Platonov's stories for children are short. The artistic world of the stories of Andrey Platonovich Platonov

In the harsh years of hard trials that befell the people during the Great Patriotic War, the writer turns to the theme of childhood in order to find and show the most intimate sources in man.

In the stories "Nikita", "Still Mom", "Iron Old Woman", "Flower on the Ground", "Cow", "Little Soldier", "At the Dawn of Misty Youth", "Grandfather-Soldier", "Dry Bread", creating images of children, the writer consistently holds the idea that a person is formed as a social, moral being in early childhood.

“Still Mom” was first published in the magazine “Vozhaty”, 1965, No. 9. “A mother, giving birth to a son, always thinks: are you the one?” Platonov wrote in his notes. Memories of his first teacher A. N. Kulagina acquire in Plato's prose its inherent high symbolic meaning. "Mother" in the world of artistic Platonic prose is a symbol of the soul, feelings, "necessary homeland", "salvation from unconsciousness and oblivion." That is why the "still mother" - the one who introduces the child into the "beautiful and furious" world, teaches to walk along its roads, gives moral guidelines.

The behavior of an adult as a patriot, defender of his homeland, the writer explains by this most important and defining childhood experience. For a small person, the knowledge of the surrounding world turns out to be a difficult process of knowing oneself. In the course of this cognition, the hero must take a certain position in relation to his social environment. The choice of this position is extremely important, since it determines all subsequent human behavior.

Platonov's world of childhood is a special cosmos, entry into which is not allowed to everyone on an equal footing. This world is a prototype big universe, her social portrait, drawing and outline of hopes and great losses. The image of a child in the prose of the 20th century is always deeply symbolic. The image of a child in Platonov's prose is not only symbolic - it is poignantly concrete: it is ourselves, our life, its possibilities and its losses ... truly, "great is the world in childhood ...".

“A child learns to live for a long time,” writes in notebooks Platonov, - he is self-taught, but he is also helped by older people who have already learned to live, to exist. Watching the development of consciousness in a child and his awareness of the surrounding unknown reality is a joy for us.

Platonov is a sensitive and attentive researcher of childhood. Sometimes the very name of the story ("Nikita") is given by the name of the child - the protagonist of the work. In the center of the July Thunderstorm are nine-year-old Natasha and her brother Antoshka.

"The Origin of the Master" before the reader in unforgettable detail pass the childhood, adolescence and youth of Sasha Dvanov, unique children's images in other Platonic stories. Afonya from the story “A Flower on the Earth”, Aydym from the story “Dzhan”, easily remembered, although not named, children from the stories “The Motherland of Electricity”, “Fro”, “Moon Bomb” ...

Each of these children is endowed from birth with precious properties necessary for harmonious physical and spiritual growth: an unconscious sense of the joy of being, greedy curiosity and irrepressible energy, innocence, goodwill, the need to love and act.

“... In youth,” Platonov wrote, “there is always the possibility of the noble greatness of the coming life: if only human society does not mutilate, distort, destroy this gift of nature, inherited by every baby.”

However, not only a special interest in childhood and youth as decisive moments human life, preferred image young hero or frank instructiveness, but also by the very essence of his talent, striving to cover the whole world, as if with a single, unprejudiced and all-pervading look, Platonov is close to the young. It is not for nothing that his first books and The Secret Man (1928) were published by the Young Guard publishing house, and the last lifetime collections Soldier's Heart (1946), The Magic Ring (1950) and others were published by the Children's Literature publishing house.

It would seem that the circumstances of the life of two little poor fellows, Sasha and Proshka Dvanov, who live in a poor peasant family. The only difference is that Sasha is an orphan, adopted in Proshkin's house. But this is enough to gradually form characters that are basically diametrically opposed: the disinterested, honest, recklessly kind and open to all people Sasha and the cunning, predatory, smart, dodgy Proshka

Of course, the point is not that Sasha is an orphan, but that, with the help of good people- Proshkin's mother, but most of all Zakhar Pavlovich - Sasha overcomes his biographical orphanhood, and social orphanhood. "The country of former orphans" called Soviet Russia Platonov in the 30s. As if about Sasha Dvanov, independent, who has known true price bread and human kindness, said, looking back from the forties, Mikhail Prishvin in the story-tale “Ship thicket”: “The time of our national orphanhood is over, and a new person goes down in history with a feeling of selfless love for his mother - his native land - not complete awareness of their cultural world dignity.

