And Plato's military stories read in full. The artistic world of the stories of Andrey Platonovich Platonov

• Fiction: Online Collection of Works

• Russian Literary Network: Platonov Andrey Platonovich

• Fiction: Online Collection of Works

• Fiction: Online Collection of Works

Mikheev M.Yu. In the world of Platonov - through his language. Assumptions, facts, interpretations, conjectures
Platonov created in his works, in fact, something like a religion of the new time, trying to resist both the traditional forms of religious worship and the fusion of heterogeneous mythologies that formed within the framework of socialist realism.

Lyuty V. On the language of Andrey Platonov

Tarasov A.B. "Third Kingdom" as an attempt to model the world of "new" righteousness: A. Platonov and M. Tsvetaeva

Surikov V. Free thing Andrey Platonov
About the works "Chevengur", "Pit".
“It’s a little disgusting, but then it will be good ... Who doesn’t know this simplest deception, an elementary exchange of mental suffering for spiritual comfort, every second in the myriad of human thoughts and actions that is happening? Who knows how unbearably difficult it is to resist him in everyday, insignificant without being tempted by the availability of peace? Isn't it through this exchange in every action, in every thought, that a shaky, elusive line between good and evil passes? Is it not here that the danger of a mass “temptation” lurks when some super-idea teasing with universal happiness combines these elementary movements into a mad leap?
Andrey Platonov found himself in a different role - as a doubting participant in the events, who did not want, did not allow himself to step aside and desperately rushed into the thick of things, into the hottest and most dangerous place.
“You can’t go here, here is the abyss, here is unprecedented bloody suffering, here is brutality, you can only get out of here on four paws.” It was necessary not to say all this, but to shout out to cut across the enraged, breaking off the leash common sense ideas.
What was required was no longer dissent and code of action.

Ordynskaya I.N. "Chevengur" by Andrey Platonov - a symbol of love for his people
This is a very thankless task - to write the truth about your time, as a rule, no one is forgiven for such attempts, especially talented writers, whose works themselves seem to begin to live. After all, destroying a book is often more difficult than real person. And the images fiction they are often completely immortal.

About the novel "Chevengur"
Whole line terrible victims brought by the commune for the sake of multiplying the “substance of existence”, the “substance of life”, which is repeatedly mentioned in the novel, which is key concept novel.

Joseph Brodsky. Afterword to "The Pit" by A. Platonov
“In our time, it is not customary to consider a writer outside a social context, and Platonov would be the most suitable object for such an analysis, if what he does with the language did not go far beyond that utopia (building socialism in Russia), a witness and chronicler which he appears in The Pit.

About the works "Epifan Gateways", "Ethereal Path", "City of Gradov"

Barsht K.A. Truth in a round and liquid form. Henri Bergson in Andrey Platonov's "Pit" // Questions of Philosophy. - 2007. - No. 4. - P. 144-157.
The idea that A. Platonov's "Pit" describes shock socialist construction is not so indisputable. The construction theme only covers in the form of packaging material what is hidden inside - a philosophical mystery full of tension.

Olga Meerson. Non-elimination of Andrey Platonov danger and force of inertia of perception
Review of a collection of two special issues of Essays in Poetics, which published materials from a conference on the study of Plato's creative heritage, held in 2001 in Oxford.

Loginov V. "Happy Moscow" by A. Platonov from the point of view of an inexperienced computer user

Henrik Chlystowski. Afterword to the translation of "Happy Moscow" by Andrey Platonov
“What kind of world is created in the works of Platonov? This world (especially in Happy Moscow) is completely devoid of history, memory and religion, a world that wants to build everything anew, but deprived of the main foundation is forced to run away all the time into the future, into delirious unrealizable fantasies, and place its hopes there. This future is beautiful, wonderful and problem-free, but you need to get to it somehow, break through the inertia of matter and human vices.”

Bulygin A., Gushchin A. "Foreign space". Anthroponymy of "Pit" (fragment)

Pin L.A. Andrey Platonovich Platonov. "Revolution like a locomotive"

Gracheva E. "Inspiration": Unfilmed film by Andrey Platonov
For Platonov, this was very important. He had just begun to recover from the most severe pogrom, which the Rappovites arranged for his “poor chronicle” “For the future” (“Krasnaya Nov”, 1931, No. 9). Stalin himself decorated the margins of the chronicle with the notes "Bastard!" and “Scoundrel!”, Fadeev, frightened, declared that Platonov was “a kulak agent of the latest formation,” and off we go ...

