The hero of the story Intimate Man” Foma Pukhov and mature years has not lost his naive perception of the world.
At the beginning of the story, he simply brushes off everyone difficult questions. The mechanic Pukhov appreciates only one thing: his work. But on the other hand, he appears as a spontaneous philosopher, in some ways a mischievous person, in some ways a moralizer.
The party cell even concludes "that Pukhov is not a traitor, but simply a foolish man."
The effort of the "foolish peasant" to understand the revolution is expressed in the special individual language of Plato's prose - sometimes inert, as if illiterate, but always precise and expressive. The speech of the narrator and the characters bears the stamp of special humor, which manifests itself in the most unexpected fragments of the text: “Afanas, you are now not a whole person, but a defective one! - said Pukhov with regret.
Throughout the story, the “hidden man” seems to collect his eternally hungry flesh, practical wisdom, mind and soul into one whole: “if you only think, you won’t go far either, you also need to have a feeling!”
Foma Pukhov not only loves nature, but also understands
her. Unity with nature evokes a whole range of feelings in him: “One day, during the sunshine, Pukhov was walking around the city and thought - how much vicious stupidity in people, how much inattention to such a single occupation as life and the whole natural environment.
Comprehension of the events of the Civil War in his mind takes on a fantastic character. However, basically, in the main thing, he does not lie, but on the contrary, he seeks the truth.
In a difficult, confused time, when the illiterate poor rose up against the learned "White Guard" and an impossible unimaginable feat - and a thirst for feat! - overcame the enemy, from an “external”, thoughtless, empty Foma Poohov, checking everything on his own experience, turns into an “intimate person”.
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What is the meaning of the title of the story?
It is known that the word "secret" traditionally, following the definition in the dictionary of V. I. Dahl, - "hidden, hidden, concealed, secret, hidden or hidden from someone" - means something opposite to the concepts of "frank", "external" , "visible". In modern Russian, the definition of "secret" - "undetected, sacredly kept" - is often added "sincere", "intimate", "cordial". However, in connection with Platonov's Foma Pukhov, an outspoken mockingbird, subjecting the sanctity and sinlessness of the revolution itself to a harsh analysis, looking for this revolution not in posters and slogans, but in something else - in characters, in the structures of the new power, the concept of "secret", as always, sharply modified, enriched. What a secretive, “buried”, “closed” this Pukhov is, if ... Pukhov opens up at every step, swings open, literally provokes dangerous suspicions about himself ... He does not want to enroll in a circle of primitive political literacy: “Teaching stains brains, but I want live fresh. At the suggestion of some workers - "Now you would become a leader, why are you working?" - he mockingly replies: “There are so many leaders. And there are no locomotives! I will not be a parasite!” And to the proposal to become a hero, to be at the forefront, he answers even more frankly: “I am a natural fool!”
In addition to the concept of "secret", Andrey Platonov was very fond of the word "unintentional".
"I accidentally I stopped, I walk alone and think,” says, for example, a boy in the story “A Clay House in the County Garden”. And in the "Secret Man" there is an identification of the concepts "unexpected" and "secret": " Unexpected sympathy for people ... manifested itself in the soul of Pukhov overgrown with life. We can hardly be mistaken if, on the basis of many of Platonov's stories for children, his fairy tales, in general, "signs abandoned childhood Let's say that children or people with an open, childishly spontaneous soul are the most "intimate", behaving as naturally as possible, without pretense, hiding, especially hypocrisy. Children are the most open, artless, they are also the most “intimate”. All their actions are “accidental”, i.e., not prescribed by anyone, sincere, “careless”. Foma Pukhov is continually told: “You will achieve your goal, Pukhov! You will be slapped somewhere!”; “Why are you a grumbler and a non-party member, and not a hero of the era?” etc. And he continues his path as a free contemplator, an ironic spy who does not fit into any bureaucratic system, hierarchy of positions and slogans. "Secrecy" of Pukhov - in this freedom self-development, freedom of judgment and evaluation of the revolution itself, its saints and angels in the conditions of the revolution stopped in a bureaucratic stupor.
"What are the features of the plot development of Pukhov's character and what are they due to?" the teacher will ask the class.
Andrei Platonov does not explain the reasons for the continuous, endless wanderings of Pukhov through the revolution (this 1919-1920 years), his desire to seek good thoughts (i.e., confidence in the truth of the revolution) "not in comfort, but from the intersection with people and events." He did not explain the deep autobiography of the whole story (it was created in 1928 and precedes his story “Doubting Makar”, which caused a sharp rejection by the officialdom of the entire position of Platonov).
