, reeds. ..", "The Song of the Winter Hearth", "I will never get tired of wandering ...". Heard sometimes in his poetry Koltsovo and Nekrasov motifs (the poems "Rye", "Country roads"), Rylenkov's rhythm ("Forest nape..."), and even the syllable of "Vasily Terkin" ("I corrected everything in proper taste ... ").

Tryapkin's best poems are dedicated to the Russian North ("Tansy", "Koryazhma", "Steamboat on Vychegda", etc.). In 1941 he was evacuated to Kotlas. “There,” the poet wrote, “for the first time, my eyes were opened to Russia and Russian poetry, because I saw all this with some special, “internal” vision ... And I began to write poems that fascinated me myself.” The language of these poetic creations is magnificent. Tryapkin achieves in his "northern" cycle an almost complete merging with the natural world:

May it be sweeter than others

Great fusion melody!

The uniqueness of the literary situation of the late 1970s consisted in the fact that there were no leaders in it. There were leaders, those who went ahead, but the places vacated after Pasternak, Akhmatova, Tvardovsky remained unoccupied and it was not clear who could take them.

At the end of the 70s, qualitative changes took place in poetry, connected not so much with the change of poetic generations, but with the active orientation of the young to new forms of verse and ways of artistic representation. The fact that in the 60s only timidly took root in the work of "variety artists" - complicated associativity, formal experiment, symbiosis of different stylistic trends - in the late 70s - early 80s declared itself as a leading direction and everywhere won back its living space. Moreover, there were two different directions, similar to those that determined the direction of development of young poetry in the early 60s. It was a traditional direction (N. Dmitriev, G. Kasmynin, V. Lapshin, T. Rebrova, I. Snegova, T. Smertina, etc.), oriented towards the continuation of classical traditions, and “metaphorical”, or “polystylistic”, oriented for a formal experiment (A. Eremenko, A. Parshchikov, N. Iskrenko, Yu. Arabov, D. Prigov, etc.).

In the second half of the 1980s, spiritual poetry began to revive rapidly. Now, it seems, all the poets "are crying unanimously to the Lord, since such a long ban has been lifted." In fairness, it must be said that Russian poets turned to the Bible long before 1988 (A. Tarkovsky, I. Brodsky, D. Samoilov, O. Chukhontsev, A. Tsvetkov, Yu. Kublanovskiy, I. Lisnyanskaya, V. Sokolov, N. Tryapkin, Yu. Kuznetsov, to some extent - N. Rubtsov). S. Averintsev occupies a special place in this series.

Spiritual poetry is an unusually complex and delicate area of ​​Russian literature. There are three main hurdles that must be overcome by the applicant:

1) philological (the problem of connecting the church and literary language, especially in a semantic sense);

2) religious (the problem of renovationism);

3) personal (the problem of spiritual growth, the degree of comprehension of God).

"That's why," writes A. Arkhangelsky, "professionals retreat before the grandeur and overwhelming task... And amateurs are not afraid of anything - because they don't feel, they don't hear the terrible silence of their words."

Fortunately, we have poets who know how to talk about lofty things without naive enthusiasm and without pomposity annoying the reader. Such is V. Blazhennykh, according to S. Chuprinin, the lyricist "truly tragic", as well as N. Rachkov, O. Okhapkin, O. Grechko, M. Dyukov, N. Kartashev, N. Kozhevnikov, E. Kryukov, L. Nikonova , S. Kekova, O. Nikolaeva, N. Popelysheva and many others.
A group of Orthodox poets who sincerely and deeply believe and understand that "spiritual verse, in its religious content, stands outside the current trifles of reality," came to our poetry in the late 80s (most of them were not even forty years old at that time). These are A. Belyaev, A. Vasiliev, E. Danilov (Konstantin Bogolyubsky), M. Dyakonova, V. Emelin, G. Zobin, Fr. Roman, N. Shchetinina and others. Their poetry is truly exclusively spiritual. They put faith above art.

Introduction

1. Research of creativity of A. Platonov

2. "Poetics of prose" K.A. Barsht

Conclusion

Bibliography

Introduction.

Konstantin Abrekovich Barsht - philologist. St. Petersburg Pedagogical University A. I. Herzen, department. newest Russian literature.

In his monograph entitled "Poetics of Prose", the problem of the formation and evolution of the artistic style of A. Platonov (1899-1951) is considered. Comparing the structure of the writer's works with the structure of folklore riddles, the author comes to the conclusion that "mysteriousness" as some structural involvement in a specific genre of proverbs is more or less inherent in almost all of Platonov's prose of the 20s - the first half of the 30s. The improvement of the "mystery style", and subsequently the rejection of it, constituted the main collision of the writer's work.

The purpose of this work is to analyze the monograph by K.A. Barsht "Poetics of Prose".

· to systematize the research devoted to the work of A. Platonov.

· consider the monograph Barsht K.A. "Poetics of Prose".

The subject of the work is the analysis of the monograph "Poetics of Prose". Barshta K.A.

1. Research of creativity of A. Platonov.

The work of Andrei Platonov has not been fully explored. For a wide range of readers, Platonov's works were opened only in the 1990s. Such is the fate of a true artist, because the glory of a true master is posthumous. The brilliant prose writer lived a hard life, in 1921 he, a hereditary proletarian, was expelled from the party, he was not published, he was persecuted, in 1938 his fifteen-year-old son was arrested, released in 1941, two years later the young man died of prison tuberculosis. Platonov himself died from the same disease, but "his own" death, not from a KGB bullet, not from camp abuse and deprivation (like many of his fellow writers).

Platonov's works are full of freedom, they are deeply metaphysical and ontological. Perhaps that is why, at the first glimpses of freedom in the late 1980s and early 1990s, Platonov began to be published. According to Andrey Bitov, “the business of the present is to resurrect his texts, because he is a writer, to a large extent, of the future. Platonov will turn out to be a surprisingly difficult writer here, because he is the first who really understood everything. He understood everything, and understood it from the inside, and not from the opposite camp: from the inside, he comprehended it, and comprehended deeper than those who stood on positions, so to speak, cultural, intellectual and past. Because he did not comprehend differences, but the whole.

Both well-wishers and detractors of the writer back in the 20-30s spoke about his unusual characters, unexpected, broken endings, about the impossibility of presenting the work either on the basis of the logic of the events reflected in it, or relying on the logic of his characters. These features amaze us, modern readers. However, even the most furious accusers of Platonov burst into admiration for the powerful artistic gift of the writer - the density of the narrative, the universality of generalization at the level of one phrase of the text, the colossal freedom in the linguistic element of the Russian language.

By the strength of his literary talent, Platonov could be called one of the best representatives of Russian religious philosophy. His creations are distinguished by an unusual philosophical richness: in the form of ordinary stories and short stories, Andrei Platonov outlines serious existential and ontological problems, for the sake of which it is appropriate to write philosophical treatises: “...Platonov expressed the subtlest categories that no philosopher in our century has expressed”

The main characters of his works are "thinkers" from the people. Such, for example, is Foma Pukhov from the story "The Secret Man", reflecting on the methods of revolution introduced into the life of the people:

- You have a hefty scale, Pukhov; our business is smaller, but more serious.

“I don’t blame you,” answered Pukhov, “one arshin is a man’s step, you won’t step again; but if you walk for a long time in a row, you can go far, - as I understand it; and, of course, when you walk, you think about one step, and not about a verst, otherwise the step would not have happened.

“Well, you see, you yourself understand that it is necessary to observe the specificity of the goal,” the communists explained, and Pukhov thought that they were nothing guys, although they were poisoning God in vain, “not because Pukhov was a pilgrim, but because people are into religion People are accustomed to placing the heart, but they did not find such a place in the revolution.

“And you love your class,” the Communists advised.

“You still need to get used to this,” Pukhov reasoned, “but it will be difficult for the people in the void: he will heap firewood for you from his misplaced heart.

As an artist-thinker, Platonov is unique even in the Russian literary tradition: it is difficult to find another writer to whom this definition would correspond to such an extent. “It is necessary to write with the essence, with a dry stream, in a direct way. This is my new way”, – this is how he defined his creative method. It was a purposeful, conscious choice of the poetics of thought, semantic visionary. In his desire to depict not things, but meanings, he probably went the furthest, dissecting the reality of life not only at the subject, but also at the linguistic level. He wrote about being, not outwardly describing it, but defining it from the inside, speaking not about characteristics, but about the essence of things.

In order to understand what are the main "stumbling blocks", riddles in some of Platonov's early works, we turned to this topic. Let us dwell on the two most important problems in Platonov's work: the problem of life and death (and, consequently, immortality, the resurrection of the dead) and the problem of the relationship between man and nature (and, consequently, the mythological worldview).

The problem of life and death is one of the central problems of all Platonov's work, starting from his earliest works. For example, the story "The Secret Man" begins with the words:

“Foma Pukhov is not gifted with sensitivity: he cut boiled sausage on his wife’s coffin, hungry due to the absence of the hostess.

- Nature takes its toll, - concluded Pukhov on this issue.