Andrei Platonovich Platonov began to write very early, but during his lifetime his works were published very rarely. He lived at a turning point in the history of Russia, and his work reflects the first decades of the life of the people after the revolution.

In 1927, fame came to the writer after his book " Epiphany locks", and already next year he publishes two more books, is actively published in magazines, his numerous satirical stories. And those works that revealed the destructive power of bureaucracy in that society were never published.

Themes of Platonov's stories

His novel " Chevergun» was not accepted for publication due to censorship, and famous work « foundation pit' has also not been published. All that was then allowed to be printed was derogatory criticism of his stories and novels.

Andrei Platonovich wrote about many things: about the Great Patriotic War, about the labor of peasants and workers, about the intelligentsia, about science and sports, about the personality of a person and his freedom. This topic is especially acutely revealed in his work of the 30s. In his stories, Fro" And " Potudan River”he raises the themes of true human freedom and a sense of full, albeit fleeting happiness. Also in his work, he touched on current social topics that concerned the leadership, the power of the country and the system that dominates it.

Story " Through the midnight sky» is dedicated specifically to the danger of the idea of ​​National Socialism, and to what such ideas turn into in life ordinary people. The theme of the war is revealed in the story " On the grave of Russian soldiers”, in which Andrei Platonovich tries to describe all the cruelty and atrocity that the Russian people underwent during the time of fascism. Platonov boldly expressed his opinion about Stalin's rule with this story, while not directly naming him, and thereby aroused the anger of the ruler. Platonov's works were banned, they were not published, they were not allowed to be read, like many other writers.

Platonov's language

Platonov, according to the great poet Joseph Brodsky, tested the strength of the Russian language. Brought him to the limit. Platonov's language, so unusual for simple eye, there is not just literary style. Platonov's language is a separate world where his own unique person is created. This man is unique in that he possesses those properties that would hardly be useful to him if he lived in our world.

Platonov - writer-philosopher

And despite the seriousness of the topics that the talented and insightful Platonov raised in his works, he did not forget to write about the most important things in a person’s life - about simple, momentary happiness, about justice and honor, about the problem of the meaning of life and its search, about finding the hero of Platonic peace for the soul and harmony for the heart. One of these stories is flower on the ground”, which tells about a little bored Athos, who stayed at home with his grandfather. Platonov's symbolism is simple and clear, his allegories evoke an instant understanding of what is happening, and the bright and realistic mood of the story reveals a deep intention with captivating simplicity. Platonov speaks about the harmony of life in an almost childish, sincere language, he shows happiness through the eyes of a small, innocent child.

That's why short stories Platonic is just as saturated deep meaning and philosophical idea, like long, serious novels. Platonov, with his inherent skill, reveals a variety of topics in his works, while speaking about them in a simple and accessible language. That is why many have called and continue to call this talented writer a philosopher.

Need help with your studies?

A story about the war to read in primary school. A story about the Great Patriotic War for junior schoolchildren.

Andrey Platonov. little soldier

Not far from the front line, inside the surviving railway station, the Red Army men who fell asleep on the floor were sweetly snoring; the happiness of rest was imprinted on their weary faces.

On the second track, the boiler of the hot steam locomotive on duty hissed softly, as if singing a monotonous, soothing voice from a long-abandoned house. But in one corner of the station building, where a kerosene lamp burned, people occasionally whispered soothing words to each other, and then they fell into silence.

There stood two majors, similar to each other not outward signs, But general kindness wrinkled tanned faces; each of them held the boy's hand in his hand, and the child looked imploringly at the commanders. The child did not let go of the hand of one major, then clinging his face to it, and carefully tried to free himself from the hand of the other. The child looked about ten years old, and he was dressed like an experienced fighter - in a gray overcoat, worn and pressed against his body, in a cap and in boots, sewn, apparently, to measure for a child's foot. His small face, thin, weathered, but not emaciated, adapted and already accustomed to life, was now turned to one major; the bright eyes of the child clearly revealed his sadness, as if they were the living surface of his heart; he longed to be separated from his father or an older friend, who must have been the major to him.

