“The novel “Chevengur” is the only completed novel in Platonov’s work. An essay based on Platonov’s story “Chevengur The News of Sophia’s Fate”

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Yun Yun Sun. Forms of expression of the author's position in the prose of A. P. Platonov: 01.10.01 Yun Yun Sun Forms of expression of the author's position in the prose of A. P. Platonov (On the material of the novel "Chevengur"): Dis. ...cand. Philol. Sciences: 10.01.01 Moscow, 2005 166 p. RSL OD, 61:05-10/1131

1. Features of narration and speech characteristics in the novel “Chevengur”: monologue in the form of dialogue 51

1-1. The word as the dominant feature of A.P.’s works Platonova 54

1-2. Point of view and its bearers 62

2. The system of characters as one of the ways to express the author’s position 75

2-1. The phenomenon of duality in the character system 78

Chapter III. Plot and compositional organization of the novel “Chevengur” as an extra-subjective form of expression of the author’s position 100

1. The novel “Chevengur”: from myth to reality, or “both this way and back” 100

1-1. Plato's “little trilogy” 103

1-2. Crossing the border: the principle of establishing a chronotope 116

2. The idea of a novel and the “novel idea” 126

Conclusion 132

List of used literature 143

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, Andrei Platonovich Platonov occupies a special place. His work is dedicated to revealing the “crushing universal secret” - the mystery of life and death, the very “substance of existence.” A.P. Platonov “perceived the revolution not only politically, but also philosophically - as a manifestation of a universal movement, as the most important step to the transformation of the world and man" 1. V.V. Vasiliev, characterizing the artist’s work, saw in his works not only a depiction of the tragic fate of the people in the revolutionary era, but also “the painful worldview drama of the artist himself, deeply hidden in the comically foolish style.”

In the second half of the 20s last century 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 legacy of A.P. Platonova 3. In the novel “Chevengur” the features of the style and artistic thinking of A.P. are most clearly manifested. Platonov. It is not for nothing that researchers call this work “precious crystal” (SP Semenov), “creative laboratory” (V.Yu. Vyugin), “artistic result” (E.G.

1 Trubima L.A. Russian literature of the 20th century. M., 2002. P. 199.

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

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

Muschenko) of the writer’s creativity.

The fate of the novel “Chevengur” was dramatic. As is known, “Chevengur” was not published during the writer’s lifetime. The novel became known in its entirety to a wide range of readers in Russia in the second half of the 1980s. Until this time, only in the early 70s were some fragments and excerpts from the novel published.

Readers in the West became acquainted with this work earlier than in the writer’s homeland. 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.’s fame began 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 Russia 5.

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, records, and 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, L.A. Shubin in the article “Andrei Platonov”, which appeared in 1967 in the magazine “ New world", highlights the work of A.P. Platonov, based on specific texts, including those that were not

4 As is known, during the writer’s lifetime some fragments of the novel were published.
For example, "The Origin of the Master"; "Adventure"; "The Death of Kopenkin." However, when
all the efforts of A.P. Platonov (for example, an appeal to A.M. Gorky), the entire novel is not
came out. In the 1970s, one of the
final episodes entitled “The Death of Kopenkin”, in the same year another
one excerpt from the novel “Journey with an Open Heart” in Literaturnaya Gazeta
(1971. Oct. 6).

5 In 1988, “Chevengur” was published in the magazine “Friendship of Peoples” (No. 3, 4). IN
the same year full text The novel was published as a separate edition (with an introduction, art. S.G.

known to the reader of that time, from early publications to critical notes writer. In addition to already published works (stories), L.A. Shubin often mentions the novel “Chevengur”. In this article, the scientist asks the question: “whether the social consciousness, filling in the gaps and omissions of its knowledge, will be able to perceive this new organically and holistically, as “a chapter between chapters, as an event between events”” 6. It is thanks to the work of L.A. Shubin, a large gap in the history of Russian literature began to be filled. The article “Andrei Platonov” marked the beginning of the “real study” of A.P. Platonov, in particular, to the study of the novel “Chevengur”.

Following L.A. Shubin in the 70s, many researchers both in Russia and abroad began to actively study the novel “Chevengur”. Researchers considered the novel in the most different 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 connection with the political situation, philosophical and natural science theories, etc.), the second - at studying the poetics of the writer.

At the initial stage, researchers gave preference to the first approach, that is, the study of A.P.’s creativity. Platonov in the context of the socio-political situation of the 20s. Particular attention was paid to the writer’s philosophical system and the influence of various Russian and foreign philosophers on its formation. Many in the novel “Chevengur” (not only in the novel, but also in the artistic system of A.P. Platonov in general) noted the influence of “Philosophy of a Common Cause” by 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 the construction of a “common home” and so on. This trend

Semenova). Shubin L.A. Searches for the meaning of separate and common existence. M., 1987. P. 188.

was especially relevant from the early 70s to the mid-80s. The ideological and philosophical context of the writer is studied in the works of N.V. Kornienko, Sh. Lyubushkina, N.M. Malygina, S.G. Semenova, A. Teski, E. Tolstoy-Segal, V.A. Chalmaeva and others.

Shifting the focus to the study of the poetics of the novel “Chevengur”
observed relatively later, most likely after the publication of the novel in
Russia. Researchers in this area can be divided into two
groups: the first was interested mainly in thematic
aspects of A.P.’s creativity Platonov; the second was attracted by the problem
the unique form of his works. The first group includes
researchers interested in aesthetic problems,

thematic, mythopoetic, anthropological; to the second - considering, first of all, the problems of linguistic features, narrative, point of view, structure and architectonics of the work. Despite the fact that these two groups of researchers had different starting positions, they had one common goal: to reveal and illuminate 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. appeared in Russia. Vasiliev “Andrei Platonov: an essay on life and work”, a monograph by M.Ya. was published in Paris. Geller "Andrei Platonov in search of happiness." V.V. Vasiliev analyzes the “secret” utopian ideal of A.P. Platonov, shows the development of the writer, based on facts from his biography, and the scientist also reveals some characteristic features of the artist’s poetics. As the titles of the chapters show (“Platonov vs. Platonov,” “Projects and Reality”), the scientist noticed the initial

contradiction and conflict in the artistic concept 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 creativity, V.V. Vasiliev believes A.P. Platonov "the true heir and continuer of the Russian tradition

literature".

M.Ya. Heller in chapters entitled "Faith"; "Doubt"; "The temptation of utopia"; “Total collectivization”; "Happiness or Freedom"; “The New Socialist Man”, which show the change in the writer’s attitude towards his time and ideal, outlines the literary route of A.P. Platonov from a young communist and aspiring writer to a mature master. The scientist showed particular interest in the novel “Chevengur”. Attributing the novel “Chevengur” to the menippea genre, M.Ya. Geller first defines it as an “adventure novel,” for which the “adventure of ideas” is important 9 . 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 scholars unanimously call him “the most philosophical” (V. Chalmaev), “the most metaphysical” (S.G. Semenova) writer in Russian literature of the 20th century. V.V. Agenosov considers “Chevengur” “one of the pinnacles of the Soviet

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

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

Geller M. Ya. Andrei Platonov in search of happiness. Paris, 1982 (M., 1999). P. 188.

philosophical novel" and rightly writes about the polyphonism characteristic of the novel: "if this idea" (utopian) was "the main and only one", then "Platonov would not need to write "Chevengur", it would be enough to create "Pit" 11. 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 classifies the novel as a meta-utopia (the term of G.S. Morson) 14. Dutch researcher T. Langerak also considers the ambivalence of the novel distinctive feature poetics A.P. Platonov. According to the scientist, A.P.’s ambivalence Platonov manifests itself not only at the structural level, but also “permeates all levels of “Chevengur”” 15.

Traditionally, many researchers resort to the mythopoetic approach, focusing on special attention“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 writer’s poetics. The mythopoetic approach received multifaceted development in the works of N.G. Poltavtseva, M.A. Dmitrovskaya, Yu.G. Pastushenko, X. Gunther and others.

0 Agenosov V.V. Soviet philosophical novel. M. 1989. P. 144. 11 Ibid. P. 127.

Yablokov E. A. Hopeless sky (introduction, article) // Platonov A. Chevengur. M., 1991. P.8.

Seifrid T. Andrei Platonov - Uncertainties of sprit. Cambridge University Press, 1992. 14 Ibid. C 131.

Langerak T. Andrei Platonov: Materials for a biography of 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 the work of A.P. Platonov |6. 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 this as the difficulty of determining the author’s position.

Thanks to the efforts of scientists during these years, many of the writer’s texts were reconstructed and published. Dissertation studies have appeared that examine the poetics of A.P.’s works. Platonov from different points of view: mythopoetic (V.A. Kolotaev, Ya.V. Soldatkina); linguistic (M.A. Dmitrovskaya, T.B. Radbil); anthropological (K.A. Barsht, O. Moroz), etc. At the same time, serious attempts were made to provide a textual analysis of the novel “Chevengur”. In the dissertation of V.Yu. Vyugin’s textual analysis is combined with the study of the creative history of the novel “Chevengur” |7. Comparing the novel in various aspects with its first version, “The Builders of the Country,” the researcher notes the imagery and conciseness of the form and content of “Chevengur” in comparison with its previous version. Among the works on “Chevengur”, the monograph by E.A. deserves special attention. Yablokov, where materials related 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, are regularly held

16 Kornienko N.V. History of the text 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, IRLSH Pushkin House) RAS, St. Petersburg, 1991; also see: Vyugin V.Yu.
From observations on the manuscript of the novel Chevengur // TAP 1. St. Petersburg, 1995; Story by A.
Platonov “Builders of the Country”. Towards the reconstruction of the work // From creative
heritage of Russian writers of the 20th century. St. Petersburg, 1995.

conferences dedicated to the work of A.P. Platonov, as a result of which the collections “The Land of Philosophers of Andrei Platonov” (issues 1-5) were published; “The Work of Andrei Platonov” (issue 1.2), etc. In particular, the conference held at IMLI in 2004 was entirely devoted to the novel “Chevengur”. This shows the continued interest of researchers in this novel, which can unconditionally be considered one of the highest artistic achievements of A.P. Platonov.

However, despite the attention of literary scholars to the work of A.P. Platonov, many questions still remain unresolved. Firstly, although in recent years Plato scholars have been actively engaged in textual studies, there is still no canonical text of the novel “Chevengur”. Therefore, when studying a work, one must keep in mind that there are different options text 19. Secondly, the opinions of researchers regarding the interpretation of the author’s position, individual episodes, even phrases of the work often differ. For these reasons, coverage of the author’s position in the works of A.P. Platonov deserves special attention and special research. Thus, with all the literary interest in the novel “Chevengur”, the problem of the author’s position is still one of the most controversial. Understanding this problem opens up new perspectives for understanding a number of fundamental issues in the poetics of A.P. Platonov, in particular, when studying the so-called chain of novel works of the writer

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

19 In this regard, the literary fate of “The Pit” turned out to be happier than
"Chevengura". In 2000, an academic edition of the story was published,
prepared by employees of IRLI (Pushkin House). Below are all links to
the main text of the story “The Pit” is given according to this edition, indicating the pages in
in parentheses. Platonov A. Pit, St. Petersburg, Nauka, 2000; If we are talking about
“Chevengure”, then there are two more or less “mass publications”: 1) Platonov A.P.
Chevengur. M: Fiction, 1988. 2) Platonov A.P. Chevengur. M.:
Higher School, 1991. Between these publications there are almost no textual
discrepancies. Further, all links to the main text of the novel “Chevengur” are given according to
second edition with page numbers in parentheses.