Prishvin's thought is organically close to Platonov. Mother - Motherland - Father - Fatherland - family - home - nature - space - earth - this is another series of basic concepts characteristic of Plato's prose. “Mother ... is the closest relative of all people,” we read in one of the writer's articles. What amazingly poignant images of the mother are captured on the pages of his books: Vera and Gulchatai ("Jan"), Lyuba Ivanova ("Return"), the nameless ancient old woman in the "Motherland of Electricity" ... It seems that they embody all the hypostases of motherhood, which yourself and love, and selflessness, and strength, and wisdom, and forgiveness.

The history of the formation of a person as a spiritualized personality is the main theme of A. Platonov's stories, the heroes of which are children. Analyzing the story "Nikita", where the hero of this story, the peasant boy Nikita, overcoming age-related egocentrism with difficulty and difficulty, reveals himself from the side of his kindness, is formed as a "Kind Whale" (under this title, the story was published in the magazine "Murzilka").

The image of the complex process of the transition of a hotel person to life "with everyone and for everyone" is dedicated to A. Platonov's story "Still Mom". The hero of this story, the young Artem, through the image of his mother, learns and comprehends the whole world, joins the great community of people of his homeland.

In the stories "The Iron Old Woman" and "The Flower on the Earth" the same hero - a little man, but under a different name - Egor, Afonya, in the process of knowing the world for the first time encounters good and evil, determines for himself the main life tasks and goals - finally defeat the greatest evil - death ("The Iron Old Woman"), discover the secret of the greatest good - eternal life ("Flower on Earth").

The path to a feat in the name of life on earth, its moral origins and roots are manifested in beautiful story"At the Dawn of Misty Youth", which testifies to the unity of problems and detail in the work of the writer of the war and pre-war years.

On the connections of creativity. A. Platonov with folklore was written by both folklorists and ethnographers, without focusing on the fact that the narrator's thought is aimed primarily at revealing the moral side of the actions of the heroes of the tale. The connection between A. Platonov's creativity and folklore is much deeper and more organic. In a number of stories ("Nikita", "Still Mom", "Ulya", "Fro"). A. Platonov refers to the compositional scheme fairy tale described in the classic work of V. Ya. Propp. A. Platonov does not write fairy tales, but stories, but they are based on archaic genre structures. In that genre originality many stories of A. Platonov, which is explained not only by the stability of genre forms, but also by the peculiarities of the writer's artistic thinking, focused on the analysis and depiction of the root causes and fundamental principles of human existence.

Usually such stylistic means of creation artistic expressiveness, as a metaphor, metonymy, personification are considered as elements of poetics. With regard to a number of works by A. Platonov ("Nikita", "The Iron Old Woman", "Still Mom", "At the Dawn of Misty Youth"), it is impossible to talk about the usual use of these techniques as stylistic devices. The peculiarity of their use by A. Platonov lies in the fact that in the stories, the heroes of which are children, they have become a natural and organic form of perception of the world. It should not be about metaphor, but metaphorization, not about metonymy, but metonymization, not about personification, but about personifying apperception and its varieties. This "style" appears especially clearly in the story "Nikita". The way of cognition and perception of the world through one or another emotionally colored and ethically significant image-concept is almost the norm for the heroes of A. Platonov's works.

So, the hero of the story "Still Mom" ​​"makes" his way into Big world people of their homeland, armed with a single "tool" - the image-concept of their own mother. The hero, metaphorically and metonymically trying it on to all unknown creatures, things and phenomena of the surrounding world, through this image expands his inner world. This is how A. Platonov depicts the first meeting of a person with his homeland, a complex and difficult path of self-knowledge and socialization of a person.

Long ago, in ancient times, an old-looking man lived on our street. He worked in a smithy at the big Moscow road; he worked as an assistant to the chief blacksmith, because he could not see well with his eyes and had little strength in his hands. He carried water, sand, and coal to the smithy; he fanned the forge with fur; he held hot iron on the anvil with tongs while the head blacksmith forged it; They called him Yefim, but all the people called him Yushka. He was short and thin; on his wrinkled face, instead of a mustache and a beard, sparse gray hair grew separately; his eyes were white, like those of a blind man, and there was always moisture in them, like never-ceasing tears.