The second major drew the child by the hand to him and caressed him, comforting him, but the boy, without removing his hand, remained indifferent to him. The first major was also saddened, and he whispered to the child that he would soon take him to him and they would meet again for an inseparable life, and now they parted for a short time. The boy believed him, however, the truth itself could not console his heart, attached to only one person and wanting to be with him constantly and near, and not far away. The child already knew what the distance and the time of war are - it is difficult for people from there to return to each other, so he did not want separation, and his heart could not be alone, it was afraid that, left alone, it would die. And in his last request and hope, the boy looked at the major, who should leave him with a stranger.

“Well, Seryozha, goodbye for now,” said the major whom the child loved. “You don’t really try to fight, grow up, then you will.” Do not climb on the German and take care of yourself, so that I can find you alive, whole. Well, what are you, what are you - hold on, soldier!

Serezha cried. The major lifted him into his arms and kissed his face several times. Then the major went with the child to the exit, and the second major also followed them, instructing me to guard the things left behind.

The child returned in the arms of another major; he looked strangely and timidly at the commander, although this major persuaded him with gentle words and attracted him to himself as best he could.

The major, who replaced the departed one, admonished the silent child for a long time, but he, true to one feeling and one person, remained aloof.

Not far from the station, anti-aircraft guns began to hit. The boy listened to their booming dead sounds, and excited interest appeared in his eyes.

"Their scout is coming!" he said quietly, as if to himself. - It goes high, and the anti-aircraft guns will not take it, you need to send a fighter there.

"They'll send," said the major. - They're looking at us.

The train we needed was expected only the next day, and all three of us went to the hostel for the night. There the Major fed the child from his heavily loaded sack. “How tired of him for the war, this bag,” said the major, “and how grateful I am to him!” The boy fell asleep after eating, and Major Bakhichev told me about his fate.

Sergei Labkov was the son of a colonel and a military doctor. His father and mother served in the same regiment, so they took their only son to live with them and grow up in the army. Serezha was now in his tenth year; he took the war and his father's cause close to his heart and already began to understand for real what the war is for. And then one day he heard his father talking in the dugout with one officer and taking care that the Germans, when retreating, would definitely blow up the ammunition of his regiment. The regiment had previously left the German coverage, well, with haste, of course, and left its ammunition depot with the Germans, and now the regiment had to go ahead and return the lost land and its property on it, and the ammunition, too, which was needed. "They've probably run a wire to our warehouse - they know that they will have to move away," the colonel, Serezha's father, said then. Sergey listened attentively and realized what his father cared about. The boy knew the location of the regiment before the retreat, and here he is, small, thin, cunning, crawled at night to our warehouse, cut the explosive closing wire and remained there for another whole day, watching so that the Germans did not fix the damage, and if they did, then so that again cut the wire. Then the colonel drove the Germans out of there, and the entire warehouse passed into his possession.

Soon this little boy made his way further behind enemy lines; there he found out by signs where the command post of the regiment or battalion was, went around three batteries at a distance, remembered everything exactly - his memory was not corrupted in any way - and when he returned home, he showed his father on the map how it is and where it is. The father thought, gave his son to the orderly for inseparable observation of him and opened fire on these points. Everything turned out right, the son gave him the right serifs. He is small, this Seryozhka, the enemy took him for a gopher in the grass: let him, they say, move. And Seryozhka, probably, did not move the grass, walked without a sigh.

The boy also deceived the orderly, or, so to speak, seduced him: since he led him somewhere, and together they killed the German - it is not known which of them - and Sergey found the position.

So he lived in the regiment with his father, mother and soldiers. The mother, seeing such a son, could no longer endure his uncomfortable situation and decided to send him to the rear. But Sergei could no longer leave the army, his character was drawn into the war. And he told that major, father's deputy, Savelyev, who had just left, that he would not go to the rear, but rather hide in captivity to the Germans, learn from them everything that was needed, and again return to his father's unit when his mother get bored. And he would probably do so, because he has a military character.

And then grief happened, and there was no time to send the boy to the rear. His father, a colonel, was seriously wounded, although the battle, they say, was weak, and he died two days later in a field hospital. The mother also fell ill, became tired - she had previously been maimed by two shrapnel wounds, one was in the cavity - and a month after her husband she also died; maybe she still missed her husband ... Sergey was left an orphan.