On the example of the protagonist of the story of Foma Pukhov, Platonov shows the attitude of a person to life and death. “Everything happens according to the laws of nature,” is the conclusion of Pukhov. However, the hero reflects further:

Of course, Pukhov took into account the power of the world's laws of matter, and even saw justice and exemplary sincerity in the death of his wife. He was quite pleased with such coherence and proud frankness of nature - and brought great surprise to his consciousness. But his heart sometimes worried and trembled from the death of a kindred person and wanted to complain to the whole mutual responsibility of people about the general defenselessness. At these moments, Pukhov felt his difference from nature and grieved, burying his face in the earth heated by his breath, wetting it with rare reluctant drops of tears.

Pukhov cannot come to terms with the inevitability of death: When his wife died - prematurely, from starvation, neglected diseases and in obscurity - Pukhov was immediately burned by this gloomy untruth and illegality of the event. At the same time, he sensed where and to what end of the world all revolutions and all human anxiety are heading.

It can even be said that Platonov's novels, novellas and stories are an attempt to defeat the "last enemy" of mankind - death. Awareness of the connection between the living and the dead, the connection between people and animals, the connection between humanity and nature pervades all of Platonov's prose.

And the writer puts philosophical ideas, amazing in their depth and simplicity of presentation, into the mouth of his hero: Historical time and the evil forces of the ferocious world substance jointly beat and starved people, and they, having eaten and slept off, lived again, turned pink and believed in their special cause. The dead, through mournful memory, also urged on the living in order to justify their death and not go to waste in vain.

He found it necessary to scientifically resurrect the dead, so that nothing would be lost in vain and blood justice would be realized.

Through the mouth of Pukhov, in an artistic form, Platonov expounds the philosophical ideas of Nikolai Fedorov, which he himself adhered to (it is known that Fedorov's book "Philosophy of the Common Cause" was on the writer's shelf). At the heart of Fedorov's philosophy are the ideas of the need to resurrect the dead in order to pay back the debt to the ancestors, to restore blood justice. This should become the common cause of all mankind.

“Fedorov called his teaching active Christianity, revealing in the depths of Christ's Good News, first of all, its cosmic meaning: a call for the active transformation of the natural, mortal world into another, non-natural, immortal divine type of being (Kingdom of Heaven).<…>The philosopher of the “common cause” firmly stands on the point of view of the conventionality of apocalyptic prophecies, the need for universal salvation in the course of immanent resurrection, which is achieved “by the command of God” in the streams of his grace, united fraternal humanity, having mastered the secrets of life and death, the secrets of the “metamorphosis of matter”. The transcendental resurrection, Fedorov believes, will take place only if humanity does not come to the “reason of truth”

But in Pukhov's reflections, we also find the key words of Fedorov's idea - the resurrection of the dead, the memory of the dead, the special cause of people (cf. Fedorov's common cause of mankind).

Another telling example: Death acted with such calmness that the belief in the scientific resurrection of the dead seemed to be without error. Then it turned out that people did not die forever, but only for a long, deaf time.

The problem of life and death takes on a slightly different coloration - eschatological - in Platonov's early stories "Erik" and "Tyuten, Vityuten and Protegalen". These works, written in the folklore tradition, are full of symbols and riddles. At the end of the stories, eschatological motifs sound: “... the sky broke off and the earth turned out”, “the world ended ...” (“Erik”); “All the white light went out, and mountains, men’s beards, ladybugs and the last freezing stony clouds rushed across the sky” (“Tyuten, Vityuten and Protegalen”).

At the same time, the finale remains unfinished, and we do not know what the further fate of the heroes is - they died irretrievably or were reborn to a new life. "The confrontation between the motives of death and life creates a situation of guessing, when the reader himself must choose one of the options for the development of the plot, choose between the death of the characters and their life." It is up to the reader to decide which of the semantic plans is the main, true, and which is secondary, possible.

Platonov and his heroes felt the connection between animate and inanimate nature, between the living and the dead, "the affinity of all bodies to their body." In 1922, he wrote in his Autobiographical Letter: “Between burdock, begging, field song and electricity, a steam locomotive and a whistle that trembles the earth, there is a connection, kinship, on both of them there is one birthmark. I still don’t know what it is, but I know that the pitiful plowman will board a steam locomotive tomorrow and will operate the regulator in such a way, will stand such a master that you won’t recognize him. The growth of grass and the whirlwind of steam require equal mechanics. The worldview of Platonov's heroes can be called mythological: they personify the phenomena and objects of nature, and even treat mechanisms as if they were living beings. Here are some examples from the story "The Hidden Man". In the courtyard he was met by a blow of snow in the face and the sound of a storm. - Stupid bastard! - Pukhov said aloud and towards the moving space, naming all of nature. In the morning "Shan" unloaded in Novorossiysk. - Damn shame! - the Red Army men were offended, collecting things. - Why is it a shame? - Poohov reasoned with them. “Nature, brother, is thicker than man!” ... The motor whistled, but persisted in spinning. At night, Pukhov also thought about the engine and convincingly quarreled with him, lying in an empty cabin. Pukhov, as already noted, can be called a "natural thinker." He calls himself a “lightweight type person”, a “natural fool” - qualities in view of which he cannot agree to Sharikov’s proposal to become a communist, because a communist, as Sharikov said, “is a scientific person.” He found his truth without seeking or thinking about it. Pukhov felt her in the “bodily charm” that the movement on the ground gave him: “The wind shook Pukhov, like the living hands of a large unknown body, revealing its virginity to the wanderer and not giving it ... This conjugal love of the whole immaculate earth aroused mastery feelings in Pukhov . He gazed at the belongings of nature with a homely tenderness and found everything appropriate and living in essence ... Impressions so densely obscured Pukhov's consciousness that there was no strength left for his own rational reflection. Foma Pukhov - "alter ego" of A. Platonov in the early period of his work. Without a doubt, the writer, like his hero, was characterized by “a certain initial feeling of life, bestowed on us by nature ... Something that was forgotten. And everywhere it is dissolved in him - both in his being and in his writing. This unprecedented "feeling of life", this gift of God was developed during the period of study in the church

Rikhodsky school, thanks to the brilliant teacher Apollinaria Nikolaevna: “I will never forget her, because through her I learned that there is a fairy tale sung by the heart about a Man born to “every breath”, grass and beast, and not a ruling god, alien to the lush green earth, separated from the sky by infinity ... ". Man must see in nature a constant novelty. Getting used to the wonders of nature is a consequence of heartfelt callousness, the loss of "unexpected in the soul", immediacy. Platonov warns against the ordinary perception of nature, which has a detrimental effect on the whole being of man: The views of nature did not surprise Pukhov: every year the same thing happens, and the feeling is already becoming stiff from tired old age and does not see the sharpness of diversity. As a postal official, he did not naturally take letters into his personal hands, but put them in a dark box of a heart overgrown with oblivion, which is rarely opened. Before, all nature was urgent news to him.

Thus, Platonov went through a passion for technocracy and social utopianism,

"god-building" and came to the idea of ​​integral knowledge, the opposite of dry scientificity and pragmatism. Platonov is a supporter of science, progress, but in combination with natural intuition and spirituality. "The whole prose of the writer is a flash of amazing, alien literary and pseudo-philosophical, natural, natural wisdom."

2. "Poetics of prose" Barsht K.A.

The basis of the principle, in accordance with which the artistic world of A. Platonov was formed, is the hypothesis that the passage of time is directly related to the properties of space, and the state of space - with its energy fullness. Therefore, the clock for the Platonic hero is a mystical device, it measures what is not in the world, i.e., smooth and rigidly flowing time. Time in Platonov's works does not go according to a calendar or clock, but in accordance with the specific properties of space, which change dramatically in the conditions of a total drop in the energy charge of the Earth. This catastrophic fall in the energy of the Universe and the experience of humanity's inevitable impending death (energy apocalypse) is the main motive of Platonov's work.

The usual time for the onset of this critical point in Platonov's works is the middle of summer, conditions of terrible, unnatural heat, while the hero, who observes sharp time anomalies, usually does not trust the readings of mechanical watches and feels time directly, with a special flair associated with the perception of energy properties. Continuum. In "Chevengur" "the watchman ... stood at the porch, watching the course of summer; his alarm clock became entangled in counting time for many years, but the watchman, from old age, began to sense time as acutely and precisely as grief and happiness; no matter what he did, even when he slept (although in old age life is stronger than sleep - it is vigilant and every minute), but an hour expired, and the watchman felt some kind of anxiety or lust, then he struck the clock and again calmed down. It is this property of the hero - to perceive the anomaly of time and sharp, catastrophic disruptions in the spatial characteristics of the Universe - that allows us to consider that this person is “alive”, unlike those who do not notice this all and feel good in the conditions of the distorted Continuum: “Alive, grandfather! - Zakhar Pavlovich said to the watchman. Who are you counting the days for? (Ch, 30). Under the conditions of the apocalypse, when the “substance of existence” passes into the “infrafield”, the line between “alive” and “dead” finally disappears, time loses all grounds for its existence, natural “days” obviously lose their volume and meaning.

In the chronotopes of Platonov's works, one can see a rich set of different options for the distortion of time in the conditions of the onset of the "end of time". In the “City of Gradov”, due to the shaken “arrow of time”, an “extra day” is formed, thereby creating a kind of chronometric black hole, or a trap for time: “... Shmakov stated that significant phenomenon that a person has time for there is no so-called personal life left” (SG, 214).