(“Chevengur”, “Pit pit”, “Happy Moscow”), which are a trilogy of the “utopian project” of A.P. Platonov.

Thus, 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 knowledge of A.P.’s work. Platonov in this theoretical aspect.

The main material of the study served as the novel "Chevengur". The dissertation compares the novel “Chevengur” with the story “The 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.

Scientific novelty of the research is due to the fact that the text of the novel “Chevengur” is analyzed for the first time as an artistic whole in a selected theoretical aspect. The dissertation syncretically examines subjective and extra-subjective forms of expression of the author's position and comprehends their relationship with the author's philosophical and aesthetic position. The works under study (“Chevengur”, “The pit”, “Happy Moscow”) are considered for the first time as a novel trilogy.

Purpose of the dissertation - reveal the features of the poetics of A.P. Platonov through the study of the specific forms of artistic embodiment of the writer’s ideals 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 make a terminological distinction between the concepts of “author”, “image of the author”, “author’s position”, “point of view”;

Conventionally, we will attribute three works by A.P. Platonov (“Chevengur”, “The Pit”, “Happy Moscow”) to the novel genre.

work.

2. Analyze the novel “Chevengur” in selected theoretical
aspect, based on the relationship between subjective and extra-subjective forms
expressions of the author's position. To do this:

consider the forms of narration in the novel “Chevengur”;

reveal ways of expressing different “points of view” in the novel;

characterize the system of characters, paying special attention to the phenomenon of “doubleness” as a form of identifying the author’s position, as well as the use of dialogic relationships in the work;

Study the plot and compositional structure of the novel as a “small trilogy”, consider the features of the chronotope of the work.

3. consider 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.

Methodology and specific research methodology determined by the theoretical aspect and specific research material. Methodological basis works consist of works of Russian and foreign scientists on the problems of the author and hero (M.M. Bakhtin, V.V. Vinogradov, V.V. Kozhinov, B.O. Korman, Yu.M. Lotman, N.D. Tamarchenko, etc. .), style, narrative, correlation of points of view (N. Kozhevnikova, J. Gennet, 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. Platonova (V.V. Agenosova, JV Bocharov, V.Yu. Vyugina, 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, etc.

The work uses comparative historical and genetic

methods that allow us 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 author’s position in the text.

Practical significance of the dissertation 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 conducting classes on the history of Russian literature of the 20th century and the work of A.P. Platonov at university and school.

Approbation. The main provisions of the study were discussed at
postgraduate seminar of the department of Russian literature of the 20th century. MPGU,
tested in presentations at two international conferences
(“The legacy of V.V. Kozhinov and current problems of criticism,
literary criticism, history of philosophy" (Armavir, 2002), "VI
International scientific conference dedicated to the 105th anniversary of
birth of A.P. Platonov" (Moscow, 2004)) and at the interuniversity
conference (“IX Sheshukov Readings” (2004)). Basic provisions
dissertations are presented in four publications. *

Dissertation structure determined by the purpose of the study and the assigned tasks. 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 bibliography includes 230 titles.

The problem of the author and the author's position in modern literary criticism

In antiquity and the Middle Ages, the author played the role of only “a medium, an intermediary connecting the impersonal creative force with the audience.” According to Yu.M. Lotman, before the era of romanticism, especially in the Middle Ages, each culture created in its model a type of person, “whose behavior is completely predetermined by a system of cultural codes,” and the author simply needed to summarize “ general rules behavior ideally embodied in the actions of a certain person,”2 which has its own biography. If the author fulfilled his role as a chronicler well, then, in principle, it did not matter what personality or position the author of this work had, the main thing is that he neutrally and objectively described in his work the general life ideal of that society. Thus, until the 17th-18th centuries. the author’s creative personality “was limited” and “shackled by the requirements (norms, canons) of already established genres and styles.”3 The author had a universal and “common face”; in his work he was present in a hidden and forgotten form, yielding his subjectivity to the canon of the society of that time.

German classical rationalism also emphasized the power of abstract truth over the subject. In Hegel’s “Aesthetics,” one of the most important theses is the coincidence of the author’s personality, i.e., subjectivity, with “true objectivity” in the depiction of the subject. Hegel substantiates the idea of the unity of objective and subjective principles work of art, therefore, the problem of the author in Hegel does not know a contradiction.

The flourishing of romanticism, the essence of which lies in the full disclosure of the unique uniqueness of the subject and the endless emphasis on its role, forced the disruption of the long “unequal balance” between the subject and the object, that is, the author and the object he depicts. In the poetics of romanticism, creativity “is perceived as the embodiment of the “spirit of authorship””5. Now, in the space of the work, the main and only aesthetic event becomes the “self-realization of the author,” as a result of which the work of art takes on the character of a monologue or confession of one subject. So, the emergence of romanticism and sentimentalism radically changed the idea of the role of the author in literature. The work began to be perceived as the realization of individual creative power.

With the development of realism in the 19th century. the problem of the author as a subject has entered a new stage. The goal of a realistic work is a complete reproduction of the life and reality of modern times, in contrast to romanticism or sentimentalism, the center of which is the extreme expansion of the personal principle. The diversity of life depicted did not allow the author to delve into his own experience and stay there. In this complex and confusing world of a realistic work, the author-subject could not find a suitable place for himself; the author “with his voice and position was somehow lost”6. Therefore, the dominant feature of the work is not the author’s genius, not his personal origin, but the generality, abstractness and life-likeness of the work itself. This is where the non-authorial, purely objective nature of realistic literature lies. But on the other hand, any work of art is the creation of the author, as a result of which it is inevitably connected in one way or another with the personality of the author. Thus, the author’s principle recedes into the background, and the author’s problem as a literary one takes on a new (more precisely, modern) sound in a more complex semiotic sense.

Against this historical background, the question is raised about the “presence” of the author in the work or, conversely, his “disappearance” from the work: the idea of “immanent” authorship arises, “i.e. e. the possibility and necessity of reader and research reconstruction of the “organizing artistic will” from the composition and structure of the aesthetic reality created by it”7. This means that there is a need to clarify the difference between a real and an abstract author (the image of the author or other subjects), i.e. disguised by the real author in the image and by the author as historical figure. Thus, at the beginning of the 20th century, the problem of the author (and hero) again becomes relevant. This is closely related to the epochal crisis problems of our time, which are reflected in all areas of science and culture. The intelligentsia was faced with the fundamental problem for the philosophy of the 20th century of “man” as a “subject”, the problem of alienation and dehumanization of man as an individual. Against such a dramatic historical background, interest arises in the author's principle, which is perceived as an omnipotent and creating being, at least in the artistic world.

In Russian literary criticism, interest in the problem of authorship developed intensively in the 20s of the last century. The revolution destroyed the existing social system and forced us to re-address the problem of man as the only being who independently acts and is responsible to History. The role of the author and character in literary works also changes. People are “thrown out of their biographies”; the individual as the main character of the plot seems to have disappeared. In this regard, the hero as a subject loses his meaning in the space of the work, and the role of the author is also weakened.

The category “image of the author”, which, unlike the real author, is present in the work as “normative linguistic consciousness”, was first introduced into literary criticism by V.V. Vinogradov. Based on the well-known system of F. Saussure “language - speech (langue - parole)”, which assumes that each speech reflects the general structure of the language, V.V. Vinogradov argues that “in each individual creativity, the general properties and processes of linguistic development are revealed more fully and sharply”9. Therefore, all fiction, according to Vinogradov, is a normative linguistic microcosm, reflecting the general essence of the development of the normative linguistic macrocosm of a given era. In this macrocosm (i.e. in a common language) there is a common normative linguistic consciousness that prevails over each speaker. Language fiction how the “microcosm of the macrocosm of the common language” must have this kind of linguistic “normative consciousness” so that it is more static and more abstract than the random speaking subject of a given work (the real author). The bearer of this consciousness does not have the subjective ideas and experiences of the speaker.

Forms of embodiment of the author’s position: subjective and extra-subjective

In fiction, especially in prose, except for an autobiographical work (often also in it), the author cannot be directly in the text. The essence of the author is determined by his “extra-locality”, as a result of which he is always “mediated” in the text - by subjective or extra-subjective forms. As for the forms of the author’s presence in the work, they are very diverse. The main “depicting” subjective forms of expressing the author’s position in a prose work are the “image of the author”, the narrator, the narrator, or, using the terms of modern Western (especially German) literary criticism, the “implicit author”, narrator 29, etc. With these different “expressors” forms are closely related to the problem of point of view (B.A. Uspensky), the words “one's own and someone else's” (M.M. Bakhtin), that is, the problem of narration and style.

“Image of the author”, “narrator”, “storyteller” - literary scholars still interpret these terms ambiguously, sometimes even contradictorily. Often the very concept of “author” is confused with these concepts. For example, B.O. Corman “author” is a subject (carrier) of consciousness, “the expression of which is the entire work or their totality” 30. The main position of the researcher is formulated as follows: “the subject of consciousness is closer to the author than in to a large extent it is dissolved in the text and unnoticed in it.” Here the limits between the real author and the other “subjects of consciousness” are not clearly demarcated. According to B.O. Corman, “as the subject becomes an object of consciousness, he moves away from the author” (but in our opinion, he moves away only in the external plane). In other words, according to B.O. Corman, “the more the subject of consciousness becomes a certain personality with his own special way of speech, character, biography, the less he expresses the author’s position”32. As we can see, one is allowed here important point in terms of “aesthetic distance”: here only external distance and dissimilarity between the author and other subjects of consciousness are meant. The author's artistic intention, or its intentional “out-of-placeness,” as it seems to us, is not taken into account.

The concept of “image of the author,” which was introduced into literary criticism by V.V. Vinogradov, different scientists put different content into it. Thus, the interpretation of M.M. Bakhtin can be applied not only to fiction. “The image of the author” is one of the forms of existence of the author in his creation, but “unlike the real author, the image of the author created by him is deprived of direct participation in the real dialogue (He can participate in it only through the whole work), but he can participate in the plot of the work and perform in the depicted dialogue with the characters” (emphasis added). Here the secondary nature of this image and its difference from the real author are emphasized. This means that there is a certain hierarchical system: “the author is real,” who cannot express direct speech and cannot exist as an image; “author image” created by the primary author. This image can be located in the space of the work; it is freer and more mobile than the real author; the “hero” created by the author as real can deal with the image of the author. The desire of the “primary, formal author” to “intervene in the conversation of the characters” and to contact the depicted world “makes it possible for the author’s image to appear in the image field”34.