Major Savelyev took command of the regiment, he took the boy to him and became him instead of his father and mother, instead of relatives - the whole person. The boy answered him, too, with all his heart.

- And I'm not from their part, I'm from another. But I know Volodya Savelyev from a long time ago. And so we met here with him at the headquarters of the front. Volodya was sent to refresher courses, and I was there on another matter, and now I'm going back to my unit. Volodya Savelyev told me to take care of the boy until he comes back ... And when else will Volodya return and where will he be sent! Well, you'll see it there...

Major Bakhichev dozed off and fell asleep. Seryozha Labkov snored in his sleep like an adult, an elderly person, and his face, now moving away from sorrow and memories, became calm and innocently happy, showing the image of a holy childhood, from where the war had taken him away. I also fell asleep, taking advantage of unnecessary time so that it would not pass in vain.

We woke up at dusk, at the very end of a long June day. There were now two of us in three beds—Major Bakhichev and I—but Seryozha Labkov was not there. The major was worried, but then he decided that the boy had gone somewhere for a short time. Later, we went with him to the station and visited the military commandant, but no one noticed the little soldier in the rear of the war.

The next morning, Seryozha Labkov also did not return to us, and God knows where he went, tormented by the feeling of his baby heart to the person who left him - maybe after him, maybe back to his father's regiment, where the graves of his father and mother were.

Municipal educational institution

average comprehensive school №56

Essay

Art world short stories by Andrey Platonovich Platonov

Completed by: Mitkina Elena,

student 8 "B" class

Checked by: Revnivtseva O.V.

Industrial 2010

Introduction

The main part of "The Artistic World of A. Platonov's Stories"

Conclusion

Bibliography

Introduction

The proposed work is devoted to the artistic world of Andrey Platonov's stories. It is worth noting that it is only an attempt to analyze some of the artistic features of several stories of the writer that most interested the author, namely: “The Return”, “In a Beautiful and Furious World”, “Fro”, “Yushka”, “Cow”. The named topic was not called by chance. In addition to the fact that Platonov's stories themselves, their form and content are very unusual and interesting for analysis, there are several more reasons for choosing a topic for research.

Firstly, this topic appears to be quite complex and debatable. Researchers of the writer's work evaluate his works in different ways, they are not easy to study.

Secondly, the study of the artistic world of A. Platonov is still topical issue domestic literary criticism, because most of his works have become available to the reader only in the last 20 years. The relevance of the problems raised by the writer in his stories is also undoubted - these are the so-called "eternal" problems.

The purpose of the work is to analyze the artistic world of the above stories by A. Platonov.

Identify the main problems of the writer's stories;

Describe the most striking artistic features of these works.

In preparing the work was used various literature: both school textbooks and individual articles on the work of A. Platonov, published in various periodicals.

The main part of "The Artistic World of A. Platonov's Stories"

Books should be written - each as the only one, leaving no hope in the reader that the author will write a new, future book better! (A. Platonov)

Andrey Platonov strove to materialize in stories spiritual concepts, the saving value of which was never questioned; form for works of art he used to preach a few, basic, indisputable truths that have accompanied man since ancient times in his difficult historical path - truths constantly refreshed by history and human destinies.

Platonov's prose touched on the innermost feelings and thoughts of a person, those that a person inevitably reaches on his own in formidable circumstances and which serve him at the same time as a consolation in fate, and hope, and the right to do just this, and not otherwise.

Surprisingly, though laconic, he describes nature. Of the natural elements, Andrey Platonovich loved a shower thunderstorm, lightning flashing like a dagger in the darkness, accompanied by powerful peals of thunder. He presented classic examples of rebellious landscape painting in the story "In a beautiful and furious world." After a purifying downpour storm, in a rage washing away the barren ashes of dust from trees, grasses, roads and church domes, the world appeared renewed, solemn and majestic, as if the best of the light lost from creation was returning to it anew. In terms of figurative plasticity and emotional intensity in Platonov's prose, it is difficult to find other pictures of nature that would surpass his own descriptions of a thunderstorm. Blades of lightning that sting the darkness with lightning rifts floating on the darkness - a state that corresponds to the inner way of the writer, his understanding historical process purged of filth in the furious moments of reality, in which evil is exterminated and the accumulation of good in the world increases.