Yushka lived in the apartment of the owner of the forge, in the kitchen. In the morning he went to the smithy, and in the evening he went back to sleep. The owner fed him bread, cabbage soup and porridge for his work, and Yushka had his own tea, sugar and clothes; he must buy them for his salary - seven rubles and sixty kopecks a month. But Yushka did not drink tea and did not buy sugar, he drank water, and wore clothes long years one and the same without changing: in the summer he went about in trousers and a blouse, black and smoked from work, burned through by sparks, so that in several places his white body could be seen, and barefoot, in the winter he put on over the blouse another short fur coat, from his dead father, and shod his feet in felt boots, which he hemmed in the fall, and wore the same pair every winter all his life.

When Yushka walked down the street to the smithy early in the morning, the old men and women got up and said that Yushka had already gone to work, it was time to get up, and they woke up the young. And in the evening, when Yushka went to sleep, people said that it was time to have dinner and go to bed - out and Yushka had already gone to bed.

And small children, and even those who had become teenagers, when they saw old Yushka quietly wandering, stopped playing in the street, ran after Yushka and shouted:

There Yushka is coming! There Yushka!

Children picked up dry branches, pebbles, rubbish in handfuls from the ground and threw them at Yushka.

Yushka! the children shouted. Are you really Yushka?

The old man did not answer the children and was not offended by them; he walked as quietly as before, and did not cover his face, into which pebbles and earthen rubbish fell.

The children were surprised Yushka that he was alive, but he himself was not angry with them. And they again called out to the old man:

Yushka, are you true or not?

Then the children again threw objects at him from the ground, ran up to him, touched him and pushed him, not understanding why he would not scold them, take a twig and chase them, as all big people do. The children did not know another such person, and they thought - is Yushka really alive? Touching Yushka with their hands or hitting him, they saw that he was hard and alive.

Then the children again pushed Yushka and threw clods of earth at him - let him be angry, since he really lives in the world. But Yushka walked and was silent. Then the children themselves began to get angry at Yushka. It was boring and not good for them to play if Yushka is always silent, does not frighten them and does not chase after them. And they pushed the old man even harder and shouted around him so that he would respond to them with evil and cheer them up. Then they would have run away from him, and in fright, in joy, they would have teased him from afar again and called him to them, then running away to hide in the dusk of the evening, in the canopy of houses, in the thickets of gardens and orchards. But Yushka did not touch them and did not answer them.

When the children completely stopped Yushka or hurt him too much, he told them:

Why are you, my relatives, what are you, little ones! .. You must love me! .. Why do you all need me?

The children did not hear or understand him. They still pushed Yushka and laughed at him. They rejoiced that you can do whatever you want with him, but he does nothing for them.

Yushka was also happy. He knew why the children laughed at him and tormented 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 they torment him.

At home, fathers and mothers reproached the children when they studied poorly or did not obey their parents: “Here you will be the same as Yushka! “Grow up and you’ll walk barefoot in the summer, and in thin felt boots in the winter, and everyone will torment you, and you won’t drink tea with sugar, but only water!”

Adult elderly people, having met Yushka on the street, also sometimes offended him. Grown-up people have had evil grief or resentment, or they were drunk, then their hearts were filled with fierce rage. Seeing Yushka going to the smithy or to the courtyard for the night, an adult said to him:

Why are you so blessed, unlike walking around here? What do you think is so special?

Yushka stopped, listened and was silent in response.

You have no words, what an animal! You live simply and honestly, as I live, but secretly think nothing! Tell me, will you live like this? You will not? Aha! .. Well, okay!

And after the conversation, during which Yushka was silent, the adult was convinced that Yushka was to blame for everything, and immediately beat him. From the meekness of Yushka, an adult man came to bitterness and beat him more than he wanted at first, and in this evil he forgot his grief for a while.

Yushka then lay in the dust on the road for a long time. When he woke up, he got up himself, and sometimes the daughter of the owner of the forge came for him, she raised him and took him away with her.

It would be better if you died, Yushka, - said the master's daughter. - Why do you live? Yushka looked at her in surprise. He did not understand why he should die when he

born to live.