In contrast to the concept of "author image", the terms "narrator" and "narrator" are more specifically defined, although they too are used and interpreted differently in connection with different types of narration. Traditionally, researchers believe that the fundamental difference between these two terms lies in which world the depicting subject belongs to. If he lives in the same world where these heroes are, then he is an “I-narrator”35. And if the narrator lives outside that world, then - “he is the narrator”36. But this definition requires a reservation, since the “I-narrator” can be divided into two categories: the first is the one who lives in the same world and actively participates in events, while his horizons are limited to his own emotions and assessment, the second is simply observing everything that happens from the outside, this time he becomes just a chronicler.

According to the definition of V.E. Khalizeva, the narrator describes the events from the third person, the narrator - from the first. B.O. Corman defines these concepts by the degree of their identification (or solubility) in the text: “the narrator is a speaker of speech, not identified, not named, dissolved in the text, the “narrator” is a speaker of speech, openly organizing the entire text with his personality.”

Opinion of V.V. Kozhinova differs from researchers who see the narrator and the storyteller as opposite or different concepts, in that for him the narrator represents one of the options for the existence of the narrator 8. The scientist defines the narrator as “a conventional image of a person on whose behalf the story is told in literary work“, thanks to which “a “neutral”, “objective” narration is possible, in which the author himself, as it were, steps aside and directly creates pictures of life in front of us.” In fiction, according to the researcher, one can find different options for the existence of the image of the narrator. This is perhaps “the image of the author himself, which directly appeals to the reader’s consciousness” and, naturally, this is “the artistic image of the author, which is created in the creative process, like all other images of the work.” Very often a work introduces “a special image of the narrator, who acts as a person separate from the author. This image may be close to the author, or may be very far from him in character and social status.

Features of narration and speech characteristics in the novel “Chevengur”: monologue in the form of dialogue

Traditionally, in Platonic studies, the author’s position is characterized by such terms as “polarity”, “ambivalence”, “duality”, “dichotomy”, etc. This assessment researchers largely depends on the characteristics of the author’s attitude to the depicted world. The famous remark of A.M. Gorky about the nature of the novel “Chevengur” (“lyric-satirical”)1 gave direction to the search. The very antinomy of the phrase “lyrical-satirical” explains the difficulty in determining the author’s position of this work.

The difficulty of interpreting the text of A.P. Platonov and the definition of the author’s position, first of all, lies in the unique language of the writer. Unlike his contemporaries (I.E. Babel, M.M. Zoshchenko, B.A. Pilnyak, E.I. Zamyatin, etc.), as stated by I.A. Brodsky, A.P. Platonov wrote in “the language of his time.” He plunged into the depths of the consciousness of his era, completely subordinating “himself to the language of the era”2. Thanks to the peculiar language and its “wrong charm” (N.I. Gumilyovsky) A.P. Platonov was able to achieve his characteristic ambivalence and “excess” of meaning.

The fundamental features of the young writer’s unique language are present in the novel “Chevengur”. Firstly, as the first reader of “Chevengur” rightly noted, G.Z. Litvin-Molotov, the novel is “abundant with conversations,” especially the “Chevengur” part of the novel itself, which consists of dialogues between the characters. No wonder A.M. Gorky, having read the manuscript, proposed turning the novel into a play. This is the thought of A.M. Gorky was “inspired” by the language of A.P. Platonov. According to the great writer, from the stage, from “the lips of intelligent artists, it (the novel) would sound excellent”3.

Secondly, despite the fact that the novel is “abundant with conversations” of the heroes, the characters think and speak absolutely “Platonic”. In the novel, according to many researchers, the linguistic characteristics of each character, including the narrator, represent one of the varieties of the author’s own language. The author's language dominates everything: the language of the characters, the storyline, even over the space-time structure. Or, on the contrary, as L.A. writes. Shubin, author’s speech in the works of A.P. Platonova strives, as to her limit, for the speech of the heroes. In any case, in the novel the language of different subjects is essentially the same. In other words, the novel could become a monologue by a young writer.

But this is a special kind of monologue, since the author’s position, varying, is embodied in the linguistic dialogue of different characters. The basis for such an interpretation is given by the author himself in the following statement: “my ideals are monotonous and constant. I will not be a writer if I present only my unchanging ideas, they will not read me. I must vulgarize and vary my thoughts in order to produce acceptable works.”4

Another important feature of language is the “redundancy” of meaning: “live the main life”; “think into your thoughts”; “think in your head”; “know in mind”, etc. 5. Maybe, as E.A. suggests. Yablokov, A.P. has the truth. Platonov is not a given - “it is a process: therefore, every word about the world is at best partly true.” Because of this, one gets the impression that “not only the characters, but also the very language of Plato’s prose suffer from the inability to “speak out””6. The inability to “speak out” results in A.P.’s “redundancy” of language. Platonov. The opposite phenomena - “silence” or “lack of words” - occur for the same reason.

In addition to “redundancy”, in the language of A.P. Platonov, there is still a well-known antinomic phenomenon - combinations of incongruous things: “words come together that seem to pull in different directions”7, as in the following expressions: “poor but necessary pleasure”; "stuff of existence"; "cruel pitiful force." It is this phenomenon that contributes to the expression of the author’s “lyrical-satirical” attitude towards the depicted.

We must not lose sight of the fact that in the novel not only the spoken word, but also the “written word” also plays an important role. The forms of written text in “Chevengur” are very diverse and productive: these are documents, protocols, letters, signs, slogans, songs, excerpts from books and even inscriptions on a grave. All these “inserted elements” make the compositional unity of the novel rather conditional, determined primarily by the unity of the author’s position. Thus, a peculiar fusion of written and oral speech arises as different, although closely interconnected, forms of expression of the artist’s ideal, his philosophical aesthetic position.

The novel “Chevengur”: from myth to reality, or “both this way and back”

Despite the fact that the novel “Chevengur” is in the area of constant attention of researchers, many questions still remain unresolved, including such as the definition of the canonical author’s text, the characteristics of the genre, the principles of constructing a chronotope, etc. As V.P. rightly noted. Skobelev, since it is “the plot-forming gender-genre structure that sets the initial impetus for artistic activity” 2, the plot-compositional structure associated with the genre features of the work is of key importance in the study of the author’s position.

When studying genre features, it is necessary to keep in mind that the novel as a genre is considered one of the most non-canonical and incomplete in the history of literature, i.e., “not constructed as a reproduction of ready-made, already existing types of artistic wholes,” however, precisely because of this, the novel can actively borrow in terms of both form and content in other narrative genres3.

Researchers believe that the “crisis of the novel genre” begins at the end of the 19th century. It has a close connection with the destruction of the achieved balance in the “I - other” system. At the beginning of the 20th century, this phenomenon “led to the destruction of the “traditional novel” as an autonomously existing work of art.” As you know, in the 20s of the last century O.E. Mandelstam proclaimed “the end of the novel.” By the word “novel” the writer meant “a compositional, closed, extended and complete narrative about the fate of one person or a whole group of people”5. Therefore, for O.E. Mandelstam “the compositional measure of a novel is a human biography”6. However, the writer’s contemporaries could not become the “thematic core” of the novel, since they were “thrown out of their biographies.”

Most often, in the works of writers of the 20s, there is a so-called “crisis” of the novel genre, noticed by O.E. Mandelstam. For example, as is known, in the works of B.A. Pilnyak and E.I. Zamyatin’s biography of a person does not constitute the compositional structure of the work, it no longer worries the author, now, first of all, the image of the masses becomes the dominant feature of the work. In their works there is no plot as such; often the novel is a collection of fragments that are not connected to each other. Or, for example, in the works of M. Proust, J. Joyce, J. P. Sartre, not the biography of the hero, but his inner world and “stream of consciousness” become the plot of the novel. However, no matter how paradoxical this may sound, in the 20th century it was with the “death” and “end of the novel” (i.e., a certain, “classical” stage of its development) that a new era of this genre, one of the most significant “narrative genres”, began. modernity. Thanks to the artistic experiments of Russian and foreign writers, who wanted to create an ideal form for a person who “lost” his biography, a novel in the 20th century. has blossomed again as a major narrative genre. Now, acquiring new life, the novel is an open genre, in the making; the essence of the novel genre is not limited to traditional qualities, that is, eventfulness and plot.

In the above context, “Chevengur” as a novel is an interesting object of study, because at first it was written in fragments, and only then designed by the author as a single whole, and therefore it seems unconventional in terms of the form and content of the novel genre. The chronotope and plot structure of the work are not continuous, but discrete, not linear, but fragmentary, not eventful, but anecdotal. In this regard, the novel is dominated by the cyclical world order characteristic of the mythological worldview: a repeating beginning; the absence of the concept of “beginning and end” not only in the space-time structure, but also in the perception of the heroes. Thus, the novel contains a number of elements of a mythological text7.

Assuming that the novel “Chevengur” is a small trilogy with its own artistic patterns in terms of form and content, we will consider its plot and compositional structure in different ways (especially in relation to genre features). Next, we will reveal the role of the novel “Chevengur” from an evolutionary perspective: from “Chevengur” (from a small trilogy) to a large novel trilogy (“Chevengur”, “The Pit”, “Happy Moscow”).

On both sides of utopia. Contexts of A. Platonov's creativity Gunter Hans

1. Questions of the genre and typology of utopia in the novel “Chevengur”

When comparing the novel “Chevengur” with such famous dystopias as “We” by Zamyatin or “1984” by Orwell, a much more complex genre structure of Plato’s work is striking. In “Chevengur” there is no unequivocally negative portrayal of utopian thought, characteristic of Orwell and Zamyatin, who “ beautiful world“is exposed from the inside, “through the feelings of its individual inhabitant, who undergoes its laws and is placed before us as a neighbor.”

Plato's novel is not just an inversion of utopian intention: here a new and, one might say, unique in its complexity genre in the literature of the 20th century arises, the main features of which require special explication. One of its features is the procedural nature of the plot, characteristic of both the novel “Chevengur” and the stories “The Pit” and “The Juvenile Sea”. In this regard, Platonov’s predecessor can be considered H. Wells, the author of the novel “The Time Machine” (1895), who argued that the utopia of modernity should not be static, but kinetic. As Platonov’s stories and tales of the first half of the 1920s show, such dynamization initially bore the features of science fiction, but then the center of gravity moves to social and historical processes. This is especially evidenced by the novel “Chevengur” and the story “The Pit”. Unlike classical dystopias, in which the ideal stage of development of society already exists in a ready-made form, the utopian structure in Plato’s works is in formation - and at the same time in decay. One gets the impression that Platonov writes “failed” utopias all the time. All his characters strive for to a better world, but the contours of the ideal future do not have time to be clearly defined.

Reflecting certain stages Soviet history, Platonov’s utopian genre absorbs the structural features of the “construction novel” genre, widespread in Soviet Russia. Platonov’s plot schemes are confirmed by a huge amount of documentary material - from newspapers, party documents, etc. Thus, in Platonov, the framework of the utopian genre is constantly adapting to new situations.