One of the most important problems for the writer is the family, the hearth, children in the family. When in 1943 Platonov returned to his native land, the city met him with ruins, burning and ashes of home fires. Standing in his native ashes, Andrey Platonovich thought about the people and the Motherland, which begin with mother and child, the dearest creatures, from the hearth, "the sacred place of man", from love and fidelity in the family - without them there is neither man nor soldier . “The people and the state for the sake of their salvation, for the sake of military power should constantly take care of the family, as the initial focus national culture, primary source military force, - about the family and everything that materially holds it together: about the family's home, about the native material place. This is not trifles, but very gentle - material objects can be sacred, and then they nourish and excite the spirit of man. I remember my grandfather's coat, kept in our family for eighty years; my grandfather was a Nikolaev soldier who died in the war, and I touched and even sniffed his old coat, passing with pleasure to my vivid imagination of a heroic grandfather. It is possible that this heirloom was one of the reasons I became a soldier. Small, imperceptible reasons can excite a great spirit. (“Reflection of an Officer”) The same thoughts are developed in many other stories by A. Platonov: they can be caught in works as different at first glance as “Return”, “Cow”, “Yushka” and many others. The same thought about the value of the family hearth, about its priority over all personal ambitions, about the “sanctity” of childhood and the great responsibility of the father for the fate of his children, sounds in the finale of the story “Return”, when main character, Ivanov, sees his son and daughter running after the train on which he is leaving: “Ivanov closed his eyes, not wanting to see and feel the pain of the fallen, exhausted children, and he himself felt how hot it became in his chest, as if his heart was enclosed and languishing in him, beat long and in vain all his life, and only now it broke free, filling his whole being with warmth and shudder. He suddenly learned everything that he knew before, much more accurately and more effectively. Previously, he felt another life through the barrier of self-love and self-interest, and now he suddenly touched it with a bare heart.

From the family a person goes into a work team - the school of fidelity and love is enriched here - through true culture labor - a sense of duty and honor. “In our country, the link in the upbringing of a person was a strong point, and this is one of the reasons for the courage and stamina of our wars. Finally, society - family, political, industrial and other ties based on friendship, sympathy, interests, views; and beyond the society is the ocean of the people, the "common paternity", the concept of which is sacred to us, because from here our service begins. The soldier serves only the whole people, but not part of it - neither himself nor his family, and the soldier dies for the incorruptibility of all his people.

“In them, in these links, in their good action,” Platonov believed, “the secret of the immortality of the people is hidden, that is, the strength of its invincibility, its resistance against death, against evil and decay.”

“A working person seeks and necessarily finds a way out not only of his fate, but also the fate of peoples, the state ... A working person always has “secret” reserves and means of the spirit to save life from extermination” (A. Platonov) Like no other writer, perhaps , Platonov reveals the theme of the work of a working person - it is present, perhaps, in all the stories we study.

His creative manner based on many features, of which it is important to note such as the symbolism of images, descriptions, entire plot scenes; the predominance of dialogues and monologues-thoughts of the characters over the action (since the true action of Platonov's works is in the search for meaning human existence); roughness, “irregularity” of the language, special simplifications characteristic of folk speech - it seems that the word is, as it were, born anew by painful labor common man. As an example, quotes from any story can be cited, for example, “In a beautiful and furious world”: “the work of a thunderstorm”, “got bored of me like a fool”, “sat down in a chair tired”, “the feeling of the car was bliss” and many , a lot others. Or from the story “The Cow”: “so that everyone ... would benefit from me and be good”, “give strength to milk and work”, etc. Platonov's prose is replete with neologisms, clericalism, and various "official" turns. Back in the 1920s and 1930s, many people spoke about the strange pathos of the writer’s letter – about heroes, unexpected, broken endings, about the impossibility of retelling the work based on the logic of the events reflected in it, without relying on the logic of the characters. These features still amaze readers today.

Undoubtedly, the powerful artistic gift of the writer is admirable - the density of the narrative, the universality of generalization at the level of one phrase of the text, the colossal freedom in the linguistic element of the Russian language, capable of expressing even the painful dumbness of the world and man.

Perhaps none of the writers of the 20th century have drawn the tragic and comic traditions of national culture into such an indissoluble unity as Platonov's. Humor sparkles in the dialogues of his characters vernacular. This humor digests the global worldview systems of the 20th century, turning them into waste slag. Platonov's hero can "play the fool", while asking, first of all, A New Look under familiar objects and phenomena.