The leaves of the calendar in the houses of the inhabitants of Gradov testify to the discrete, fading, and sometimes taking a step back time: the properties of the Continuum have changed, life goes against the reasonable requirements of its timekeeping. The hero of the story makes a plan “to put aside the 366th bottle for cherry tincture. This year is a leap year.<...>Do not forget to draw up a 25-year long-term plan for the national economy; 2 days left” (SG, 213-214). The number 366 here denotes an apocalyptic timeless year, called a leap year (plus one "eternal day"), 25 years and two days are equal to each other. The apocalypse in Gradov is characterized by the usual set of signs for Platonov: darkness, the state of sleep-death among the heroes, distortions in the course of time, strange mechanical movements (“dances”), fires caused by some unknown reason (“... in the morning Gradov burned; five houses burned down and one bakery". - GG, 213). The stoppage of time leads the heroes of Platonov to attempts to metaphysically address the earth and characteristic earthworks in search of "juvenile water reserves": parallel to the "Pit" and "Epifansky locks", the inhabitants of Gradov plan to dig their "water channel in the ground from the Caspian Sea" (GG, 214).

Since for Platonov love is a kind of cosmic energy, love or hatred changes the properties of space, and time flows in a different rhythm: “Zakhar Pavlovich never felt time as an oncoming solid thing, it existed for him only a mystery in the mechanism of an alarm clock. But when Zakhar Pavlovich learned the secret of the pendulum, he saw that there was no time, there was a uniform, tight spring force. But there was something quiet and sad in nature - some forces acted irrevocably. Zakhar Pavlovich observed the rivers - neither the speed nor the water level fluctuated in them, and from this constancy there was a bitter longing ”(Ch, 55-56). Shifts in this “bitter constancy” can only be caused by the actions of a living (energetically active) substance-being, for example, the Sun, an ethically determined person or a “tree”, the favorite energy symbol of Platonic prose. The energy charge of a being-substance produces time as its (her) functional state. Therefore, the drop in energy slows down time, causing "boredom" and "dregs". Time begins to shift only in the event of the appearance of a living being that has retained its vitality. It could be the hero of Platonov, spreading the movement for change, or a plant, for example, a tree in Chevengur: “Only occasionally bare willows rustled in the empty village Soviet yard, skipping time for spring” (Ch, 173).

In the writer's works, the seasonal time of the peasant clearly speeds up or slows down its run, going against the calendar: nine and a half days of the internal time of the "Pit" run for several months of seasonal time, which seems to flow in addition to the change of day and night. Here and in other works of Plato, time is not a parameter of Being, but a special state of the “substance-being” of a person, and the state is not the only and by no means obligatory. The narrator of Chevengur insists that the speed of time increases from the absence of thought - therefore, an immortal person is a total conscious being: “... time passed quickly, because time is a mind, not a feeling, and because Chepurny did not think anything in the mind" (Ch, 282). Time depends on the energy accumulated by the “substance”, since it is the energy potential of its mass that determines the speed of the processes in it, directly connecting them with the properties of the Continuum. The speed of the passage of time is also influenced by human activity, including the moral situations created by it.

Manipulations over time sometimes appear in Platonov's works at the level of a plot-forming factor. The watchman in Chevengur, who is aware of the plasticity of time and even tries, as we have seen, to control this plasticity, does with time in principle the same thing that the builders of the Pit did with the "substance" of the Earth - works to integrate into eternity the temporal existence of the Earth and all its inhabitants: “What is your ringing for? - The watchman knew Zakhar Pavlovich as a person ... who did not know the value of time ... - I shorten time with a bell ... ”(Ch, 30). Stopping or slowing down time in the works of the writer, as a rule, marks the beginning of the plot movement. At the beginning of all Platonov's works, one can find this series of signs denoting spatial and temporal extension, and a person is understood as a creature located at a fork between "time" and "eternity", a stable motif of the plot construction of Platonov's works - the hero's crossing the threshold separating one from the other .

In accordance with this principle, during war the speed of life increases, chemical reactions take place with tremendous speed, and decomposition, according to the Platonic earth-energy principle, is understood as a process of "growth" controlled by the sun's rays.

The contrast between normal and pathologically slow time is a characteristic feature of Plato's chronotope in all periods of his work, from the 1920s to the "war stories" inclusive. In “Chevengur”: “Kopenkin watched how the darkness outside the window was agitated. Sometimes a pale, fading light ran through it, smelling of dampness and the boredom of a new unsociable day. Perhaps morning was coming, or maybe it was a dead wandering ray of the moon ”(Ch, 173), At the very peak of the development of this or that idea in the narrative, an important moment comes, from which a slowdown in the flow of time is observed. At the beginning, it moves quickly, but soon turns into "pit" time ("Garbage wind", "Pit", "Moon bomb", etc.). The description of Kreutskopf (“Moon Bomb”) in prison is the apotheosis of the deathly slowdown and extinction of life: “summer was dying down, a leaf was falling”, “time became muddy and inexhaustible: days went by like years, weeks went by, slowly, like generations” (LB, 48 -49). Under these conditions, Kreutskopf does exactly the same thing as his colleague Lichtenberg from the Garbage Wind: “He developed the art of not thinking, not feeling, not counting time, not hoping, almost not living ...” (LB, 49). The state of half-sleep-half-death, characteristic of the heroes of The Pit and Lichtenberg from The Garbage Wind, is described by the same specific set of signs: “Creutskopf decomposed his brain, became dead and wild” (LB, 49). The depletion of Crosskopf's energy resources is expressed in the fact that, like Lichtenberg, he loses the resources and quality of his body. If Lichtenberg turns into an animal, then Kreuzkopf, as in Oscar Wilde's The Picture of Dorian Gray, quickly becomes an old man: “... noticeably turned gray, grew old and lost his childish interest in unnecessary things. He felt that he was waning - there were still a few years left, and life would be hidden from him, like the rarest event ”(LB, 51).

The reduction of the world to a flat social dominant leads in the writer's works to the disappearance of the difference between time and timelessness, between animals and people, between plants and animals. In the "Kotlovan", outside the sacred space, where a trade union representative and an activist live on a pre-apocalyptic plane, and from where the engineer Prushevsky escapes for salvation to the Pit, Pashkin's wife is heavily crawling - the embodiment of "voluminous views of nature". The presence of a sense of time in a person, like an ear for music, provides an adequate experience of the signals of wildlife. On the contrary, the absence of this property causes temporal deafness, which betrays a person of a “plane”, due to a distorted sense of time, he does not feel the Continuum in the unity of all its dimensions. Criticizing the layman for the fact that he can live happily and satisfyingly during the war, Pukhov (“The Secret Man”) throws a characteristic accusation against him that he “does not feel the time” (SC, 37).

In the works of Platonov, the being who has the power to change this order in the direction opposite to the apocalypse, to improve the properties of time and space, is a man. If the builders of the Pit purposefully change the shape of the planet, trying to “find the truth” in the earth and thereby ensure salvation for a person, then in “The Secret Man” Pukhov worries about the need to put things in order and correctly combine things with each other. Every thing, not excluding the human body, must find its exact and true place, each time ending up on the central axis of world history. Only in this way can the question of man and his relation to the "substance of the universe" be resolved. Based on this, time can go in vain (when heading “to death”), stop (most often - in mid-July at 12 noon) or go with benefit (if some new source of energy is discovered that corrects the bias towards entropy and feeds Universe). In this case, we are talking about the guarantor of the salvation of mankind, a device that replenishes the energy of the Earth.

In many of Platonov's works of the 1920s and 1930s, including Chevengur, Pit, Happy Moscow, and others, the plot is based on the heroes' attempt to catalyze the stoppage of time in order to overcome it and subdue man. For example, in the story "Markun" with the help of a machine that converts matter into energy, the hero tries to turn the Continuum inside out and thereby turn back time. The End of the World artificially organized by him is accompanied by three factory horns, which are parallel to the three sounds of the horn in the "Apocalypse" of St. John. It is significant that Markun hears only the first and third beeps, and does not hear the middle (second). The question arises: how does he know and why did he decide that it was the “third beep” and not the second: “The third beep blew. The second Markun did not hear” (M, 31). Platonov marked with the second beep the passage of the Universe of the “dead” point of the buildup of matter-energy, the World passed the highest point of the amplitude along the path of transformation and therefore remained outside the physical world of the hero, in the zone of the “blind spot” (the same model as the absence of sound in the plane, moving at supersonic speed). Bringing together beginnings and endings, the first and the last we see in the Apocalypse: “I was in the spirit on Sunday and heard behind me a loud voice, like a trumpet, which said: I am Alpha and Omega, the First and the Last” “After I looked at this, and, behold, a door was opened in heaven, and the former voice, which I heard as if the sound of a trumpet, spoke to me, said: Come up here, and I will show you what must be after this.

An attempt to overcome time by creating a special spherical structure is modeled in the Foundation Pit, which is by no means only a “pit”, but something fundamentally different - the globe, turned inside out from the inside with a very specific goal - to reverse time. To form the novel time of his work, Platonov uses the biblical model of the history of mankind. The dynamics of the unfolding of history in Platonov goes in accordance with the change of "days" (epochs) in the Bible http://poetica1.narod.ru/sbornik/barsht.htm - 1#1. The action of the story "The Pit" takes place 9 days, i.e. exactly the same as the biblical history of mankind with the unfinished Apocalypse.