Many of Platonov’s utopian texts are based on a peculiar concept of cyclical historical “waves”. In the article “Future October” (1920), the writer claims that “communism is only a wave in the ocean of the eternity of history.” The novel “Chevengur” is a clear illustration of this idea, according to which utopian “explosions” are sporadically born, aimed at achieving the end of times, at final deliverance from eternal return. The Chevengurians strive precisely to “put an end to the movement of unhappiness in life.” But the “evening of history” that came in Chevengur indicates that hopes of overcoming time were deceived. Chevengur returns to the vicious circle of history, but the longing for a better world does not fade away completely, it only goes from the surface into the depths - just as Sasha Dvanov at the end of the novel goes into the lake “in search of the road along which his father once walked” . From this point of view, Dvanov's immersion in the water of Lake Mutevo, in which his father drowned in search of the truth, can be interpreted as both death and rebirth. The utopian “wave” is temporarily subsiding, and in the depths of the “ocean of history” a new rise is being prepared. A similar meaning is contained in Platonov’s note about another work: “The dead in the pit are the seed of the future in the hole in the earth.”

Platonov's works are distinguished by the peculiar effect of contradictory movements within the plot structure. On the one hand, the mechanism of progress inherent in the utopian genre works, achieving ever new technical and social successes, approaching the ideal goal. On the other hand, during the actual implementation of construction tasks, this upward line is constantly undermined. The result is a typical Platonic dialectic of opposing tendencies. The further the action develops and the more achievements, the brighter the descending line appears. In "Chevengur" all the conditions for communism seem to have been fulfilled - and at the same time, the opposite of what was planned is being realized. They want to build a big house in Kotlovan, but what they end up with is a coffin pit. In his Notebook for 1930, Platonov writes: “By building houses, a person upsets himself, people disappear. With the construction, man is destroyed.” In The Juvenile Sea, the growing grandiosity of the plans is matched by the progressive collapse of agriculture. Platonov's prose moves on both sides of utopia - on the line between hope and disappointment, construction and decay, order and chaos. If there was only a clearly negative tendency in the development of the plot, the works would not be distinguished by the paradoxical mixture of satire and tragedy that is characteristic of Platonov.

It is worth mentioning one more property of Plato’s utopia - its auto-reflectivity. In most of his works there is a philosophizing “seeker of truth” who is close to the author’s semantic position and continuously comments and evaluates the course of events. The chronotope of travel, typical of Platonov, which has a long tradition in the utopian genre, is also connected with this. In Platonov, the journey takes the form of wandering, which allows the free movement of the reflecting hero in search of the truth. The desire of this hero is aimed at reorganizing the world, but at the same time he is rooted in a kind of “ontological” structure based on folk mythological ideas about human life, nature and the cosmos. Many works have been devoted to the study of this layer of Plato’s world. In our opinion, it performs an extremely important function of correction and measurement in relation to utopian intention and social action. If the vector of utopia is directed forward, into the future, then the natural-cosmic layer refers to the eternal structure of the world. The future must justify itself before the past, before memory, before the stable being of the world. If a utopian explosion violates the basic laws of existence, this means that it has failed. The theme of many of Platonov's works is the testing of utopia in the light of cosmic values.

Platonov's central reflective hero is closely connected with basic ideas about the world, but at the same time he is filled with a thirst for technical and social revolution and tries to reconcile these two principles. He wanders across Soviet soil, and his voice is constantly superimposed on the voices of other characters. Thus, reflection on what is happening in Platonov turns out to be more important than the action itself. The pace of development of the plot slows down, always developing in the form of an alternation of individual scenes. There isn't an episode where there isn't some intense discussion of the action from different perspectives. From this point of view, we can call the novel a meta-utopia - utopia and dystopia in it enter into an open-ended dialogue.

Plato's utopia not only lies at the intersection of different literary genres, but also combines various types of utopian thinking. Based on general spatial and structural features, one can distinguish two elementary utopian chronotopes - “city” and “garden”. A common feature of all utopias is their spatial or temporal remoteness and pronounced marking of boundaries, so a remote island is often chosen as the scene of action. Campanella’s “City of the Sun” and Zamyatin’s “Unified State” are separated from the outside world by a wall, and the name of the Garden of Eden (in Greek ??????????, in Latin paradisus) traces its ancestry to the ancient Iranian word, which means a place fenced on all sides.

Outlines ideal city can form a square - such as, for example, the New Jerusalem in the Apocalypse or the “almost square” city of Amaroth by Thomas More - or be round (such as the City of the Sun laid out in concentric circles). The symmetry of geometric shapes symbolizes unsurpassed harmony and perfection that cannot be improved. In all utopian designs, there is a coincidence of aesthetic and functional aspects. A similar phenomenon is typical, for example, of the utopian topos of the machine, which in the modern era often serves as a model of man and society. Here the beautiful and the useful form an indissoluble harmonious unity. The brilliance of the machine almost perfectly embodies the temptation emanating from all utopian designs.

The space of the garden differs significantly from urban utopias focused on the model of an archaic city. As the Old Testament idea of paradise or the ancient idea of the Golden Age shows, the space of the garden does not have a radial and functional geometric shape. The garden is based on the ideal of cultivated nature. From this stems the peculiar attractiveness of the “garden,” suggestively described by Dostoevsky in Versilov’s dream about Claude Lorrain’s painting “Asis and Galatea,” for which he coined the name “The Golden Age.” If the center of attention in the image of the city is the social-state and technical-civilizational aspects of life, then the garden version embodies the ideal of the archaic closeness of man to nature and relaxed family life. In the first case, we are dealing with a rationally developed, planned space, in the second - with the original harmony between people and nature. The development of the urban type subsequently leads to rationalistic social and technical utopias, while the version of the Garden of Eden, reflecting ancient mythological ideas, underlies the pastoral and idyllic genres.

The city and garden as basic utopian chronotopes in their original form are purely descriptive and plotless. They do not represent events, but rather everyday ritualized actions. Eventfulness leads, as a rule, to the destruction of utopian harmony, as evidenced by the dystopian genre. Along with spatial utopias, which are characterized by a cyclical time structure or achrony, that is, absence of time, there are also temporary utopias. Their main feature is stadiality, the division of history into the necessary sequence of phases. Temporal utopias often include one of the mentioned spatial chronotopes. At the end of the movement, time “cools down”, stops, and a timeless structure arises, which leads to the end of the stage “jumps”. This end-time model comes in two flavors, as it can be either "progressive" or apocalyptic in nature. In addition, there is also a degradative type of temporary utopia, for which Bakhtin uses the concept of historical inversion. This type of utopia starts from an ideal primitive state, after which various stages of deterioration occur: the Golden Age is followed by the Silver, Copper and finally the Bronze Age.

A common version of a temporary utopia is chiliasm (or millenarianism), i.e., a religiously based dream of a thousand-year kingdom. Millenarianism arose in the Middle Ages as a secularization of the apocalypticism of the New Testament, suggesting the catastrophic destruction of the old world and the onset of the Kingdom of God. Paradigmatic significance here is given to the teaching of Joachim of Flora, who distinguished three eras of history - the era of the Father, the Son and the Holy Spirit. The prophecies of Joachim of Flora (according to which the birth of the Antichrist and the onset of new era should have taken place in 1260) not only contributed to the emergence of a variety of heretical trends in the late Middle Ages, but also played a large role in the process of “modernizing” utopia in general. Social utopias of the industrial period of the 18th–19th centuries, including Marxism, generally follow a triadic model.

But how and to what extent could Platonov have detailed information about the history of heretics in the West? Based on the writer’s undoubted closeness to the ideas of proletarian culture, it can be assumed that he was familiar with A. Lunacharsky’s book “Religion and Socialism,” which gave him access to the history and ideology of early Christian and medieval chiliasm. The third and fourth chapters of the second volume are of particular importance. Describing the aspirations of the first Christians, Lunacharsky explains the expectation of the end of the world and the coming consumer communism as the consequences of social oppression. He finds an apology for poverty and criticism of wealth primarily in the Gospel of Luke. Even more interesting in our connection are reflections on Christian socialism of the Middle Ages. Considering the teaching of Joachim of Flores about the future Kingdom of the Spirit, distinguished by contemplation and monastic asceticism, Lunacharsky presents the further development of these ideas in the Eternal Gospel of Gerard di Borgo San Domino, as well as in Dolcino, Thomas Münzer and many others. In Lunacharsky’s book, Platonov could find many examples of the combination of apocalyptic rhetoric with the revolutionary wrath of the proletariat. Let us recall, for example, the terrifying image of the god of hosts in the Chevengur church. Lunacharsky distinguishes two faces of the Christian God - the punishing and vengeful God of the Old Testament, whose terrible features are reborn in the Christ of the Last Judgment, and the meek, all-forgiving Christ of the New Testament.

But even more important for Platonov could be another source, to which Lunacharsky often refers in his book. This is the work of the German socialist K. Kautsky, “The Predecessors of Modern Socialism,” which was published many times in Russian translation. In the first part of the book, “From Plato to the Anabaptists,” Kautsky sets out in detail the history of European messianism from early Christian communism to the Czech Taborites, Anabaptists and the Reformation in Germany. The preface to the Russian edition of the book points out the connection between the chiliasm of the European Middle Ages and Russian sectarianism. Kautsky writes: “What is for us in Western Europe represents only historical interest - then in Russia it is a means for understanding a certain part of the present. On the other hand, in Russia all of life, all of the present, provides the key to a completely different understanding of the Christian opposition sects of the past.” And in Lunacharsky we find the idea that “Russia is facing a revolution in religious clothing rather than openly economic, because in terms of its numbers the peasantry will play the main role in it and will put its stamp on it.”

Kautsky's theses on the analogy between medieval Western European chiliasm and the spirit of Russian sectarianism, as well as on the position of Russia at the stage of transition from peasant-sectarian protest to social revolution, should have been of great interest to Platonov. Thus, in “Chevengur” a peculiar layering and interweaving of three thematic layers is revealed - Russian sectarianism, medieval chiliasm and the Bolshevik revolution. Between these layers there is “not only similarity, but direct, albeit hidden, continuity.” It seems to us that in the novel one can even find a direct hint of an analogy between Bolshevism and its historical predecessors: “Where are you from? - the warden thought about the Bolsheviks. “You probably already were once, nothing happens without resemblance to something, without theft of something that existed.”

Both in the genre aspect and in relation to the typology of utopian thought, the novel “Chevengur” turns out to be a complex structure, consisting of different ideological layers. Its closeness to the pattern of chiliastic movements of the late European Middle Ages is striking. This was pointed out by V. Varshavsky, for whom Platonov’s novel is a “crazy, terrible and pitiful eschatological drama.” The protagonists of the novel, imbued with an apocalyptic spirit, believe in the cosmic nature of the revolution and in the need for the destruction of the rich by “God’s people” for the sake of the coming Kingdom of God. Varshavsky calls Chevengur the Russian Munster by analogy with the Westphalian city in which the Anabaptists erected their New Zion in 1534–1535.