It was my father-mother who gave birth to me, their will was, - answered Yushka, - I can’t die, and I help your father in the forge.

There would be another in your place, what an assistant!

Dasha, people love me! Dasha laughed.

You now have blood on your cheek, and last week your ear was torn off, and you say - the people love you! ..

He loves me without a clue, - said Yushka. - The heart in people is blind.

Their hearts are blind, but their eyes are sighted! Dasha said. - Go faster, eh! They love according to their hearts, but they beat you according to calculation.

By calculation, they are angry with me, it's true, - Yushka agreed. “They don’t tell me to walk the street and mutilate my body.

Oh, Yushka, Yushka! Dasha sighed. - And you, father said, are not old yet!

How old I am! .. I have been suffering from breastfeeding since childhood, it was I who blundered from the disease and became old ...

Due to this illness, Yushka left his owner for a month every summer. He went on foot to a remote remote village, where he must have lived relatives. Nobody knew who they were.

Even Yushka himself forgot, and one summer he said that his widowed sister lived in the village, and the next that his niece lived there. Sometimes he said that he was going to the village, and at other times, that he was going to Moscow itself. And people thought that Yushkin's beloved daughter lived in a distant village, as gentle and superfluous to people as her father.

In July or August, Yushka put a knapsack of bread on his shoulders and left our city. On the way, he breathed the fragrance of herbs and forests, looked at the white clouds that were born in the sky, floating and dying in the light air warmth, listened to the voice of the rivers, mumbling on stone rifts, and Yushka's sore chest rested, he no longer felt his illness - consumption. Having gone far away, where it was completely deserted, Yushka no longer hid 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 industrious grasshoppers made cheerful sounds in the grass, and therefore Yushka's soul was light, the sweet air of flowers smelling of moisture entered his chest. sunlight.

On the way, Yushka rested. He sat in the shade of a roadside tree and dozed in peace and warmth. Having rested, having recovered his breath in the field, he no longer remembered the illness and walked merrily on, as healthy man. Yushka was forty years old, but the disease had long tormented him and made him old before his time, so that he seemed to everyone to be decrepit.

Platonov

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"Smart granddaughter" - summary:

Once upon a time there were grandfather and grandmother and they had a seven-year-old granddaughter Dunya. The girl was very smart, the old people could not get enough of it, so she helped them. But soon the grandmother died and Dunya was left alone with her grandfather. One day my grandfather went to the city, on the road he caught up with his rich neighbor and they went together. Grandfather rode a mare, and a neighbor on a stallion. We stopped for the night and at night the grandfather's mare gave birth to a foal. And the foal climbed under the rich man's cart.

In the morning, the rich man was delighted and told his grandfather that his stallion had given birth to a foal. Grandfather began to prove that only a mare could do this, he argued with a neighbor and decided to turn to the king to judge them. But the king asked them 4 difficult riddles and said that whoever guesses them correctly will get a foal. And while they were solving riddles, the king took away their horses and carts.

Grandfather was upset, came home and told everything to his granddaughter. Dunya quickly solved the riddles, and the next day the rich man and Dunya's grandfather came to the king with answers. After listening to them, the king asked his grandfather who helped him solve the riddles. The grandfather confessed everything, then the king began to give tasks for his granddaughter. But the smart granddaughter was also cunning. When the granddaughter came to the king, she reproached him and taught him how to judge the situation with the foal. It was just necessary to let the grandfather’s horse and the rich man’s stallion into different sides. For whom the foal will run - with that he will remain. And so they did, of course, the foal ran after the mother. And the king was angry that the seven-year-old smart granddaughter had humiliated him so much and let the evil dog go after them. But grandfather affectionately hit the dog first with a whip, and then added with a fury, which beat him off angry dog all desire to bite.

Platonov

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"Moraka" - a summary:

The soldier served 25 years and went home. But before that, he decided to go in and look at the king, otherwise it would not be convenient in front of his relatives. The soldier was very fond of composing fairy tales.

Ivan the soldier came to the king-Agey, and that king was very fond of listening to and composing fairy tales, and telling others. The tsar first asked the soldier three riddles, but Ivan quickly solved them. The king liked the soldiers, he presented him with royal coins and asked him to tell the story. But Ivan asked first to take a walk, since he had served for 25 years and wanted to be free for a while, and after the festivities he promised Agey to tell a story.