1st day: Voshchev's dismissal and his departure from the "center" to the "periphery" (he spends the night in a ravine).

2nd day: a trip around the city (night in the pit, in the morning it goes to the barracks where the workers sleep).

3rd day: the beginning of digging the foundation pit (overnight in the barracks with the workers).

4th day: continuation of the digging of the pit (at night, philosophical dialogues begin between the heroes who were still sleeping in a “dead” sleep; Prushevsky comes to the builders and joins their skete).

Day 5: Kozlov's departure and the arrival of new diggers.

6th day: time begins to slow down, space changes its characteristics: "Voshchev felt the length of time ..." (K, 163), Nastya appears - as a sign of the future "coordinated life" (K, 159).

7th day: the story of the coffins, going out of the Pit to the collective farm. It should be noted that Chagataev’s journey through Central Asia (“Dzhan”) also lasts “six days of travel” and only on the seventh day does he arrive at home (D, 469).

Thus, a brief analysis of the work of Andrei Platonov through the prism of K.A.'s perception was presented above. Brashta. In this part of the work, fragments of his monograph, as well as excerpts from the writer's works, were presented.

Conclusion

Literary plots of the 1920s and 1930s often correspond to the extravagant scientific practice of the time. The rejection of the religious worldview led to significant changes in the perception of man. First of all, the balance in the central anthropological opposition “soul-body” was seriously disturbed. In particular, this resulted in numerous attempts to find the physical substratum of the soul. In the work of A. Platonov, the problem of searching for the inner "I" is clearly expressed in the conditions of standardization of life priorities with dogmatic overtones. K.A.Brasht showed the ideological nature and interconnection of A.Platonov's works, revealing many interesting aspects of the perception of the writer's time.

Bibliography

1. Barsht K.A. Poetics of Andrei Platonov's prose / K.A. Barsht. - 2nd ed., add. - St. Petersburg: Philol. fak. St. Petersburg. state un-ta, 2005. - 478 p. Code NBB: 1ОК497988

2. Voznesenskaya M.M. Semantic transformations in the prose of A. Platonov: author. dis. ... cand. philol. Sciences / Voznesenskaya M.M. ; Ros. Acad. Sciences, Institute of Rus. lang. - M., 1995. - 15 p. Code NBB: 2AD15118

3. Vyugin V.Yu. Andrey Platonov: Poetics of the Riddle (Essay on the Formation and Evolution of Style). - St. Petersburg: RKHGI, 2004. - 440s.

4. Gavrilova E.N. Andrey Platonov and Pavel Filonov: about the poetics of the story "The Foundation Pit" // Lit. studies. - 1990. - No. 1. - S. 164-173.

5. Dzhanaeva N. This strange-speaking Platonov ...: [about the originality of the style of A. Platonov's works] // Prostor. - 1989. - No. 9. - P. 136-138.
Dmitrovskaya M.A. The concept of melancholy in the Russian language and the language of A. Platonov // Language, word, reality: materials of the II Intern. scientific Conf., Minsk, 25-27 Oct. 2000: at 2 pm / Ministry of Education Rep. Belarus, Belarus. state ped. un-t, Belarus. rep. foundation fund. research; under total ed. A.A. Girutsky. - Minsk, 2000. - Part 1. - S. 87–90. Code NBB: 1BA208970
Dubrovina I.M. On the question of the spirit and style of A. Platonov's prose // Vestn. Moscow university Ser. 9, Philology. - 1988. - No. 6. - P. 11–15.
Poltavtseva N.G. Philosophical prose of Andrey Platonov. - Rostov-on-Don: Publishing House of the Rostov University, 1981. - 144p.

6. Platonov A.P. The Statesman: Prose, Early Works, Letters. - Mn .: Mastatskaya Litaratura, 1990. - 702s.

7. Platonov A.P. Living the main life: Novels. Stories. Play. Fairy tales. Autobiographical. - M.: Pravda, 1989. - 448s.

8. Platonov A.P. Pit: Selected prose. - M .: Book Chamber, 1988. - 320s.

9. Platonov A.P. Collected works. T.1: Poems. Stories and novels 1918-1930. Essays. - M.: Informpress, 1998. - 560s.

10. Russian philosophy: Dictionary. - M.: TERRA - Book Club; Republic, 1999. - 656s.

11. Russian cosmism: Anthology of philosophical thought. - M .: Pedagogy-Press, 1993. - 368 p.

12. Ipatova T.A. Circumstantial Actualizers of Verbs of Speech Behavior in Andrey Platonov's Prose // National-Cultural Component in Text and Language: Proceedings of II Intern. [scientific] conf., Minsk, April 7-9. 1999: at 3 pm / Belorus. state un-t, Intern. assoc. Russian teachers. lang. or T.; editorial board: S.M. Prokhorov (responsible ed.) [i dr.]. - Minsk, 1999. - Part 1. - S. 134-137.

13. Ipatova T.A. The paradox of the Platonic word: speech action in the representation of A. Platonov // Rus. lang. or T. - 2001. - No. 4. - S. 120-126.

Dubrovina I.M. On the question of the spirit and style of A. Platonov's prose // Vestn. Moscow university Ser. 9, Philology. - 1988. - No. 6. - P. 11–15.

Bible (“The last enemy to be destroyed is death” 1 Corinthians 15:26)

Gavrilova E.N. Andrey Platonov and Pavel Filonov: about the poetics of the story "The Foundation Pit" // Lit. studies. - 1990. - No. 1. - S. 164-173.

Barsht K.A. Poetics of Andrei Platonov's prose / K.A. Barsht. - 2nd ed., add. - St. Petersburg: Philol. fak. St. Petersburg. state un-ta, 2005. - 478 p. Code NBB: 1ОК497988

Dzhanaeva N. This strange-speaking Platonov ...: [about the originality of the style of A. Platonov's works] // Prostor. - 1989. - No. 9. - P. 136-138.

Platonov A.P. Pit: Selected prose. - M .: Book Chamber, 1988. - 320s.

35. Artistic originality of A. Platonov's prose

Andrei Platonov, in his understanding of the new era, managed to move from accepting communist ideas to rejecting them. Platonov believed in the revolutionary reorganization of the world; in this he did not differ from his contemporaries. He believed that at last it would be possible to defeat egoism, to create a society of "higher humanism." But already in his first works, Platonov showed himself to be an artist who knows how to see the world ambiguously, understanding the complexity of the human soul. Longing for humanity in Platonov's stories is inseparable from attention to the individual. Followed the tradition of Gogol and Dostoevsky.

Platonov had a hard life: he was expelled from the party, he was persecuted, his son was arrested, who later died of prison tuberculosis.

Features of his work: unusual characters, an unexpected broken ending, the inability to present the work either on the basis of the logic of events or on the basis of the logic of the characters; the density of the narrative, the universality of generalization at the level of 1 phrase in the text, the colossal freedom and element of the Russian language. One of the best representatives of Russian religious philosophy. Unusual philosophical richness: in the form of ordinary stories and novels, Platonov denotes serious ontological and existential problems.

Platonov's stories of the 20-30s: Sandy teacher, At the dawn of a foggy youth, Fro, etc. They have a bright confidence in the possibility of human improvement of the world. All of his heroes are young honest people, active folk characters that have arisen from the depths of Russian life. They are full of fervent hopes. They are also ascetics, sometimes overcoming self-pity, they invest their lives and fate in a common cause.

"Fro". Young woman Frosya in anticipation of personal happiness. enjoyment. She devotedly loves her husband. He tries to distract himself from his difficult experiences with work. Her husband Fedor leaves, she tells him that she will die if he stops loving her. “They wanted to be happy immediately, now, before their future hard work would give a result for personal and general happiness.” “Frosya wanted her children to be born, she would raise them, they would grow up and complete the work of their father, the cause of communism and science.” so Platonov, as it were, balances the need for personal and universal happiness.

The story “In a beautiful and furious world” (41g) is the passion of Platonov and his heroes with powerful technology. Machinist Maltsev is an inspired and talented worker. He had no equal in his work, and he "missed his talent as if he were alone." This enthusiasm turned into a feeling of the soul of the locomotive. The old machinist loves his locomotive like a living being, he feels it with all his heart. And this commonality with the machine gives rise to a feeling of happiness. But Platonov builds the situation and the conflict in such a way that this driver turns out to be deaf to a living person. The machine in his mind eclipsed the man. Only the misfortune that happened - a lightning strike and blindness - returns him the ability to be sensitive to a person. Only after going through trials (loneliness, distrust, prison, loss of his favorite job) is he, as it were, born again.