There is much in common between Chevengur and the Münster events during the reign of the Anabaptists. Just as in Münster, after the proclamation of the New Zion, the atheists were expelled and their property was taken away, so in Chevengur, after the liquidation of the bourgeoisie, the proletariat and others occupy empty houses and eat up food supplies. In Münster, they burn all books except the Bible, and trust only the authority of religious leaders - in Chevengur they listen to representatives of the revolutionary avant-garde, citing the writings of Karl Marx. A kind of polygamy is introduced in Munster, since poor women choose their patrons - poor women are brought to the city of Chevengur, despite sectarian asceticism. In the end, Munster fell under the onslaught of the bishop's landsknechts - and, like him, Chevengur was defeated by the troops attacking the city.

In Platonov’s novel we also find numerous parallels with the history of the Bohemian Taborites of the 15th century. However, a remarkable inversion in the course of historical events is striking. While among the Taborites, after the absence of the expected second coming of Christ in 1419–1420, peaceful Adventism abruptly gives way to revolutionary chiliasm, in Platonov’s novel the action develops just the opposite: after the liquidation of the bourgeoisie, the activity of the Chevengurs cools down, giving way to a fatalistic expectation of the end of time.

The fate of the Taborites is described in some detail by Kautsky. After the burning of John Hus in 1415, supporters of various factions, influenced by radical preachers, began to implement their egalitarian ideas. Since they could not stay in the “City of the Sun” Pilsen, they moved to Tabor, founded on one of the Lužnice hills. The name of this settlement, which served as the center of the Taborite movement after 1420, recalls Mount Tabor, where the Transfiguration of Christ took place. The Taborites' belief in a millennial kingdom was based on Joachimist and apocalyptic ideas, as well as legends about the Golden Age. Prague, the “great harlot” and “Babylon,” was doomed to destruction in their eyes. The Taborites hoped that after the destruction of Prague and other cities, after the extermination of the rich and noble, there would come an eternal kingdom without property, domination and social disasters, in which the “children of God” would live as brothers and sisters. There will be no suffering in the new kingdom, and children born in it will not die. The words of John the Theologian “And God will wipe away every tear from their eyes, and there will be no more death; there will be no more mourning, nor crying, nor pain anymore” (Revelation 21:4) were accepted by them as a description of a really existing new society. Against this background, it becomes clear, for example, that Yakov Titych’s illness and the death of a child are a turning point, foreshadowing the end of the Chevengur utopia.

The city of Tabor attracted crowds of people from all over Europe, quite comparable to the “international proletariat” and “others” arriving in Chevengur. In Tabor, the dream of the Kingdom of God is dying due to the growing contradictions between the poor and the rich, the city is becoming bourgeois. In Platonov's novel, this tendency is manifested in the image of Prokofy Dvanov with his lust and thirst for hoarding. An eyewitness account relating to Tabor in 1451 paints a sad picture. Residents of the city have appropriated other people's property, but they are not able to preserve it; the adobe houses stand haphazardly in disarray. This picture comes to mind when you read about the state of Chevengur, in which there was a “voluntary destruction of the petty-bourgeois inheritance”: “It was difficult to enter Chevengur and difficult to leave it - the houses stood without streets, in disarray and crowded conditions, as if people were huddled together through dwellings , and weeds grew in the gorges between the houses.” The very end of Chevengur is similar to the end of Tabor: in the Battle of Lipany, the Taborites suffer a bloody defeat from the army of feudal lords.

Since the significance of the ideas of Joachim of Flora for the medieval chiliastic movements has already been discussed, it would not be out of place to point out some similarities between his teaching and “Chevengur”. The “comradely state” of the Chevengurs is in many ways reminiscent of the monastic ideal of Joachim. In his tripartite scheme, three statuses of a person are distinguished: “The first was the slavery of servants, the second was the service of sons, the third was freedom. The first is in sorrow, the second is in action, the third is in contemplation. The first is in fear, the second is in faith, the third is in love.” The “contemplative” and comradely state is precisely realized in Chevengur, where the sun, declared the “world proletarian,” is mobilized “for eternal work.” The same idea is expressed by the idea of the alternation of six eras (etates), corresponding to the six days of creation. The last age is the "Sabbath" which is given to God's people "to rest from the want and suffering which they have endured in all six times." And in Chevengur the “Sabbath” of history began, during which “its inhabitants rested from centuries of oppression and could not rest.” According to the teachings of Joachim, in the pre-Christian era people lived in the flesh, and at the present time, until the era of pure spirituality comes, they live between the flesh and the spirit. The coming church is represented in the image of the Virgin Mary. In "Chevengur" the ideal of chastity and celibacy is also valued - only Klavdyusha, Proshka Dvanov's mistress, embodies the kingdom of the future in a compromised form. Alternation historical eras Joachim takes place in accordance with cosmic cycles: “The first state is in starlight, the second is in the sunrise, the third is in the full light of day. The first occurs in winter, the second in early spring, and the third in summer.” The Chevengur utopia is associated with the sun, the eternal symbol of utopias, and with summer. The disaster of Chevengur finds its symbolic expression in the fact that in place of the sun, “the luminary of communism, warmth and camaraderie,” comes the moon, “the luminary of the lonely, the luminary of vagabonds wandering in vain,” and the warmth of summer gives way to cold autumn.

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Specialty of the Higher Attestation Commission of the Russian Federation10.01.01
Number of pages 167

A.N.Platonova.

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

Chevengur": monologue in the form of dialogue.

P-1-1. The word as the dominant feature of A.P.’s works Platonov.

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

P-2. The character system as one of the ways to express the author's position.

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

Chapter J. Plot and compositional organization of the novel “Chevengur” as an extra-subjective form of expression of the author’s position.

Sh-1. The novel “Chevengur”: from myth to reality, or “both this way and back.”

Ш-1-1. Plato's "little trilogy".

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

Sh-2. The idea of a novel and the “novel idea”.

Introduction of the dissertation (part of the abstract) on the topic “Forms of expressing the author’s position in the prose of A.P. Platonova: 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, Andrei Platonovich Platonov occupies a special place. His work is dedicated to revealing the “crushing universal secret” - the mystery of life and death, the very “substance of existence.” A.P. Platonov “perceived the revolution not only politically, but also philosophically - as a manifestation of a universal 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 a depiction of the tragic fate of the people in the revolutionary era, but also “the painful worldview drama of the artist himself, deeply hidden in the comically foolish style.”

In the second half of the 20s of the last century 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 legacy of A.P. Platonova3. In the novel “Chevengur” the features of the style and artistic thinking of A.P. are most clearly manifested. Platonov. No wonder researchers call this work “precious crystal” (S.G. Semenova), “creative laboratory” (V.Yu. Vyugin), “artistic result” (E.G.

1 Pipe JI.A. Russian literature of the 20th century. M., 2002. P. 199.

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

3 Many Russian and foreign researchers agree that “The Pit” and “Chevengur” are the culmination of the talent of the young Platonov. On this see, for example, Vyugin V.Yu. “Chevengur” and “Pit”: the formation of Platonov’s style in the light of textual criticism. SFAP. Vol. 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.

Muschenko) of the writer’s creativity.

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, records, and 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 magazine “New World”, covers the work of A.P. Platonov, based on specific texts, including those that were not

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

5 In 1988, “Chevengur” was published in the magazine “Friendship of Peoples” (No. 3, 4). In the same year, the full text of the novel was published in a separate edition (from the introductory article. S.G. is 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), J.I.A. Shubin often mentions novel “Chevengur”. In this article, the scientist asks the question “whether the public consciousness, filling in the gaps and gaps 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 large gap in the history of Russian literature began to be filled. The article “Andrei Platonov” marked the beginning of the “real study” of A.P. Platonov, in particular, the study of the novel “Chevengur”.

Following J.I.A. Shubin in the 70s, many researchers both in Russia and abroad began to actively study the novel “Chevengur”. Researchers examined the novel from a variety of angles, and two approaches to studying the work were noted: the first approach is aimed at studying the context of the work (in connection with the political situation, philosophical and natural science theories, etc.), the second - at studying the poetics of the writer.

Semenova).

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

The shift in emphasis to the study of the poetics of the novel “Chevengur” is observed relatively later, most likely after the publication of the novel in Russia. Researchers in this area can be divided into two groups: the first was interested primarily in the thematic aspects of A.P.’s work. Platonov; the second was attracted by the problem of the unique form of his works. The first group includes researchers interested in aesthetic, thematic, mythopoetic, and anthropological problems; to the second - considering, first of all, the problems of linguistic features, narrative, point of view, structure and architectonics of the work. Despite the fact that these two groups of researchers had different starting positions, they had one common goal: to reveal and illuminate the author’s position in the work of A.P. Platonov, who is sometimes even “unknown to himself.”

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 creativity, V.V. Vasiliev believes A.P. Platonov is a true heir and continuer of the tradition of Russian 8 literature."

A.P. Platonov from a young communist and aspiring writer to a mature master. The scientist showed particular interest in the novel “Chevengur”. Attributing the novel “Chevengur” to the menippea genre, M.Ya. Geller first defines it as a “novel of adventure”, for which the “adventure of ideas” is important9. 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.

B.V. Agenosov considers “Chevengur” “one of the pinnacles of the Soviet

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

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

9 Geller M. Ya. Andrei Platonov in search of happiness. Paris, 1982 (M., 1999). P. 188. philosophical novel"10 and rightly writes about the polyphonism characteristic of the novel: "if this idea" (utopian) was "the main and only one", then "Platonov would not have needed to write "Chevengur", it would have been enough to create "Pit" "11. 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 classifies the novel as a meta-utopia (the term of G.S. Morson)14. Dutch researcher T. Langerak also considers the ambivalence of the novel a distinctive feature of A.P.’s poetics. Platonov. According to the scientist, A.P.’s ambivalence Platonov manifests itself not only at the structural level, but also “permeates all levels of “Chevengur””15.

Traditionally, many researchers resort to a mythopoetic approach, paying special attention to “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 writer’s poetics. The mythopoetic approach received multifaceted development in the works of N.G. Poltavtseva, M.A. Dmitrovskaya, Yu.G. Pastushenko, X. Gunther and others.

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

11 Ibid. P. 127.

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

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

14 Ibid. P. 131.

15 Langerak T. Andrei Platonov: Materials for a biography of 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. Platonova16. 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 this as the difficulty of determining the author’s position.

Thanks to the efforts of scientists during these years, many of the writer’s texts were reconstructed and published. Dissertation studies have appeared that examine the poetics of A.P.’s works.

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

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

Chevengur." In the dissertation 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 various aspects with its first version, “The Builders of the Country,” the researcher notes the imagery and conciseness of the form and content of “Chevengur” in comparison with its previous version.