Humor is in the language itself, in the combination of its completely different lexical and syntactic layers: high and low, everyday and journalistic or clerical style. The heroes of Platonov are afraid to speak, because as soon as they break the more natural silence for them, they immediately fall into the element of a clownish tale, grotesque, inversion and absurdity, confusion of causes and effects. The imposition of the comic of plot on the comic of language produces a double effect. We are not only funny and sorry, but more often we are scared, it hurts from this logic, which expresses the absurdity that is happening, the fantastic nature of life itself.

Plato's narrative is practically devoid of the metaphorical nature of the "traditional" style of comparison. Platonov, rather, uses the technique of "demetaphorization" and metonymic constructions. Each of the units of the text is built according to the laws of the whole, as if from a super-sense. This integrity is achieved in different ways. For example, the connection of semantically incompatible units, the transfer of the syncretism of the hero's perception, when concrete-material and abstract merge in his mind. Platonov's favorite syntactic construction - complex sentence with excessive use of unions "because", "to", "because", "in order", fixing the causes, goals, conditions of the image of the world that is created in the mind of the hero. (“When she was sitting, the watchman cried for her and went to the authorities to ask to be released, and she lived before her arrest with one lover who told her ... about his fraud, and then got scared and wanted to destroy her so that there would be no witness to him ." ("Fro")

More than once attempts have been made to define the style and language of Plato's works. He was called a realist, socialist realist, surrealist, postmodernist, utopian and anti-utopian... Indeed, in the world recreated in Platonov's work, one can find features of the most different styles, poetics, ideological systems. The structure of each unit of the narrative and the text as a whole is subject to a double task: firstly, to give concrete manifestations existing world(real story plan), secondly, to express what should be (ideal plan). And the artist creates before us new space"beautiful and furious world" that does not need someone else's intervention, many-sided, semi-precious. Therefore, the language, the word of Platonov, is the same semi-precious, living element, as if not knowing the filters of “cultivation”, “normativity”. It is not surprising that his prose is so difficult and slow to read. We stop before Platonov’s phrase: it seems wrong, we feel the viscosity in it, the originality of each word, living its own life, peering into the world around and forcing us, readers, to “skip the phrase”, and to look through and solve it, it is unusually controlled and connect words, parts of sentences. We sometimes want to correct a phrase or forget it: the compression of meaning is such that metaphors arise in our minds as physiological or psychological reactions - pain, pity, compassion for the whole world, for all life in its little things and details.

Let us dwell on the most striking, in our opinion, problems raised in the stories we have studied.

One of the most striking manifestations of love for one's neighbor in Platonov's literature is expressed in the depiction of the adoption (adoption) of other people's children. The heroes of his stories are lonely, and their own lives are long-suffering.

Efim Dmitrievich, nicknamed Yushka (from story of the same name), is also single, and we don't know if he ever had a family. His adopted daughter is an orphan. “I was an orphan, and Efim Dmitrievich placed me, a little one, in a family in Moscow, then sent me to a school with a boarding house ... Every year he came to see me and brought money for the whole year so that I could live and study.”

Yushka saved this money, denying himself literally everything. “He worked in the forge ... as an assistant to the chief blacksmith ... lived in the apartment of the owner of the forge ... The owner fed him bread, porridge and cabbage soup for work, and Yushka had his own tea, sugar and clothes; he had to buy them with his salary - seven rubles and sixty kopecks a month. But Yushka didn’t drink tea and didn’t buy sugar, he drank water, and wore the same clothes for many years without changing ... ".

At this price, Yushka got the money, which he completely gave away so that his adopted daughter “lived and studied”, whom he saw only once a year, covering a long distance on foot. Yushka adopted the girl, because he could not imagine life otherwise than love and mutual assistance. Therefore, when the children mocked him, he rejoiced. “He knew why the children laugh at him and torment him. He believed that children love him, that they need him, only they do not know how to love a person and do not know what to do for love, and therefore lose him.

When adults, taking out their grief and resentment on him, beat him, he lay in the dust on the road for a long time, and when he woke up, he said: “The people love me!” When the blacksmith’s daughter, having seen enough of his misadventures, said: “It would be better if you died, Yushka ... Why do you live?”, “Yushka looked at her with surprise. He didn't understand why he should die when he was born to live."