The story "Return" (46d) is a reflection of post-war life. War as a global attempt to destroy mercy, hopes for the power of goodness and humanity. Boy Petrusha. There is no image of the war. Main characters: Alexey Alekseevich Ivanov and his wife Lyubov Vasilievna. The plot - the father returns from the war. The frankness of his wife (stories about a hard life, about experiences, about loneliness, about Semyon Evseich) affected his pride. He leaves home, from children to a new, as it seems to him, carefree life. Son Petrusha and daughter Nastya created a revolution in the soul of the father

The problem of life and death is one of the central ones. Awareness of the connection between the living and the dead, people and animals, humanity and nature. His stories are the truth of life, the truth about a person. He showed how difficult the path of a person to himself. Accuracy of psychological details, turns of thought and feeling. Platonov went through a passion for technocracy and social utopianism and came to the idea of ​​integral knowledge. Platonov is a supporter of science, progress, but in combination with natural intuition and spirituality.

By the end of the 1920s. - 3 collections of prose. "Epiphany Gateways", "The Hidden Man", "The Origin of the Master". Satirical stories appear, and freedom is limited. Accused of ideological sins, hung the label of a kulak.

For Platonov, it was important to publish, and he tried to reorganize.

In the 1930s acts as a critic, reviewer, journalist. There are many stories about selfless people (“At the Dawn of Misty Youth”), about personalities. New lyrical prose about love, about the world of childhood ("The Potudan River", "The June Thunderstorm"). Little is published. The only collection is 1937, "The Potudan River". I could only write criticism.

During the war he was a correspondent, wrote essays and stories about the heroism of people. After the war - one of the best stories, "The Ivanov Family". The story is heavily criticized. Ermilov Platonov's slanderous story. After this article, Platonov is practically not printed.

In the 1940s-50s. acts as a storyteller ("The Magic Ring").

At this stage (lifetime) very little has reached the reader.

The second stage - in 1958 (Platonov died in 1951) a small book of stories appeared, which aroused great interest. Starts publishing quite often. Most posthumous publications.

Platonic boom – 1960s The second birth of the writer. It continues into the 1970s and 80s. A 3-volume collection of essays is published. Platonov again came to the reader deformed. "Pit", "Chevengur", "Juvenile Sea" have not yet been published. 1986- third birth. Major novels published.

Two stages - intravital and 1970-80s.

The special emotionality of prose.

Consider the uniqueness of Plato's phrase. "Language according to Lobachevsky".

MOSCOW ORDER OF LENIN, ORDER OF OCTOBER. STANDING AND ORDER OF LABOR RED ZSHSHI STATE UNIVERSITY them. M.V. LOMONOSOV

FACULTY OF PHILOLOGY

As a manuscript ROSSIUS ANDREYA ALEKSANDROVICH

PDATON: TRADITION "AND INNOVATION (On the issue of genre features of "critically" dialogues)

Value 10.02.14. "Classical Philology"

Moohwa - 1990

The work was carried out at the Department of Classical Philology of the Fyad Goethe Faculty of the Moscow State University

them. M.V. Lomonosov

Scientific adviser: Doctor of Philology

Professor I.M. Nakhov Official opponents: Doctor of Philosophy

Prof. V.V. Sokolov

Lead scientific institution

Leningrad State

university

The defense will take place "^>^^¿1990 at the meeting of the specialized Council D-053.05.53 on classical science at the Moscow State University named after I.V. Lomanov. Address: 117234, Moscow, Leninskie Gory, Moscow State University, 1-8 code of humanitarian faculties, philological faculty.

The dissertation can be found in the library of the philological faculty of Moscow State University.

Scientific Secretary /?

specialized Sovegy (l-L O / L- ■ Y.N.

The reviewed work is an attempt to find evidence that in the work of the ancient Greek philosopher Plato of Athens (428/427 - 348 BC) at the stage of the so-called "critical" dialogues, radical genre changes take place, a "critical" group (this term is most commonly used and the Anglo-American analytic school) includes the dialogues "Parmenvd", "Theaetetus", "Sophist" and "Politician". In modern Platonic studies, it is considered to be firmly established that these dialogues mark a radical change in Plato's philosophy: in knh it is sharply criticized and undergoes significant toyapfyakashv: the doctrine of ideas, which is key to all Platonic metaphysics. 1*Ontological, epistemological and logical problems of critical dialogues are intensively studied from a variety of points of view, as evidenced by a large number of public works. scientific papers received annually. At the same time, the artistic form of these works, their genre originality, remain largely unattended; as a rule, researchers limit themselves to only stating obvious facts - that the manner of presentation in critical dialogues begins to gravitate towards dogmatism; that the dispute of equal partners actually turns into a monologue of one of the mix, while the role of the others is reduced to the formal maintenance of the dialectical process V that Socrates, who was always in the lead in the dialogue, now either turns out to be a very young and inexperienced person ("Parmenides"), or gives way " Eleatic countries-HiKy" ("Sophist", "Politician")1. Such a lack of interest in the genre side of the issue is all the more strange because the fundamental indissolubility of the artistic and philosophical principles

e.g. Guthrie W.K.C. A History of Greek philcn-oph^. -V.5. - Cambridge, U70. - p. 52-33.

in the work of Plato - the universally recognized self is undeniable! fact, and, consequently, the disclosure and awareness of the genre features of critical dialogues is a necessary prerequisite for their historically and philosophically adequate understanding. These sobradangyakzh determine the relevance of the chosen topic.

The works of Shshton constitute the kruvyaigai prose corpus of the 1st century. BC." soedavtpyaysya on nrotyazenke more than 50 lats; Naturally, I also thought that I was the writer's spirit of the philosopher evolshioyakreval. To poets, speaking of trajsh. and innovation in Plato, two aspects should be distinguished: innovation in relation to the previous literary tradition and innovation in relation to the earlier stages of one's own work. Thus, the object of the proposed study was, along with the directly analyzed four works, 4-n, and dialogues of the previous period, didie necessary material for comparison, as well as "surviving fragments of dialogic writings. representatives of various Socratic schools.

The purpose of the work is to reveal, using the example of the dialogues taken for research, which determined the patterns of the genre developed creativity of Plato, and to reveal the interaction with the changing philosophical problems of the dialogues, huh?

The study involves the solution of the following JAVD;

Substantiate the allocation of critical dialogues into a compact group in terms of their genre-specificity;

Analyze the evidence of the manuscript tradition that gives grounds for such a distinction;

Find an explanation for the changes in Plato's dramatic technique during the critical period;

Demonstrate with specific examples of interchange

The study made it possible to thicken some of the cryptic dialogues in Plato's work, more fully otfpacossTs daoz^ new connections from the outside of the department courses l conducting spatssbmpcars according to Plato in the viseek educational plant factory. In zgom zavlachgugs-sya dainoy rsbohz, In it also there is a burden of gnterzorotshad laïcs syornnkh questions, kyl crisis of ideas in "Paraonzdo *, dae version of the teachings of Drohagoras in Tog-tete" to the problems of aztoprzdakaget ideas? the proposed solutions can be used as the basis for further research.

The theoretical significance of the work lies in the fact that it puts forward a concept: which made it possible to reconcile and harmonize, in the essential point, the later of such contradictory dominant trends in Platonic studies as the astork-phalologg * analytic, analytic and esoteric (tubgagop) erqjsî. This creates the preconditions for the unification, in the final haystack, of the efforts of representatives of all directions,

Agoobazya work. The material was analyzed by the documentary of the USSR Academy of Sciences (Moscow, 1987), at the Second Platonov Sulshoziums (Perudka, IS39), at the meetings of the new to papyrus finds at the Council for the Historian of Shrovo culture of the Academy of Sciences of the USSR, at the sekaka-rzhzh Center ps iau^kyaz grzadoyea aktk^nootk vrya Goroardsvs *: University (Washington) I on the voed data of the mfedri of claoesophical philology of Moscow State University pit. M.V. Lomonosov.

publications:.

The structure of the diassergedpsch. The dissertation consists of xs vbedzgpsh, two chapters to the conclusion. To rzygogo pklagaztsya sgpsoh csnooso-vagaoy l: lt; 5raturg.

S ^ a ^ iii "lJjüSSSi" Cccysjso "íBonaEas in sozra ^ g / asi htatoao-VODOSHI KZOGKy, KZrODKO BZai4SEOKYAGnaPTs2Kh yaodhodoz SL"Sh1GE NO-vZhodkkaM in LZMKHES." nogs called a&áopa. to hell sktu-gl & kovtk, oarshygaaka arzzheta, ioll, gada * to shtza vso & ddo-vaikya, give kj atgyai an analysis of the created situation to te% nstou "S.e-rubber factors that lead to se goakzkkozsgsh.

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5 which is OK ST<Ш;«ТЛ<.ОЬ - йбО БС»Э уС.^ЛПЯ на£тк OdfcSÜECnií»

to rgzrziegao npoTinwpS "ciw of the hypogokozspo case of the inner lago. tswra a nns?. ozgpsiz vkgzhga&daoy Tagdz

yeg pootlgda approach, ved "8yeg5 prvdeshi-

"ílfitsns Vci rita. / vrsn ScMete rancha g. - He rile" tteorg Ristr,

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whose founder E. Zeller (for the first time - 1844) did not inhabit in the csosi system of the philosopher Plato a place for such a significant concept as "Zahona", 2 beat zinuedek to consider it<яг&зльЕЭ» Ответом на тцатныа поиск строгой системы в шитозоввяоз аэ?ау~ се стал крайний скептицизм Лд.Грота (1865), чей ая&гш з bcesi-ном c42i"Q свелся к скрупулезному резгмировагото дгалогоз - которое, однако, воЕсе по тоадестзекао объяснению ех г.^"бзгнногз емкела. Сзсп Еэалой".отгорк-х^ь обялруззлз а поштпа педагогая фллологоэ. работ«вЕЗС в русле харазтараого дла Ecxopzorps-Js so-редины XIX з. гиперкритичесяого кадргялзтья (иапрну-ар, "¡.кот. 1817), уотракктл протпьорвч!х корпуса посредствен ьтотеза (т.е. празаакяй нвподиккостн) отдельна " ¡.©удойна" диалогов: уже сам набор исключенных еж про?.5&здеил$, оягатывяшгй почта боб наследие Платона, свидетельствует о бзссаил! кх г.:зто.ца.