Among the works on “Chevengur”, monograph 18 deserves special attention

E.A. Yablokov, where materials related 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, are regularly held

16 Kornienko N.V. History of the text 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. .can. Philol. Sciences, IRLShchPushkinsky House) 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”. Toward the reconstruction of the work // From the creative heritage of Russian writers of the 20th century. St. Petersburg, 1995. conferences dedicated to the work of A.P. Platonov, as a result of which the collections “The Land of Philosophers of Andrei Platonov” (issues 1-5) were published; “The Work of Andrei Platonov” (issue 1.2), etc. In particular, the conference held at IMLI in 2004 was entirely devoted to the novel “Chevengur”. This shows the continued interest of researchers in this novel, which can unconditionally be considered one of the highest artistic achievements of A.P. Platonov.

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 differ. For these reasons, coverage of the author’s position in the works of A.P. Platonov deserves special attention and special research. Thus, with all the literary interest in the novel “Chevengur”, the problem of the author’s position is still one of the most controversial. Understanding this problem opens up new perspectives for understanding a number of fundamental issues in the poetics 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". St. Petersburg, 2001.

19 In this regard, the literary fate of “Pit” turned out to be happier than “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 Pit” are given according to this edition, indicating pages in parentheses. Platonov A. Pit, St. Petersburg, Nauka, 2000; If we are talking about “Chevengur”, then there are two more or less “mass publications”: 1) Platonov A.P. Chevengur. M.: Fiction, 1988. 2) Platonov A.P. Chevengur. M.: Higher School, 1991. There are almost no textual discrepancies between these publications. Further, all references to the main text of the novel “Chevengur” are given according to the second edition, indicating pages in parentheses.

Chevengur”, “The Pit”, “Happy Moscow”), which are a trilogy of the “utopian project” of 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 knowledge of the work of A.P. Platonov in this theoretical aspect.

The main material for the study was the novel “Chevengur”. The dissertation compares the novel “Chevengur” with the story “The 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 a selected theoretical aspect. The dissertation syncretically examines subjective and extra-subjective forms of expression of the author's position and comprehends their relationship with the author's philosophical and aesthetic position. The works under study (“Chevengur”, “The pit”, “Happy Moscow”) are considered for the first time as a novel trilogy.

The purpose of the dissertation is to reveal the features of A.P.’s poetics. Platonov through the study of the specific forms of artistic embodiment of the writer’s ideals 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 make 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 Conventionally, we will attribute three works by A.P. Platonov (“Chevengur”, “The Pit”, “Happy Moscow”) to the novel genre. work.

2. Analyze the novel “Chevengur” in a selected theoretical aspect, based on the relationship between subjective and extra-subjective forms of expression of the author’s position. To do this:

Consider the forms of narration in the novel “Chevengur”;

Reveal ways of expressing different “points of view” in the novel;

Characterize the system of characters, paying special attention to the phenomenon of “doubleness” as a form of identifying the author’s position, as well as the use of dialogic relationships in the work;

Study the plot and compositional structure of the novel as a “small trilogy”, consider the features of the chronotope of the work.

3. consider artistic forms of expression of 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 hero (M.M. Bakhtin, V.V. Vinogradov, V.V. Kozhinov, B.O. Korman, Yu.M. Lotman, N.D. Tamarchenko etc.), style, narration, correlation of points of view (N. Kozhevnikova, J. Gennet, 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. Vyugina, 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 author’s position in the text.

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

Approbation. The main provisions of the study were discussed at the postgraduate seminar of the Department of Russian Literature of the 20th Century. MPGU, were tested in presentations at two international conferences (“The Legacy of V.V. Kozhinov and current 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 research and the assigned tasks. 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 bibliography includes 230 titles.

Conclusion of the dissertation on the topic “Russian Literature”, Yun Yun Sun

Conclusion

The proposed dissertation examines the forms of expression of the author's position in prose. A.P. Platonov. We analyzed subjective and extra-subjective forms of expression of the author's position, considering them an objective basis for characterizing the writer's creativity.

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 Chestnov’s Moscow from the novel “Happy Moscow”.

Chevengur" is an interesting object for research, because it embodies those ideas that, in essence, do not undergo changes from the very beginning creative path writer. However, the forms of expression of the author’s position here clearly differ from previous works, in which the author actively relied on a number of “protective elements”1 or a disguised role, and works of the mature period, in which the author consciously simplifies the forms and maintains 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 subject and extra-subject forms used are intended 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 extra-subjective - the plot and 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 simply because “the word acquires the properties of a variable ideologeme with a moving meaning.” In addition, A.P. Platonov brings ideological contexts and the author’s worldview to the level of a “denoting” word. As a result of the “reduction of form”, the author concentrates all connections and reasons in one word3. Such “once meaningful” words, as defined by V. Yu Vyugin, serve as the basis for constructing Plato’s text. Mention of N.V. Kornienko - “Russian literature is the literature of the Word, not the text” - certainly refers to the work of A.P. Platonov, especially to the novel “Chevengur”. At the same time, the fundamental relationship between the “signifier” and the “designated” in a 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 claim 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 Platonic, and the author, in turn, speaks the language of the heroes, the language of his time. Often the words are “yours” and 2

Tolstaya Segal E. “Spontaneous 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 of the manuscript of the novel “Chevengur” // Works of Andrei Platonov. St. Petersburg, 1995. P. 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 heroes live, managed to simultaneously be close to them4.

Thirdly, the system of characters, showing the author’s attitude to the hero, in the novel “Chevengur” is horizontally consistent. 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 plan. The binary scheme in the character system is primarily intended to express the author's dialogic attitude towards the characters. It provides a complete basis for the implementation of a possible dialogue, permeating 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 is the author the only depicting subject, but so is the hero and the reader. The confrontation between “I” and “other” replaces the traditional scheme of dialogue. The oppositional system “friend - foe” is inverted and expanded, as a result it loses the value support characteristic of the traditional novel.

Based on the above, we 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 viewer) lived parallel to Dvanov, but was not Dvanov.” See: Mikheev M. Into the world of Platonov through his language. M., 2003. reconciliation with the “stranger”: the author’s position 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 - and this is realized by the author - that the author “leans” now to one point of view, now to another, in a fit of supreme justice he is unable to prefer “one point of view to another,” but gives his mouth to opposing views with equal generosity.”5

We have studied the genre specificity of the novel and its plot-compositional structure, which are identified as extra-subjective forms of expression of the author's position. Analyzing the novel “Chevengur” as a small trilogy with its own artistic pattern, we examined its genre features; as well as autonomy and discontinuity in the structural plan, at the same time we have identified authorial connections that help overcome the discreteness of the plot structure.

Thus, the artistic forms themselves, which contribute 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 began to actively develop in the mid-20s. By the end of the 20s, 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 the utopian ideals receive a kind of completion

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

The novel “Chevengur” is often compared with the story “The Pit” in various aspects. At the same time, constant attention is paid not only to the similarities, but also to the differences between them. If the author’s “ideals” were constant, then the difference between the two works is manifested in the forms of expression of the author’s position. Firstly, in the process of evolution from “Chevengur” to “Pit”, what is primarily noticeable is the transition from the utopian project of building communism to its real implementation (digging a pit and collectivization). Chevengur as a mythologized space, without losing the character characteristic of Plato’s utopia, is transferred to a more real space, to the city where workers are digging a foundation pit for the construction of the “Common Proletarian House”, and to the collective farm “named after the General Line”, where collectivization (liquidation of the kulaks) takes place. The ideology tested in “Chevengur” is already being implemented in reality. In the story, the chronotope is simpler and more condensed: unlike the novel “Chevengur,” which is a kind of trilogy in structure, the story has a binary structure. As A.A. rightly noted. Kharitonov, it has the peculiarity of a dilogy. The time, which in “Chevengur” lasts almost 20 years, in the story is compressed 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 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 author’s attitude towards the depicted appears to be both satirical and lyrical (i.e. “lyrical-satirical”). However, in “The Pit” the author’s attitude towards, for example, Pashkin or an activist is already clearly expressed: the work clearly shows satirical beginning. Unlike Sasha Dvanov, who is a listener and does not evaluate the 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 body, - 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 around like a silent thicket and know nothing! "(K, 110-111).

In connection with the character system, the problem of duality also develops in the story “The Pit”. Like Kopenkin and Serbinov, who in the novel “Chevengur” play the role of the hero’s “plot double,” 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, and Prushevsky performs an intellectual one. Voshchev, like Sasha in o

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

On this, see: Nemtsov M. Heroes of the story “The Pit” as a system of characters // SFAP. Vol. 2. M., 1995. manifests itself on a hidden, intuitive level; in the story it stands out brighter and more clearly - and becomes one of the main ways of expressing the author’s position. The oppositional 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”; “friends - strangers”; “I am strangers”) are largely degrees are simplified: in the story the scheme of duality is more contrasted and aggravated, the author’s position is expressed through the generalized oppositional system “friends or foes” (Voshchev / Prushevsky / Chiklin - Pashkin / activist).

Thirdly, the author’s “novel idea” is embodied in the story “The Pit” in a more condensed, concentrated artistic form. At the epicenter of the “Pit” there 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 Pit” can be called a full-fledged novel: here the author is concerned with the problem of the tragedy of all humanity and its salvation.

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

The ending of "The Pit" may be the darkest and most tragic among the endings of Plato's works of the 20s. None other than Nastya, the little creature who was a “living symbol” of socialism and for whom all the workers were digging a foundation pit, died. Now the pit for the future house becomes an eternal refuge - a grave for Nastya. It is hardly possible to call this ending “major” (T. Langerak’s expression) 9 . However, the tragedy of the ending cannot be understood and how

9 Langerak T. Andrey Platonov. Materials for biography. 1899-1929 P. 171. hopelessness"10. The desire of the heroes to preserve Nastya’s dead body shows not only their despair, but also their hope for the resurrection of the deceased11. Here, echoes with the open ending of “Chevengur” are clearly visible, which is rethought in a symbolic key in the tragic ending of the story.

Thus, the different forms and elements that A.P. experimented with. Platonov’s novel “Chevengur” receives a condensed 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 Pit” from previous works. Without distancing himself from his creation, the author directly intervenes in the space of the work.

Thus, from an evolutionary perspective, differences in the forms of expression of the author’s position in the story “The Pit” and the novel “Chevengur” can be traced. It can be stated that the 20s of A.P. Platonov ended with “The pit”. Plato's heroes smoothly moved from “Chevengur” to “The 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 new era, however, not even

10 See, for example. Vyugin V.Yu. The story “The 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 “The Pit”; Kharitonov A.A. Ways of expressing the author’s position in Platonov’s story “The Pit” abstract. dis. .can. 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 resident is equivalent to the death of the whole world, because the heroic diggers lived for the sake of the future. Where could Plato's heroes go after Nastya's death?

In the 1930s, these desperate ones can be found in the world capital

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

The utopian projects of the young writer, which received a unique artistic embodiment in “Chevengur” and perfection in “The Pit,” are being implemented in a more specific 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 is immortality and the salvation of humanity.