The tsar let Ivan go for a walk and the soldier went to the tavern to the merchant. He quickly spent the royal money there, and when the money ran out, he began to treat the merchant and told him a fairy tale that he was a bear, and the merchant did not notice how he himself became a bear. He was frightened, but Ivan told him what to do - call the guests and treat them. The guests came in large numbers, emptied the tavern, but parted, and the merchant jumped from the bed, but lost consciousness. When he woke up, there was no one there, only his tavern was empty. The merchant went to the king to find the soldier and told Agey what Ivan had done to him. But the king just laughed. But he himself wanted Ivan to tell him such a tale.

They found Ivan, brought him to the king, and Ivan began to tell Agey a fairy tale that a flood began and they turned into fish. And the king did not notice how he was drawn into the fairy tale and began to believe Ivan. They swam along the waves, then fell into fishing nets, Ivan was scaled off, and the head of the fish-king was cut off. When the fairy tale ended, the tsar became angry and drove Ivan out, and issued a decree that no one would let him into the courtyard.

And so Ivan the soldier walked, wandering from yard to yard, and they didn’t let him in anywhere, they didn’t even let him into his own house, because the tsar did not order. But some let Ivan in in exchange for a fairy tale, because they knew what a master he was in this matter.

Platonov

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Summary of "Ivan the Untalented and Elena the Wise":

In a village there lived an old woman with her son. The son's name was Ivan, and he was so untalented that he couldn't do anything, no matter what he undertook. His old mother lamented over this and dreamed of marrying him to a housewife.

One day, when the mother and son had finished everything that was in their house, the old woman again began to lament over her unlucky son, while Ivan, meanwhile, was sitting on the mound. An old man passed by and asked for food. Ivan honestly answered that everything edible in their house was over, but he washed the old man in the bath and put him to sleep on the stove. And in the morning, grandfather promised Ivan that he would not forget his kindness and would definitely thank him.

The next day, Ivan promised his mother that he would get bread and went to the old man. The old man brought him to his hut in a forest village, fed him a fried ram with bread, and sent two loaves of bread and another ram to Ivan's mother. After talking and learning that Ivan was not married, the grandfather called his daughter and married her to Ivan.

The old man's daughter was very smart and her name was Elena the Wise. They lived well with Ivan, Ivan's mother became full and contented. Grandfather sometimes went on the road, where he collected wisdom and wrote it down in his book of wisdom. One day he brought a magic mirror through which one could see the whole world.

Soon the grandfather got ready for another trip for wisdom, called on Ivan and gave him the key to the barn, but strictly forbade letting Elena try on the dress that hung in the far corner. When the grandfather left, Ivan went to the barn and found there chests with gold and other good things, and in a distant closet a magical Nice dress from gems, could not resist and called Elena.

Elena liked the dress very much and she persuaded Ivan to let her try it on. Putting on a dress and expressing a wish, she turned into a dove and flew away from Ivan. Ivan got ready to go and went in search of Elena the Wise. On the way, he saved a pike and a sparrow from death, who promised to thank him.

Ivan walked for a long time and reached the sea. There he met local resident and learned that Elena the Wise lives in this kingdom and came to her palace. There was a palisade around the palace, on which the heads of Elena's suitors were impaled, who could not prove their wisdom to her. Ivan met with Elena and she gave him the task to hide so that she could not find him.

At night, Ivan helped the maid Darya mend magic dress Elena the Wise, for which she was very grateful to him. And in the morning Ivan began to hide. At first, he hid in a haystack, but Daria shouted to him from the porch that even she could see him.< так как его выдавали собаки. Тогда Иван позвал щуку, которая спрятала его на дне.

However, Elena used her magic items- a mirror and a book of wisdom and found it. The first time she forgave him and allowed him to hide again. Then Ivan asked the sparrow for help. Sparrow turned Ivan into grain and hid it in his beak. But Elena the Wise again found him with the help of the book of wisdom, breaking her mirror, which could not find Ivan.

And for the second time, Elena did not execute Ivan, but allowed him to hide. This time, Daria helped him, whom he saved from death by sewing up a dress. Daria turned Ivan into the air and breathed into herself, and then exhaled into the book of wisdom and Ivan became a letter. Elena the Wise looked at the book for a long time, but could not understand anything. Then she threw the book on the floor, the letters scattered and one of them turned into Ivan.