The most durable and popular of the three approaches to Platok's study was the hecketcschsuga, zrzi bgografgchesgzy approach. His supporter (K.F.Ger/lyan, 1839; F.ZugeyEl, 1855-I3S0; U, fok-Vapamovats-iallendorf, 1919) kehodgshg from the esoteric assumption that the payment of the debt! the period of her passage was subjected to serious gzkeyavEEyy: sy £ dovat4 & ~ but, there are no contradictions in the corpus, "aase difficulties half-height otrgsht rzzk" etrly £ gyusofoko & öEorpaSsat Platova; cock at novo kag.ug<5а то ни бвдо свстеку, по крайшй керэ уровне диалогов, бессьагалегно. Такой катод легко ведет к крайностям: в самоа дел®, Платок генетических штэрпрэтаторов -вечно менялийся фнлоссф, "ein werdendern, обреченны! на бесконечный поиск. Для фнлософни ках таловой здесь не остается места. Теи ко менее, существуют веские аргументы в пользу того, что пржоЛргтк&з от слсхо.чгтнчностя в философском шш-

m*l is a specific feature of modern times, completely atypical for antiquity*; therefore, the genetic approach, at least, does not explain Plato's defining principle on vsv ksto-r::-? European f^tosoT "II.

An evilly large bias and narrowness characterizes the evolutionary-Schist direction (R. Robinson, 1953), which explained the contradictions of the Platonic corpus, the "immaturity" of the logic of Greek thinkers, as well as political (the followers of St. George) and psychoanalytic (G. Kelsen, 1933 ) reductionism.

The result of the difficult path of traditional Platonic studies was, for example, only the difficulties described by Yeshe, to a position that has been interlocking in the science of Platson since the middle of "And in. At present, it is necessary to single out three main schools i. their various combinations

The heir to traditional approaches is now the historical ^o-(-llological school (primarily G. Cherkns, 1935 and beyond), the salt of which, however, comes down to criticism of others "neuravel-H;:i, than to the construction of convincing models of Plato's work The analytic school (G. Zlastos, C. Kahn, etc.) occupies a relatively neutral position, refusing to claim to reconstruct Plato's philosophy in its entirety and limiting itself to a refined logical analysis of individual dialogues of yalv groups. in the works of the Tubngensklkh scientists K. Gaiser (1959, G963) and G.I. Kremer (1959, 1964) and supported by the authority of the philosopher G.-G. Schleiermacher" (i.e.

1 fehler G.. E«r s g, t mythologisierte Platon // Zeitschrift für:iiii 1 o. «.ophi*ch» Forschung. - bd. 19. - 1965. - S.393-420.

notion of the self-sufficiency of dialogues for understanding Plateau¡ii). to build their interpretation primarily on the indirect tradition, i.e. on the testimonies of Aristotle and on the records of other students of Plato, which did not come down to us, but left a mark on the writings of many later authors. Aristotle in "Physics" does mention the "written doctrine" of Plato, & cheers<ра. ■Sóyiitiis (Thxs. jC"rí ь 14); его изложение фвдософта Платона з I, ХШ и XIУ книгах "Метафизики" достаточно резко отличается от того, что на:,! известно из диалогов (например, учение об "одном" а "неопределенной двоице", об идеях-числах).

Comparing this information with Plato's repeatedly stated negative reference to written language as a means of conveying the true meaning (hmg. 274 b - 2?s e; kr. vii 341 b), gzote^kzd: ds-lavt the conclusion that ek possessed very city:? a strict philosophical system built around a central scientist about the "beginnings" (protvlogkya), which<эад«1гав&дйл от «& пу&эоишкп а вквшвкиа« виде, ограничиваясь устный изложением воввремя диспутов в Акаде-

There are many aesosos for criticism in protklnkkoe TS. Firstly. On what UNi follows the direct tradition (dialogues) to prefer written, but indirect? Secondly, why is it impossible to put into writing the theory of the first principles, which, according to ecoít arrogance, goes back to the early Pythagoreans and is well known to Neoplatonism? One thing to add to Mohko's objections is ese: the provisions of till are difficult to apply to the dialogues of the late period, Kotoi-ae are esoteric in themselves (the works studied in this work also belong to this) and contain elements of prostology (especially "Phile"). But the achievements of the esoteric interpretation are also evident.Today, it can be considered securely established.

All of the above leads us to the next conclusion. In the modern Platonic era, there has been a unity of opinion, while it is still poorly realized, regarding the fact that Plato's "early Socratic period" in his usual sense is a historiographic book; on this basis, the whole concept of the Platonic corpus must be reconsidered. We should also pay attention to one more circumstance, which is usually forgotten by both supporters and opponents of TS: did Plato possess a complete philosophical system from the very beginning and only hinted at it in dialogues, or did the dialogues adequately and fully reflect? development of his thought - in any case, as a writer, Plato could not avoid genre ebolg

What position will the works studied here occupy in this emerging new picture of the work of Plato and the Academy, what makes us see in them some kind of internal unity? The answer to these questions is devoted to the first chapter, "The Place of Critical Dialogues in the Works of Plato", in which the evidence provided by the Platonic corpus itself is consistently analyzed. its chronology, text history and genre history.

First of all, Shawl, apparently, consciously tried to give an indication of the relationship between the individual products of the critical group. In "Geotete" (183 e) and "Sophist" (217 s) Socrates mentions his old conversation with Parmenides; the same personnel take part in the "Sophist" as in the "Theatete", and the finale of the latter directly echoes the very first phrase of the former; "Politician" also begins with spicy references to the text of "The Sophist" etc. The only analogue of such a deliberate emphasis on the unity of several works in the Platonic corpus" is the group "State", "Timaeus", "Critius" ("Krttiy" continues

the conversation started in "Tlmey", but the meeting depicted in "Tiyee". takes place on the next day after the conversation described in "The State"). Mekdu in two groups can be found and other parallels. If a. relying on a clear stylistic, genre and philosopher, the heterogeneity of the 1st book of the "State" is stingy with the rest of the part * of this dialogue, considered separately, a clear scheme of the movement of argumentation in the group stands out: 1st book (aporetic dialogue, posing the problem of justice) - consistent solution of the problem on various models (the main part of the "State" is a utopian model; "Timaeus" - macro- and kikrokosugmskaya; "Krktiya" (and Termokrat?) - historical and mythological). Similarly, in the second group: "Parmenides" ( apothetical dialogue, apophatic posing of knowledge problems) - a consistent solution of a problem at various levels ("Teztet" - the level of sensory perception; "Sophist" and "Politician" - an intermediate level and methodological searches; "Ilosof" - comprehension of the highest truth (?)). Taken separately, the dialogues "Sophist" and "Podtok", as well as "Timei" and "Kryatiy", are parts of an unverified jumble: just as "Krktkvm" was supposed to follow "Terlokra t" (cri. mrz d), after "Politics" a "Philosopher" was planned (Sph. 217 c, 253 c; Vol. 2b1 c). The leading figure in these dialogues is no longer Socrates, but representatives of Western thought - the Pythagorean Timaeus Lokrsky and the Eleatic guest from The Sophist, in fact, devoid of bright individual features as characters. The very principle of dialogism is interpreted in these works in an introductory way: although the narration in the dialogues of the critical group is interspersed with replicas of the participants, it nonetheless resembles the monologism of "Tkyye" rather than the "conversation of different people" more typical of Plato*.

So sophisticated organization of the material and the abundance of deliberate! co-ownership, obviously, cannot be explained as something unplanned and accidental. The chronological data do not contradict this conclusion. Given the absence of any external historical evidence of critical dialogues (with the exception of the controversial, albeit possible, polemic with Aristotle, which was reflected in them), one has to rely primarily on castylometry when dating them. The starting point of stylometric investigations is the correspondence of Aristotle, who in the II book of the Politics (126Ab mentions that the "State" was written earlier, the check "Laws"; this fact is confirmed by the unanimous confidence of more recent authors that " Laws "is the last" work of Plato. Therefore, works that are stylistically close to the "Laws" should be attributed to a late period. Regarding the "Sophist" to "Politics", the data of the stalkometrics leave no doubt: both dialogues were written at about the same time , as "Laws" and "Guinea". In the case of "Parmenidoi" in "Theaetetus" the issue is complicated by possible revisions of both dialogues *. "Parmevdd" obviously consists of two heterogeneous parts; the existence of a different, than known to us, introduction to " Theaetetus," is attested by an anonymous pallius commentary. Nevertheless, the datings proposed by scientists of even directions that are far from each other, on the whole, almost coincide. So, H. Theslef, on the basis of historical and logical reasoning, gives the following sequence: immediately after the second Sicilian trip of Plato (367-366) - "Theaetetus"; shortly before the third trip (361-360) - "Parmenides"; c.355 - "Sofnst" to "Politician". A similar picture is painted by a recent computer study of the Platonic style by

J. Ledger1;<зк:36Э - "Парменид" я "Теэтот" ("Пармвняд" - несколько ранее); ок.349 - "Софист" и "Политик". Такш образов, . в обоих случаях констатируется "значительный разрыв во вреизгз -от 10 до 20 лет - мазду раннкми и поздзлмн произведениями группы; тот факт, что Платон уже в конце кизни счол нуаяш связать их в единое (хотя и фиктивное) целое, говорят о его вааерешст в "Софисте" и "Политике" дать, наконец, отзэт на вопросы, поставленные в "Паркениде" и "Теэтете". Во второй главе предлагав-, мой работы предпринимается попытка обнаругзть и протетерпрзтн-ровать один из этих ответов.