Undoubtedly, there are certain symbolic echoes 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, willingly or unwillingly, are rethought in the image of the city of Moscow itself; the woman’s identification with the city takes on a symbolic and mythologized duality. At the same time, the peculiarity of the embodiment of the author’s plans lies, first of all, in open symbolization and mythologization, using which the author directly expects the active role of the reader’s consciousness in his perception of the work. Therefore, the reading process requires direct synchronous reader participation. I Kornienko N.V. Preface to “Notebooks” by A. Platonov. (ZK, 14).

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

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

After the 30s in the work of A.P. Platonov, a new stage begins, clearly different from the 20s. In many works of the second half of the 30s and war stories of the 40s, the writer infrequently focuses on disguised forms of narration and avoids experimental elements in the structural plan of the work. In other words, it literary form she herself moved from utopia to reality13. The beginning of this phenomenon can be clearly traced in the chain of novel works: in them there is a 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 specific analysis of the transformation of forms and themes from the novel “Chevengur” to “The Pit” and “Happy Moscow” will become 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, acquired 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 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 the essence, but also the essence, the forms of expression of the author’s position in A.P. Platonov cannot be separated from the essence of the author’s position itself. 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 claims that mature A.P. Platonov came to terms with the idea of utopia and became a socialist realist. In our opinion, this position will need to be rethought. We have included the study and consideration of this problem in the long-term plan. Seifrid T. Andrei Platonov - Uncertainties of sprit. Cambridge University Press, 1992.

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220. Materials in English

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237. List of conditional abbreviations

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240. CHV -Platonov A. Chevengur. M.: Higher School, 1991.* *

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242. The Summer of Dissertation

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

Please note the above scientific texts posted for information purposes and obtained through original dissertation text recognition (OCR). Therefore, they may contain errors associated with imperfect recognition algorithms. There are no such errors in the PDF files of dissertations and abstracts that we deliver.

A.P. Platonov’s novel “Chevengur” was created in 1926-1929, although its historical content is limited to the period 1921-1922. It was first published in 1972. In Russia, the novel was published in 1988.

At the beginning of the novel, one of the provincial towns with dilapidated huts is presented. The drought starved people and forced them to look elsewhere. Zakhar Pavlovich stayed because he could not give up his products.

The driver-mentor believed that steam locomotives are more gentle and defenseless than people. Therefore, he debated for a long time whether to take Zakhar to the depot when he found himself in the city.

Mavra Fetisovna Dvanova, who had 7 children, took the orphan in with her (his father drowned in Lake Mutevo, checking what kind of death she was). The orphan Sasha was first sent to beg, and then Prosha sent him out of the house completely, since Mavra gave birth to twins.

Over time, doubting the preciousness of the cars, Zakhar Pavlovich takes Daria Stepanovna as his wife and asks Proshka to bring Sashka for a ruble. The boy became a student at the depot.

The war has begun. Zakhar was sure that he could come to an agreement with the German. Sasha enrolled in courses. After the revolution they went to look for a party. Zakhar believed that a Bolshevik must have an empty heart in order for everything to fit there. Sasha "believed that the revolution was the end of the world." He was studying at the polytechnic school when the party “sent him to the front of the civil war - to the steppe city of Novokhopersk.” When he returned home, he had to endure difficulties: shelling, dismantled rails. Sasha was driving a steam locomotive for a short section of the road, but it collided with an oncoming one. 40 people died. Upon returning home, Dvanov was ill with typhus, and then told Sonya Mandrova about his dreams during his illness.

The pre-gubernia executive committee, Shumilin, guessed that socialism had already accidentally turned out somewhere. Therefore, Sasha was sent to inspect the provinces. Sonya and her friends were sent along with the Red Army detachments as teachers to a village where gangs of illiterate people gathered.

In a ravine in front of the village of Kaverino, Dvanov comes across a detachment that is singing a song about Soviet power. He is wounded in the leg. The leader of the anarchists is Mrachinsky. Nikitka helped Dvanov undress so as not to remove the clothes from the dead man. Since Alexander read the leader’s book - “The Adventures of Modern Agasfer”, he takes him with him to the Limanny farm.

In the village of Voloshino, Sonya Mandrova not only played the role of a teacher, but also helped everyone. The field Bolshevik commander Mrachinsky and Dvanov knocked on the school door. Stepan Kopenkin, who constantly does everything in the name of Rosa Luxemburg, saved Alexander from death. The school watchman was the man whom Stepan arrested for resisting the revolutionary people. At night Dvanov woke up in search of socialism, left and boarded the first train.

When Kopenkin, using his Proletarian Strength, finds Dvanov, he travels with him through the villages.

In one of the villages, citizen Ignatius Moshonkov, who called himself Fyodor Dostoevsky, on the advice of travelers, must complete the construction of socialism. When sharing with the cattle, the only one left is the one who has neither food nor the skill to look after it. Residents must also fight the devastation. Dvanov gets Ryzhov's trotter.

Then Sasha and Stepan end up with the forest warden. And having considered that more grain will be collected from one area than the benefit of the forest, they reach a verdict: cut down the forest. This will open two roads to socialism: space for building cities, free land for peasants. At the meeting of the board of the commune “Friendship of the Poor” in the south of Novoselovsky district, there are many things to do, including a “complication” that does not leave people time for plowing. Dvanov draws for them a design for a monument to the revolution: “A recumbent figure eight means the eternity of time, and a standing two-pointed arrow means the infinity of space.”

On the way, they came across the “Revolutionary Reserve of Comrade Pashintsev named after World Communism. Entrance to friends and death to enemies." Clad in the armor of a knight, he is confident that the purest proletarian will come to him in thousands. Dvanov suggested; “You exchange the village for an estate: give the estate to the peasants, and make a reserve in the village.”

In the Cherna Kalitva settlement there were about 100 “non-red” people, 20 guns, led by Timofey Plotnikov. The blacksmith began to drive away the travelers, because he was offended by the Soviet government because, in his opinion, the land was given away, and now the bread is being taken away to the last grain. There was no government in Chernovka. The men decided that the allocation had been cancelled. Dvanov goes to the city, leaving Kopenkin in charge. Arriving in the city, Alexander thought that there were whites here. The city had a hearty feast: they ate crumpets and meat. He went to see his father. On the way to the party meeting, Shumilin reproaches him for inciting the men to cut down the Bitterman forestry.

Gopner and Fufaev, leaving the city council hall, discussed electric lighting. There was one issue on the agenda - the new economic policy. The secretary of the provincial committee, Molelnikov, “was partly pleased: he imagined the new economic policy as a revolution set forward by gravity.” The electricity in the hall went out for a while. One person was surprised by the name “new economic policy.” In his opinion, this is simply a street word for communism. He himself is called a Chevengurian and explains that there is such a point - an entire district center. “In the old days it was called Chevengur. Aya was, for now, the chairman of the revolutionary committee.” They have the end of the story, since it is not needed there. Dvanov transmits through the Chevengurian. Chepurny (Japanese) a note to Kopenkin, asking him to give his trotter to any poor person, and he himself would move on. In the note he asks Stepan to look into Chevengur, look at socialism and tell him.

Kopenkin in the Chernovsky village council spoke with the peasants about socialism. But one day he left there. On the way, he meets a sleeping man on a horse - Chepurny. Kopenkin goes with him to look at the “facts” of communism and the monument to Rosa Luxemburg. Father Alexey Alekseevich was looking for “cooperation in Chevengur - saving people from poverty and from mutual spiritual cruelty.” Chepurny advised him to read Marx.

The main difference between Chevengur is expressed in the words of the chairman: “It’s good here in Chevengur - we mobilized the sun for eternal work, and dissolved society forever.” Chepurny advised Prokofy not to think, but to formulate his thoughts. Having learned that Prosha has the last name Dvanov, Kopenkin decides to invite Sasha here. People did not work here, as this is a relic of greed. There were only subbotniks to move houses and gardens for a close and friendly life.

Chevengur pedestrian Misha Lui, who carried a letter to Dvanov, proposed making communism a journey. He himself decided not to return to Chevengur, but to go to Petrograd and join the navy there.

Kopenkin accidentally stumbles upon Pashintsev, who is now wandering, since his reserve has been removed. They go with Piyusya to inspect the city. We saw the graves of bourgeois whose souls were also shot. Prokofy tells Chepurny that the second coming must be declared and the city cleared for proletarian settlement. As a result, on Thursday night the bourgeoisie were shot in the cathedral square.

Prokofy concluded: since there is nothing about residual classes in Karl Marx’s book, then they cannot exist. All remaining semi-bourgeois were evicted. Ten people left. Chepurny sends Prokofy to gather the proletariat and others to live in Chevengur. Those who remain go to wash the floors and remove the smell of the bourgeoisie from their houses. The people that Prosha brought were called “fatherless.” He makes a speech to them: “Although the city of Chevengur is given to you, it is not for the predation of the impoverished, but for the benefit of all the conquered property and the organization of a wide fraternal family for the sake of the integrity of the city.” Afterwards, various papers were sorted out at the meeting. One “other old man” advised holding meetings at night so as not to miss a living person during the day. They also decided to redevelop and improve Chevengur.

Pashintsev liked it in Chevengur, “he lived here to accumulate strength and gather a detachment in order to later raid his reserve and take the revolution away from the general organizers sent there.” The Chevengurs ate “raw fruits of nature.” One woman's child cried, then he died. Chepurny, through the power of socialism, wanted to force him to live another minute so that his mother could remember him that way. But nothing worked out for him.

Gopner and Sasha Dvanov came to the city. Gopner decided that there was no point in living here, since there was no craft for a working person. Yakov Titych advises going for wives for the people. Sasha forgives I ask Dva-nova for the past. Prokofy invites Sasha to organize a family and make one courtyard out of the entire city. Chepurny advises recruiting women to be slightly different from men. Dvanov told Gopner: Dyudi is not a mechanism, so you can’t get them settled “until they get settled themselves.” Chepurny began to think about the international in order to settle the oppressed in Chevengur. Yakov Titych sits at home alone with a cockroach and does not go out to people. Gopner suggests turning the mill to make fire.

To Kopenkin’s question, Dvanov replies that there really is communism here. Everyone starts working for others. Gopner and Dvanov are repairing the old man's roof. Kopenkin draws a portrait of Rosa Luxemburg for Dvanov. Pashintsev cuts wood for the winter in advance. Dvanov and Piyusya are building a dam on the Cheven-Gurka River to prevent water from flowing past people. Gopner still manages to get fire using a water pump. Two gypsy women came to be hired as wives. Karchuk, it turned out, does not need women, but only the friendship of his comrades. Simon Serbinov recently returned to Moscow “from surveying socialist construction in the distant open plains of the Soviet country.” For four months he helped the local Bolsheviks “strike the life of a peasant from its yard roots.” On the tram he met a young woman, after whom he jumped out of the tram a little later. She suggested we meet sometime. While on the party committee, Simon received a business trip to a distant province: “to investigate the fact that the area under cultivation has been reduced by 20 percent.”

Serbinov had a diary where he wrote down his thoughts and curses: “Man is not meaning, but a body full of passionate tendons, gorges with blood, hills, holes, pleasures and oblivion.” He took a sheet as a memory of Sonya, which he used to wipe himself after washing. She asks him to say hi to a loved one who will meet him in that region. Simon comes to her again. Then he takes her to his mother's grave.