All living things must live. A person is born in order to live by helping others to live. Such is the life philosophy of Yushka, which he expressed by his existence. Therefore, Yushka adopted the orphan, and gave all his money to her upbringing and education so that she would live. Therefore, Yushka loved nature so much.

“Having gone far away, where it was completely deserted, Yushka did not hide his love for living beings. He bowed to the ground and kissed the flowers, trying not to breathe on them, so that they would not be spoiled by his breath, he stroked the bark on the trees and picked up butterflies and beetles that had fallen dead from the path, and peered into their faces for a long time, feeling himself without them. orphaned. But living birds sang in the sky, dragonflies, beetles and hard-working grasshoppers made cheerful sounds in the grass, and therefore Yushka's soul was light, the sweet air of flowers, smelling of moisture and sunlight, entered his chest.

Motherland, native forest, native lake, native person... For Yushka, everything living was dear and necessary. Necessary for the life of a little girl - an orphan, a little grasshopper, a little flower, because they are all together and there is life, and they all cannot live without each other. Therefore, she herself, being a part of that life, was needed for others.

“I was put to live by my parents, I was born according to the law, the whole world needs me, just like you, without me, too, it means it’s impossible ... we are all equal.”

Yushka's adoption of someone else's child is an involvement in all living things, a mutual self-affirmation with small creatures: "The whole world needs me too."

If you pay attention to the adopted daughter of Yushka in the story, you can see how the influence of adoption on her fate is reflected.

Direction of the whole later life female doctor is determined thanks to her adoptive father. “She knew what Yushka was sick with, and now she herself graduated as a doctor and came here to treat the one who loved her more than anything in the world and whom she herself loved with all the warmth and light of her heart ...

A lot of time has passed since then.

The girl-doctor remained forever in our city. She began to work in a hospital for consumptives, she went from house to house where there were tuberculosis patients, and she did not take payment from anyone for her work.

It is interesting to dwell on some of the features and problems of the story "In a beautiful and furious world."

Its main character is the machinist Maltsev, a talented craftsman. The author tells us the story of how the young machinist could not even come close to the perfect art of driving a machine that Maltsev possessed. In this case, the contrast emphasizes not only the virtuosity of the machine control. Maltsev is truly in love with the car and therefore does not believe that someone can also love and feel it as he does. "He led the line-up with the courageous confidence of a great master, with the concentration of an inspired artist who absorbed the entire external world into his inner experience and therefore dominated it." Maltsev, as it were, merges with the living organism, as the locomotive appears to him. He's like a professional musician who doesn't need to see the notes to play. Maltsev feels the car with his whole body, feels her breath. But not only the car. The hero feels and sees not only the locomotive, but also the forest, air, birds and much more. Maltsev feels the very world that includes himself, and nature, and the car. It is on this occasion that the phrase of the writer about the “beautiful and furious world”, in which the master virtuoso reigns, sounds. But Maltsev, having lost his sight, does not leave the locomotive.

But why doesn't the investigator understand Maltsev? Is this person really blind?

The figure of the investigator and his fatal mistake are introduced by the writer into the plot in order to show how much the consciousness of an ordinary person, called to decide the fate of people, is unable to perceive the special feelings and sensations that the hero experiences. So, is Maltsev blind? In a conversation between the driver and the hero-narrator, our attention is immediately captured by the phrase: “I didn’t know that I was blind ... When I drive, I always see the light ...” This seems strange, since we know about Maltsev’s powers of observation, about his special and sharp vision. But it turns out that the hero is immersed in own world where only he, the car and nature exist, where there are no traffic lights, assistant, stoker. Is it possible to explain this to the investigator? We see that the old machinist lives in his own world, almost inaccessible to others, into which he does not even let his assistant.

Here another face of the world appears, which is rarely portrayed by writers in general, and especially by romantic poets of the 19th century. Nature always seemed beautiful, unattainably ideal, especially when writers compared it with the world of people. And in what relation are these worlds in Platonov? Is it only the natural world in the story that is beautiful and ideal? Of course not. Nature appears as a beautiful element, which is hostile to man in spirit and content. Especially one who has the gift to resist it. The Platonic hero struggles with the elements of nature and the element of his own squalor. He tries to subdue nature, to regulate it, just as he controls a steam locomotive. But it is the beauty of this struggle, the feeling of being equal to the elements of nature that fills the life and consciousness of the character in the story of Andrei Platonov with content. "I was afraid to leave him alone, as own son, without protection against the action of the sudden and hostile forces of our beautiful and furious world.