In the manuscripts of Platov's dialogue that have come down to us, they are grouped into tetralogy, uniting works close to the tewatzchvoha, but not chronologically. According to Diogenes Laertius (or, nr ?6> “the publisher of the corpus Platonist TrasilDum. in 36 AD) arranged them in this order, he believed that Plato, when publishing his works, was guided by the tetralogical productions of an ancient Attic tragedy - which, of course, is hardly plausible . Nevertheless, this grouping, like the earlier trilogic organization of the corpus, which distinguished the edition of the philologist Aristophanes of Vazayatga fx ni, retains traces of the original structure,

conceived by Plato and developed at the Academy. This is one of the following. In the manuscripts, each dialogue is prefaced with three headings: the first corresponds to the main action; to the face of the dialogue or (less often) to be defined?*? in it to the subject, the second - to its content, the third - to the method used in it. The first heading undoubtedly belongs to Plato himself, as evidenced by the fact that in the Politics the Sophist * in

*T^dger 6.R. ne-o.nm "on the plateau. L Computer Analysis of Plato "s Sfcjrl" "- cxffírrt" "Lpglpyop prese" 19 "" V ?. - p.22^-225.

the second title is often attributed to Trasial, based on the words of Diogenes Laertki (di III 57); btxTc and xp^-ccu. ta*« ¿i tríale and interpreting xp^v as "bbodng", "dredushzaz?". From the point of view of the semantics of the used verb, taloe is impossible, and the correct translation of the phrase would be: "He uses £already exist] double names". In all likelihood, the second headings arose and were used in the Academy, in internal communication between its members. It is no coincidence that Aristotle refers in Politics (1262 b ti) to Plato's "Pair" as ¿puTVKow kójai - "books about love". In view of what has been said, it is impossible not to draw attention to the fact that "Theaetetus", "Sophist" and "Politician" are included in the second tetralogy, then lie! as "Parmenides" opens a third. One can see in the atom the will of Plato so that "Parmecides" and "Teztetus" are read together with a unique (ie, unfinished) trilogy, the dialogues of which he gave in the title not the names of specific persons, & general concepts.

Already with a cursory glance at the Platonic corpus, it becomes noticeable that all dialogues are divided into two types - narrative, conveying a story about a particular place of conversation, and dramatic. . represent an open replica exchange. The first type includes many of the most artistically ssservoshshe-dialogues - "Charmides", "Eutydem", "Lysad", "Phaedo", "Protagoras", Per, to the second - most of Plato's works, including later ones. As a rule, this circumstance they did not attach much importance and did not see its possible consequences for the chronology of the corpus.Only H. Theslef in 1382 put forward an assumption about the primacy of the narrative form in relation to the dramatic one, changing our views on the entire history of Plato's work.

The tradition of narrative dialogue is deeply rooted in the history of Greek literature. Homer already conveys the speeches of his heroes in this way. This technique is also characteristic of early Ionian prozn, including Herodotus, from whom it was borrowed by other Greek © historians, starting with Thukadid. Alexamenos of Teos, who, according to the (not entirely reliable) testimony of Aristotle from Gg.72 t;oyae) was the initiator of the genre of Socratic dialogue, in any case came from Ionia, it is reasonable for poets to assume that his dialogues melte were "narrated". Dialogues that occurred in the protreptic speeches of the sophists ("Double speeches"; testimonies about the writings of the rotator) were also included in the narrative form. On the existence at the beginning of the 1U century. BC. dramatic dialogue "south we have schachyatmano bols meager - ozzdv-kiyamk. Direct dialogue was used in judicial eloquence Srsdnv-shis from the practice of written interrogation) and. in "refute-tvlnuG r9 part of the wofks (1x * tho1 Reading Platov's attitude to court speakers and paid teachers of wisdom, it is difficult to imagine that they could have a noticeable influence on him. The question of the relationship between the writings of Plato and other students of Socrates and Ssfron's mimes - small However, like poetic dramas, mimn were intended exclusively for staging on the stage, so the likelihood of their direct genetic connection with the works of Socratic schools is minimized; It seems that, except for Plato, the shorthands clearly preferred narrative dialogue, an impressive example of which is the work of Xenefont.

Noah in Athens, along with the Academy, schools and closely followed the activities of his rival throughout his life, in his speeches, treatises, he widely uses the narrated dialogue Plosg. XV rchg.^n, \"tt goo "Oh, but ne does not give a single example of a dramatic form.

All this brings us to the conclusion that Plato had nowhere to borrow the dramatic type of dialogue, and he was born precisely in the bowels of the Academy.

All Plato's works are written in the dramatic forle, which, on the basis of stylometry data, can be reliably attributed to the late period. The only exception is "Parmenides", the first part of which (up to 137 s), devoted to the criticism of the theory of ideas, is presented in a narrative manner, and the second is a direct conversation between Parmenides and Aristotle. It is natural to assume here the revision of the early version and the subsequent addition of a new part. Obviously, in the "big" dialogues, the dramatic forda indicates their belonging to a more or less late group. At the same time, most of the "early Socratic" works are just dramatic dialogues ("Lakhet", "Menexenus", "Alcibiades I", "Theag", "Hippias the Lesser", "Eutifron", etc.). To answer the doubts that arise here, we must turn to the problem of the genesis of dramatic dialogue.

It is likely that during the life of Socrates, his students kept records of his conversations. Of course, these notes literally reproduced questions and answers, without pretending to literary processing. However, these summaries could not give birth to a new dialogic genre, since in the absence of regular support and discussion, nothing pushed them to further evolution. Of such kind

notes, apparently, formed the basis of the Socratic writings of Xenophon. Only with the creation of the Academy, the situation changes radically. The academic practice of dialectical disputes was a powerful incentive for the written consolidation of the discussed problems and their subsequent recitation; the dialogues that were born in this way can hardly be attributed to the sole authorship of Plato, rather they should be considered the fruit of the collective creativity of the Academy. They were not originally intended but for distribution beyond its borders: even having received them in their hands, an uninitiated reader could not understand them, since in ancient papyri there were no designations of characters in the margins (in a similar way, the reading of poetic tragedies and comedies was the lot of those few who prepared them for staging). Only gradually does the dramatic dialogue begin to make its way to publication. It is precisely this that explains the declarative rejection of the narrative forla at the beginning of Theaetetus (143 s), and not the reworking of the early dialogue_into_drama, as was supposed.

Thus, we gain ground for explaining the multilayeredness and sophistication of "Socratic" dialogues, discovered by the latest research - these are school multifunctional texts, each of which has come a long way of evolution in the pedagogical school of the Academy.

The decisive stage in this development - the exit of the dramatic diaal: -ha from the walls of the school - falls on the works of the critical period. Is it a coincidence that it is here that we also encounter a ¡a-dkkalyshm turn in Plato's philosophical thought? An attempt to answer this question with several specific examples is presented in the chapter of the dissertation "Genre Features of Critical Dialogues",

The Parmenides dialogue begins with oenon's arguments in support of Parmenides' thesis "all is one". Zeno operates by the method of argumentation from the contrary: if He existed many things, would the same things have opposite properties, for example, similarity and dissimilarity, which is impossible (V / - !.\

he appears only in the introductory phrases, and the villainous guest becomes the main* action. Finally, in "Polntkpe" s the roles of the listener and the one who is being taught, having found out a certain "quaddai Socrates" - in all vadamasti, a historical person, mentioned by Pdatons in Letter XI (358 a). However, considering the traditional role of Socrates in the entire Platonic corpus, the fact that such a hero was named cannot be considered anything but important. Here we can recall the old theories, which were similar to the Athenian ee "Laws" with Plato himself. It is not excluded that he hides his face under the mask of an Eleatic guest to Tszsm YaokrsAogo "Socrates se is deliberately relegated to the background, Eoa&ozvo, that all these changes testify to the growing respect ~ 2 & authority of the old Plato" Academy.