Kopenkin plowed on Proletarian Power for Dvanov’s future happiness. The Chevengurs decided to keep the fire going. Serbinov arrived in the city. He noted in the protocol that the sown area increased even by 1%. Then Simon wrote a letter to Sophia saying that he had met the man from her portrait. Dvanov came up with the idea of turning sunlight into electricity. Chevengurs, in their opinion, work not for benefit, but for each other. Simon decided to stay in the city and wrote a report to the provincial committee.

Prokofy arrived in a phaeton with a naked music player, and behind him walked barefoot women, about 10 people. The next day there was a review, but since there were few women, they chose. Klavdyusha reports to Prosha about the money she received for things. The money itself is kept by the aunt.

Chepurny made a clay monument to Prokofy, and now he will build one for Karchuk. Prosha decided to take over the city. To do this, he first goes to describe the property that he will later get. The city is attacked by enemies at night. Many died. Kopenkin also died. Dvanov leaves for the steppe on Proletarian Power. He's passing by native village, which now had prosperity. Near Lake Mutevo, the horse caught on his fishing rod, forgotten here in childhood. Sasha got off the saddle and walked along the road where his father had once gone. Proletarian Power returned to Chevengur. Karchuk brought a passing man, Zakhar Pavlovich, who came for Dvanov. Proshka, having cried, now agreed to bring Sashka for free.

Platonov's novel is considered a genuine folk epic. In it, the writer showed the “multi-structure” of Russia during the transition period from war communism to the new economic policy. Critics suggest that "Chevengur" may mean "grave of bast shoes." And it turns out that this is a symbol of the original Russian truth-seeking. The grave is also a kind of end to the story. Such social constructions in the country caused the writer fundamental fears for the fate of the people, the new society and its culture.

We invite you to get acquainted with one of the most famous works of Andrei Platonovich Platonov. We are talking about a socio-philosophical novel, in the first edition entitled “Builders of Spring”. Today this work is known as "Chevengur". In 1928 Platonov completed "Chevengur". A summary of this novel is presented in our article. Some researchers believe that this work can be included in the “philosophical trilogy”, which includes, in addition to it, the stories “Dzhan” and “The Pit”.

"Chevengur" begins with the story that every 5 years people had to leave villages for cities or forests due to crop failure. At this time, Zakhar Pavlovich remained alone in the village. Many products passed through his hands for his long life- from the frying pan to the alarm clock. However, the hero himself had nothing: no home, no family. One night, Zakhar Pavlovich heard the distant whistle of a steam locomotive. The next morning he went to the city.

Service in the locomotive depot became new page in the life of Zakhar Pavlovich. The artful world, which he had long loved, became open to him again. The hero decided to stay in this world forever.

Dvanov family

Let's move on to getting to know the Dvanov family, describing a brief summary. "Chevengur" by Platonov is a work in which some of its members play an important role. In total, 16 children were born in this family, of which only 7 survived. The eighth child was adopted Sasha. His father, a fisherman, drowned out of curiosity. He just wanted to find out what happens after death. Adopted Sasha is the same age as Proshka Dvanov. When another twin was born in this family during a hungry year, Dvanov sewed a begging bag for his adopted son and sent him to beg.

Sasha went to the cemetery to say goodbye to his father. The adopted boy decided that he would fill a bag of bread, and then dig himself a dugout near his father’s grave and live in it, since he had no home.

Sasha becomes the son of Zakhar Pavlovich

Let us briefly outline the content of further events in the novel "Chevengur", the plot of which, as you can see, is quite interesting. After some time, Zakhar Pavlovich asks his son, Proshka, to find Sasha. He announces that he is taking the adopted son as his son.

Zakhar Pavlovich loves his adopted son with all the devotion of old age. Sasha is a student at the depot, studying to become a mechanic. He reads a lot in the evenings and then writes, because at the age of 17 he does not want to leave this world unnamed. However, Sasha feels emptiness inside her body. Life comes and goes through this emptiness without stopping. Watching his son, Zakhar Pavlovich advises him not to torment himself, since he is already weak.

Zakhar Pavlovich and Sashka become Bolsheviks

Further, in the work created by Andrei Platonov (“Chevengur”), it is said that after some time a war begins, and then a revolution. One night, gunfire is heard in the city. In the morning, Zakhar Pavlovich and Sashka go to the city to find the most serious party and sign up for it. All parties are housed in one building. Zakhar Pavlovich, choosing best option, walks around the offices. Behind the last door, located at the end of the corridor, only one person sits, since the others have left to rule. Zakhar Pavlovich asks him if everything will end soon. He replies that socialism will come in a year. Zakhar Pavlovich rejoices and asks to sign him and Sashka up for this game. Returning home, he explains to his adopted son how he understands Bolshevism. In his opinion, the Bolshevik has an empty heart, which is why everything can fit into it.

Sashka's departure

Six months pass. Sashka enrolls in railway courses, after which he studies at the polytechnic. However, soon his teaching ceased for a long time. The novel "Chevengur" (summary) continues with the fact that the party sends Alexander Dvanov to the front of the Civil War - to the city of Novokhopersk, located in the steppe. Zakhar Pavlovich sits at the station for days with his son, waiting for a passing train. They have already talked about everything, but not about love. When Alexander leaves, his father returns home and begins to read algebra in sections, not understanding anything. He gradually finds solace in this.

Dvanov in Novokhopersk joins the warring revolution. An order soon arrives from the province for the return of Alexander. Along the road, Dvanov drives the locomotive instead of the runaway driver. The train collides with the oncoming one. It is only by miracle that Sashka remains alive.

Alexander's return home, illness and meeting with Sonya

Dvanov, having traveled a long and difficult journey, finally returns home. The hero immediately falls ill. He is cut off from life for 8 months due to typhus. Desperate, Zakhar Pavlovich makes a coffin for his son. However, Sashka recovers in the summer. In the evenings, their neighbor Sonya, an orphan, comes to see them. Zakhar Pavlovich decides to split the coffin into a firebox. He thinks that now it’s time to make a crib, since Sonya will soon grow up, and then he and Sasha may have children.

Meeting Kopenkin and Chepurny

Alexander, on instructions from the provincial committee, goes to “look for communism” in the province. He ends up with the anarchists, but a small detachment led by Stepan Kopenkin repels him. The reason for Stepan's participation in the revolution is his love for In the village where Dvanov and Kopenkin visit, they find Sonya. It turns out that she teaches children at a local school.

Wandering around the province, Kopenkin and Dvanov meet many people, and each of them represents a new life and its construction in their own way. Alexander meets Chepurny, a man who serves as chairman of the revolutionary committee in the city of Chevengur. Dvanov likes the word "Chevengur". It reminds this hero of the enticing roar of an unknown country. Chepurny speaks of Chevengur as a place where the accuracy of truth, the goodness of life, and the sorrow of existence happen as needed, by themselves. Although Alexander dreams of returning home to continue his studies at the polytechnic, he is fascinated by stories about the socialism of Chevengur. He decides to go to this city, the description of which continues in the summary.

Chevengur

The city wakes up late, as its inhabitants take a break from centuries-long oppression. The revolution conquered Chevengur's dreams and made the soul the main profession in the city. Kopenkin, having locked Proletarian Strength (that’s his horse’s name) in a barn, walks through the city. He meets people who are alien in appearance, pale in appearance. Kopenkin asks Chepurny what these people are doing during the day. He replies that the main profession is the human soul, and its product is camaraderie and friendship. Kopenkin offers to organize a little grief so that things in Chevengur are not very good. He believes that to be in good taste, communism should be caustic.

The heroes appoint a special commission tasked with compiling lists of the bourgeoisie who survived the revolution. These bourgeois are shot by security officers. After the execution, Chepurny rejoices that there is now peace.

After the massacre, Kopenkin still does not feel the communism that Chevengur is so proud of. The summary of the chapters continues with the fact that the security officers begin to identify the semi-bourgeois from whom life should be freed. They are gathered into a crowd and then driven out into the steppe. The proletarians who remained in the city, as well as those who arrived at the call of the communists, soon eat up the remnants of food that belonged to the bourgeoisie. They destroy all the chickens in Chevengur, after which they feed on plant foods in the steppe. Chepurny expects that final happiness will develop by itself, since the happiness of life is a necessity and a fact. Only Kopenkin walks around the city in sadness. He is waiting for Alexander's arrival and his assessment of the communism built in Chevengur.

Useless inventions

Next, you should talk about two inventions, describing a brief summary. “Chevengur” continues with Dvanov arriving, but he does not see new life outside: probably communism has hidden itself in people. Alexander guesses why the Chevengurian Bolsheviks so desire this system: communism is the end of time, the end of history. Only in nature time passes, but in man there is melancholy. Alexander invents a special device with which you can turn sunlight into electricity. To do this, mirrors are removed from all frames in the city, and all glass is collected. However, this device does not work. They build a tower and light a fire on it so that it will show the way to those wandering in the steppe. However, no one comes to the light of the beacon.

Check, arrival of women

Comrade Serbinov comes from Moscow to check the activities of the Chevengurians. He notes that their works are useless. In justification, Chepurny says that they work for each other, and not for benefit. Serbinov writes in his report that there are many happy things in the city, but at the same time useless.

Women are brought to Chevengur to continue their lives. Young residents of the city only warm themselves with them, as if with their mothers, since autumn has already arrived and the air is completely cold.

News about the fate of Sophia

Serbinov tells Alexander how he met Sofia Alexandrovna in Moscow. This is the same Sonya that Dvanov remembered before Chevengur. The girl now lives in Moscow, works in a factory. Serbinov reports that Sophia remembers Alexander as an idea. Serbinov himself does not say that he loves this girl.

Cossacks occupy the city, Dvanov's departure

A man comes running into the city and says that Cossacks on horseback are heading to Chevengur. A battle begins, in which Serbinov dies, thinking about Sofya Alexandrovna. Chepurny also dies, like other Bolsheviks. The Cossacks occupy the city.

Alexander remains in the steppe near Kopenkin, who is dying. When he dies, Alexander boards the Proletarian Power and rides away from the city, into the open steppe. Dvanov travels for a long time. He passes the village where he was once born. The hero arrives at the lake where his father once died. He notices a fishing rod that he had forgotten as a child on the shore. Dvanov forces the horse to go chest-deep into the water, after which he gets off the saddle in search of the road along which his father once walked.

Final

Zakhar Pavlovich arrives in Chevengur. He is looking for Alexander. There are no people in the city, only a crying Proshka sits near a brick house. Zakhar Pavlovich asks him to bring him Sashka for money, but Prokofy promises to do it for nothing and goes to look for Dvanov.

This concludes the summary. "Chevengur" is a work first published in the USSR only in 1988. Today, finally, we have the opportunity to get acquainted with the work of the wonderful writer Andrei Platonovich Platonov. One of his best works is the novel "Chevengur". Reading the summary is not as interesting as reading the original of this novel. Of course, Andrei Platonov - outstanding artist words.