Platonov calls the world "beautiful" and "furious". What is behind these definitions in the story? Beautiful - carrying the beauty of nature, the joy of creativity. Furious - striving to prevent a person's power over himself, taking up arms against the most talented.

Many of Platonov's favorite thoughts are reflected in the story "Fro".

Its charm is not only in the "fascination with the feeling of life" of the characters in the story, in the extremely fully developed "self-expression" of its three main characters. All the old, familiar Platonic characters are brought together in the story, combined in a natural, organic setting. Each of them is a fanatic of his “idea”, bringing worship to it to the complete dissolution of character, to one-sidedness. And at the same time, these one-sidedly developed people, far from all-round talent, are extremely close to each other and form a wonderful community.

The old machinist Nefed Stepanovich with his touching hope of being called to the depot. He goes to the hill in the evenings to look at the cars, “live with sympathy and imagination”, and then imitate fatigue, discuss fictitious accidents, and even ... ask Frosya’s daughter for Vaseline to lubricate her supposedly hard-working hands. This game of work, continuation active life allow Platonov to look into the entire previous life of the hero, as well as into his iron chest, where there was always bread, and onions, and a lump of sugar. This life is serious, for real - and work, and tired hands.

Fyodor, Frosya's husband, seems to follow the path of the heroes of the story “In a Beautiful and Furious World”, obsessed with a technical idea. He sped off to Far East set up and put into operation some mysterious electrical machines, thereby limiting both himself and Frosya's ability to reveal all the forces of his nature in love and care for him.

The real center of the whole group, all the paintings - "Assol from Morshansk" - the wife of Fyodor Frosya, with her impatient expectation of happiness in the present, love for her neighbor.

Platonov was not afraid to introduce into the character and behavior of Frosya some motives of Chekhov's story "Darling". Frosya strives to live by imitation of her husband, a fanatic technical ideas, begins to fill her head with “microfarads”, “relay teams”, “contactors”, she sincerely and naively believes that if there is a “third” between her and her husband, say a current resonance diagram, then complete harmony of interests and feelings will reign in the family.

Love is the meaning of life for Fro. With the seeming "narrowness" of her aspirations, petty-bourgeois narrow-mindedness and naivety - the heroine is also afraid of this! - her rare spiritual richness is suddenly revealed. Funny, sad, living almost by the instinct of love, the continuation of the human race, Fro gives rise to an unexpected question: is not love life itself, beating against all obstacles, but still finding an opportunity for endless development?

plot creative writer platons

Conclusion

In conclusion, I would like to formulate the conclusions we have reached. They lie in the fact that, firstly, Platonov's stories are devoted to many "eternal" topics in literature - such as family, children, love, work, conscience, good and evil, nature, relationships between people; secondly, the language and style of the writer's works in general and stories in particular are original and have the features that were discussed in the main part of the work.

Summing up, we can say that the tasks set at the beginning of the work (identify the main problems of the writer's stories; describe the most striking artistic features of these works) have been completed. Thus, the goal of the study was achieved - an attempt was made to analyze some features of the artistic world of A. Platonov's stories.

Bibliography

1) Vasiliev V. "I was advancing .." military prose Andrey Platonov || Literature, 1997, No. 10.

2) Zolotareva I. V., Krysova T. A. Pourochnye developments in literature. Grade 8 - Moscow, 2004.

3) Kutuzov A.G. In the world of literature. Grade 8 - Moscow, 2006.

4) Russian literature of the XX century. Grade 11. Under the general editorship of V. V. Agenosov - Moscow, 1997.

5) Russian literature of the XX century. Grade 11. Edited by V.P. Zhuravlev - Moscow, 2006.

6) Turyanskaya B. I., Kholodkova L. A. Literature in the 8th grade - Moscow, 1999.

7) Turyanskaya B.I. Materials for literature lessons in grade 8 - Moscow, 1995.

Indicating the topic right now to find out about the possibility of obtaining a consultation.