Then Elena the Wise realized that her husband Ivan was not so untalented, since he was able to outwit the magic mirror and the book of wisdom. And he again began to live, live and make good. And the next morning, their parents came to visit them and rejoiced for them. And Ivan the untalented and Elena the Wise lived happily ever after, and their parents too.

Platonov

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"Finist - a clear falcon" - a summary:

A father lived with three daughters, the mother died. The youngest was called Maryushka and she was a needlewoman and did all the housework. Among all the daughters, she was the most beautiful and hardworking. The father often went to the market and asked his daughters what gifts to bring them. The eldest and middle daughters always ordered things - boots, dresses, and the youngest always asked her father to bring Finista's feather - a clear falcon.

2 times the father could not find a feather, but on the third he met an old man who gave him a feather Finista - a clear falcon. Maryushka was very happy and admired the feather for a long time, but towards evening she dropped it and Finist, the bright falcon, immediately appeared, hit the floor and turned into a good fellow. All night they talked with Maryushka. And the next three nights also - Finist flew in in the evening and flew out in the morning.

The sisters heard that their younger sister he talks to someone at night and told his father, but he did not do anything. Then the sisters stuck needles and knives through the window, and when Finist, the bright falcon, flew in in the evening, he began to beat at the window and hurt himself, and Maryushka fell asleep from fatigue and did not hear it. Then Finist shouted that he was flying away and if Maryushka wanted to find him, she would need to take down three pairs of cast-iron boots, wear out 3 cast-iron staffs on the grass and devour 3 stone loaves.

The next morning Maryushka saw Finist's blood and remembered everything. The blacksmith made cast-iron shoes and staves for her, she took three stone loaves and went in search of Finist, the clear falcon. When she wore out the first pair of shoes, a staff and gnawed the first bread, she found a hut in which an old woman lived. There she spent the night, and the next morning the old woman gave her a magical gift - a silver bottom, a golden spindle, and advised her to go to her middle sister, maybe she knows where to look for Finist - a clear falcon.

When Maryushka wore out the second pair of cast-iron shoes and the second staff, gnawed the second stone bread, she found the hut of the middle sister of the old woman. Maryushka spent the night with her and in the morning received a magical gift - a silver plate with a golden egg and advice to go to the elder sister of the old women, who certainly knew where Finist the bright falcon was.

The third pair of cast-iron shoes was worn out, the third staff, and Maryushka ate the third stone bread. Soon she saw the hut of her elder sister, where she spent the night and in the morning received a magic golden ring and a needle as a gift.

Maryushka went back barefoot and soon saw a courtyard in which stood a beautiful tower. The hostess lived in it with her daughter and servants, and the daughter was married to Finist, the bright falcon. Maryushka asked the hostess to work and the hostess took her. She rejoiced at such a skillful and unpretentious worker. And soon the daughter saw Maryushka's magical gifts and exchanged them for a meeting with Finist, the bright falcon. But he did not recognize Maryushka - she had become so thin on a long campaign. For two nights, Maryushka drove away flies from Finist, the bright falcon, while he was sleeping, but she could not wake him up - her daughter gave him a sleeping potion to drink at night.

But on the third night, Maryushka wept over Finist, and her tears fell on his face and on his chest, and burned him. Immediately he woke up, recognized Maryushka and turned into a falcon, and turned Maryushka into a dove. And they flew to Maryushka's home. His father and sisters were very happy with him, and soon they played a wedding and lived happily until the end of their days.

A story about the war to read in primary school. The story of the great Patriotic War for younger students.

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 the general kindness of 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 the 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 his works for the most part became 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 brightest artistic features the said 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)

Andrei 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. Classic examples of the rebellious landscape painting he introduced 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 most precious creatures, with hearth, "the sacred place of man", with love and fidelity in the family - without them there is neither a man nor a 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, the primary source of military strength, - about the family and everything that holds it together materially: 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, characteristic of folk speech simplification - 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 it is scary, painful 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 wholeness is achieved 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 own life their 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. Takova life philosophy 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 introduced by the writer into the plot in order to show how consciousness 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

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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.

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

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