■ Changes in the course of thought, of a more particular order. The payment of the short period also tends to be associated with a certain person-say. In the dialogue "Theztetus", r&skatrivayushchivayuschu problems znangl a krktkyuschb « aofioywœatsnâeRse creative, Socrates susssraef dgo prororochaschenne to each other will explode the teachings of Protagoras. In brief veyaezz&ii zzimozyao ofor^yanreyaya» tel. I, (162 & "o) Chd^ztE-but Boovrknimaemoy object ooderiit - in sebz all svsZotaa, miz p?rnkpest£kn" s ïcî4 "gyazdz a vrotezopezhyisha.

2. (I5S a - 157 o) Sbgyt ev itself contains no potvida, otsushchenn® rzadzuatsya ka prp coktedtz o rerazpaentsa. Which of the 8th theory cuts off the views of the historical Protagsra? s chvashta" tmgyat upejmn-

you are in her favor with Aristotle. In IX shshge "Iatafaakkk" (104? * s)

Aristotle, criticizing the views of the Yegar school, says that the Megarians, like Protagoras, utvvryadapt,. that there is no tact that would not be realized, therefore, ait^-xW ciC-s*» Iotov uh oriaSctvo^TOv. Tatra understands the verb Stnnv cially, and oígCtitSv as judgmental, therefore, his aoto-bath of this phrase is mine and to express taya: "whatever you perceive will not exist, with" from his willow bossraai*lzya at the moment. However, it would be right to send it as an ordinary linking verb, and “¿cCt¡t6v as an adjective with a pre-dacative load. Then w we get sgyaylsl: "no odzsh praddzt not Sudeten - sensually vosprknzaaeksh [go, eee is accurate", "sssgb-shsh to ensure that th th chuvstaakko vospEngyyalaiZ, the ox th ga.zo ask at the moment. " As a matter of fact, ipnatoíscs instructs fiercely on the coincidence of yomant raalzbzdgz kot-esri! from the moment of sensory perception, and not on the absence of patzntsk!, zav such. Why, then, did Socrates half-dobyalszl srzkse- [get Protagoras where and who that shkxdo ko vnsgiayazaya? Otgeg, ^DRIZTOJA, follows JtORJTS IN ANOTHER DYLOG in late ESPZZES -. "Phaedre". Socrates, having delivered a speech in love with love, psshz-tnvaet naitz daimonkon, this makes him suffocate

recall the famous song, "vadino®" by the poet Steoa-hor, This unexpected turn of thought gave Socrates an occasion to turn to the story of the three ways of the militant bezukyal a. Something similar is being done in "Teetetv". zlogn in the first faith® the theory of Crsshk^a, Socrates, like me in the "Phaedra", suddenly opposes yes * "» kind of "revealed" that he attributed to Protagoras ayushkem lresz & in I are unworthy8 of his views, and begins to expound the second sspjajj

in the form of some kind of "secret doctrine". The essence of this new scientist is the introduction of the category of becoming; in the same way as in "Phaedra", Smfat, complicating the course of his chaos, refers to the authority of the poets (152 e). Thus, all this "palzkodal" in "Twete ​​kuayaa" in order to move to a new level of consideration of the problem of knowledge.

Conclusion. Critical dialogues are the real front in all of Plato's work: they express the second, which was hitherto hidden behind the walls of the Academy - its school practice, lively disputes and doubts even in the very foundations of its philosophy. It's hard to say that the balo was determined here - did the radical iziekokvya &anra lead to a new formulation of the philosophic problems of gtsgedelnoe sstrz? sZ, on the contrary. In any case, I cgl & yau krltncheshoge nerzolza gakr lrezh "sh ^ coazgo dialogue, originally vyautrshkigky2, -avaral vaotodiao" was ready to be born, that he was in no £aazdash£ sdo22?

The controversy of Isocrates with the Academy of Plato//VeotshE» Drevke! Stories. - 1987, - „42. - P.93-102.

A new fragment of Protagoras: the possibilities of kntershktshchshv//./ Tenth author's and reader's conference "Vvstnyue DrovpoYA, ^ Kstorsh" of the Academy of Sciences of the USSR: Proceedings. report - Y., IS87. * S.73-75.

Section "Philosophy * // Methodology of the Methodology of Yagtch" kzh * lv-pgch culture: cultures of "Claosic Greece in foreign studies, - P .: SHSH AN USSR, IS88. - P. 741."

The necessity of independent? rld "no" la consideration of the objects of plato "a polttaica ia tba Phaedrug // II S7" po-aiua Platonicuo: TBE. DOKL. - Peruaia, 1989. - P.350. - In English. lang.

mmsh- "i yattwbiwimi imaginary" pishkyaiag

OtpzchvGEN* on the ret.G VC RPO

The writing

In 1926, Andrey Platonovich Platonov wrote the satirical story "The City of Gradov". This story was written in less than three weeks, under the influence of Tambov impressions: in Tambov, Platonov was sent to work in the melioration department of the provincial land administration. “Wandering through the backwoods, I saw such sad things that I did not believe that luxurious Moscow, art and prose, existed somewhere,” Platonov wrote. “But it seems to me that real art, real thought can only be born in such a remote place.”

Later, the story received a new edition. Unfortunately, this work is less well known than, for example, The Pit and Chevengur, written much later. This was largely due to the fact that Platonov came to his reader not so long ago, his readership was just formed. Now his work is of great interest, as well as the works of other writers, inaccessible to the general reader due to the strict ideological control over literature in the Soviet era. Soviet critics considered Andrey Platonov's satire an inappropriate, harmful literary phenomenon. Even Platonov himself doubted his satirical abilities. But Maxim Gorky, who appreciated his work, said that he would have succeeded in a comedy, which undoubtedly speaks of the writer's special satirical talent.

The writer discovers new opportunities in the genre of satire, talking about the creation of a new society, about the life of people during the revolution. The name itself is reminiscent of the city of Foolov from the "History of a City" by M.E. Saltykov-Shchedrin. “The people in the city existed without haste and did not worry about a supposedly better life. He served with zeal, keeping order in the province, but did not know fury in labor. They traded little by little, without risk, but firmly selling their daily bread. The city had no heroes, meekly and unanimously adopting resolutions on world issues. Or maybe there were heroes in Gradovo, only they were translated by exact legality and proper measures, ”Platonov tells us. This is a satire on the topic of the day, ridiculing the bureaucracy.

Ivan Shmakov, a Moscow official, comes to Gradov to work. He reveals a bunch of official violations, but gradually becomes rigid and gets used to everything that happens in the city. And in it, even technicians who do not know everything about Karl Marx are not hired. But the drought caused famine, so the wells were asked to be made by soldiers and self-taught, but the technicians were never hired. As a result, six hundred dams they built were washed away, and four hundred wells stood dry. On the other hand, with the money allocated to fight the drought, “eight more gliders for the postal service and transportation of hay and one perpetual motion machine operating with soaked sand” were arbitrarily built. “The people here lived stupid,” the author sums up.

The bureaucrats consider themselves true workers and think that without their papers and the institutions where they work, the Soviet government will not be able to exist. Bureaucracy for them is a symbol of invincible power. They are thinking about the reorganization of society, drawing up a 25-year long-term plan for the national economy in two days. Shmakov creates a huge and important work - "Notes of a statesman". It affirms the need for the existence of the bureaucracy as the basis for the construction of the Soviet state, emphasizes its merits before the revolution. Paper, according to the hero, is a product of the highest civilization.

But suddenly the Gradovskaya province is abolished. The head of the administrative and financial department, Bormotov, wants to create "an autonomous national republic, because five hundred Tatars and about a hundred Jews lived in the province" just for the sake of "preserving continuity in office work." But the bureaucrats are being transferred to other places, Shmakov now works as a commissioner for dirt roads and habitually writes: the next step is “social-philosophical work” with a tricky tricky title “Principles of depersonalization of a person in order to regenerate him into an absolute citizen with legally ordered actions for every moment of being” .

Platonov continues the tradition of Saltykov-Shchedrin as a political satirist. Just like in the fairy tales of M. Saltykov-Shchedrin, the story is about society at a certain stage of change. The author denounces the vices of this society and its imperfection, speaking about the life of the state as a whole, and not about individual phenomena. The theme of bureaucracy in Platonov is in the foreground of the narrative, in the second - the study of the nature of the state. Using irony, satire and grotesque, combining everyday life and fantasy, the author warns about the danger of distorting the idea of ​​socialism, exaggerating its features in Shchedrin's way, revealing its true essence. His heroes are the same products of the era. The writer pushes the reader to the disappointing conclusion that the Russian state cannot exist without bureaucracy. We, modern readers, are seeing confirmation of this even now. Of course, no censorship could miss it in print.

Platonov's critics-discoverers - L. Shubin, S. Bocharov, E. Tolstaya-Segal - speak of the paradoxical combination of lyrics and satire in the writer's work and the extreme polyphony of the narrative, where "the narrator agrees with any point of view in general." Platonov uses Sovietisms, posters, slogans, newspaper clichés, clericalisms, barbarisms, “clumsiness” of speech, and even Church Slavonicisms, creating his own unique style of narration. The very name of the story is tautological, it turns out the city of Cities. This is a symbolic image of a state that divides and destroys, where people's freedom is minimal. Platonov is outraged by bureaucracy, flagrant mismanagement, window dressing, and the abstraction of the general state idea from practical life. Platonov is convinced of the dehumanization of society by the state, and this determines the pathos of his next works.