The story begins with a defiantly declared, visual theme of movement, the hero's break with peace, with home comfort, with the theme of the onslaught of the oncoming life on his soul; from wind blows, storms. He enters a world where "wind, wind in the whole wide world" and "man does not stand on his feet" (A. Blok). Foma Pukhov, still unknown to the reader, does not just go to the depot, to the steam locomotive, to clear the tracks for the red echelons from snow, he enters the space, into the universe, where "a blizzard unfolded terribly over the very head of Pukhov", where "he was met by a blow snow in the face and the noise of the storm. And this pleases him: the revolution has entered nature, lives in it. Later in the story, it appears more than once - and not at all in the function of a passive background of events, picturesque landscape- an incredibly mobile world of nature, rapidly moving human masses.
The blizzard howled evenly and stubbornly, under enormous stress somewhere in the steppes of the southeast.
"Cold night poured storm, and lonely people felt anguish and bitterness.
"At night, against the rising wind, the detachment went to the port for landing.
« The wind was hardening and smashed a huge space, extinguishing somewhere hundreds of miles away. Water drops, plucked from the sea rushed in the shaking air and hit in the face like pebbles.
“Sometimes past the Shani (a ship with a Red amphibious assault. - V. Ch.) whole columns of water swept by, enveloped in a whirlwind northeast. Behind them they laid bare deep abyss, almost showing bottom seas».
“The train went all night, - thundering, tormented and making a nightmare into the bone heads of forgotten people ... The wind stirred the iron on the roof of the car, and Pukhov thought about the dreary life of this wind and felt sorry for him.
Pay attention to the fact that among all the feelings of Foma Pukhov, one thing prevails: if only the storm did not stop, the majesty of contact with people heart to heart did not disappear, stagnation did not come, “parade and order”, the kingdom of those who sat in session! And if only he himself, Pukhov, were not placed, like the hero of the civil war Maxim Pashintsev in Chevengur, in a kind of aquarium, a “reservoir”!
Platonov himself by 1927-1928 For years he felt himself, the former romantic of the revolution (see his collection of poems of 1922 "Blue Depth"), terribly offended, offended by the era of bureaucratization, the era of "ink darkness", the realm of desks and meetings. He, like Foma Pukhov, asked himself: are those bureaucrats from his satirical story “The City of Gradov” (1926) really right, who “philosophically” deny the very idea of movement, renewal, the idea of a path, saying: “what flows, will flow, will flow and - stop? In The Secret Man, many of Pukhov's contemporaries - both Sharikov and Zvorychny - have already "stopped", sat down in bureaucratic chairs, believed to their advantage in the "Cathedral of the Revolution", that is, in the dogmas of the new bible.
The character of Pukhov, a wanderer, a righteous person, a bearer of the idea of freedom, “accident” (i.e., naturalness, unprescribed thoughts and actions, the naturalness of a person), is difficult to unfold precisely in his movements, meetings with people. He is not afraid of dangers, inconveniences, he is always prickly, uncompromising, mocking, careless. As soon as the dangerous trip with the snowplow was over, Pukhov immediately suggested to his new friend Pyotr Zvorychny: “Let's move, Pyotr! .. Let's go, Petrush! .. The revolution will pass, but there will be nothing left for us!” He needs the hot spots of the revolution, without the tutelage of bureaucrats. In the future, the restless Pukhov, an unbeliever Thomas, a mischievous person, a person of playful behavior, ends up in Novorossiysk, participates (as a mechanic on the Shan landing ship) in the liberation of the Crimea from Wrangel, moves to Baku (on an empty oil tank), where he meets an interesting character - sailor Sharikov.
This hero no longer wants to return to his pre-revolutionary working profession. And to Pukhov’s proposal “take a hammer and patch up the ships personally”, he, “having become a scribe ...” being practically illiterate, proudly declares: “You are an eccentric, I’m the general leader of the Caspian Sea!”
The meeting with Sharikov did not stop Pukhov on the spot, did not "sew to the cause", although Sharikov offered him ... to be in charge: "to become the commander of the oil flotilla." “As if through smoke, Pukhov made his way in the stream of unfortunate people to Tsaritsyn. It always happened to him - almost unconsciously he chased life through all the gorges of the earth, sometimes in oblivion of himself, ”Platonov writes, reproducing the confusion of road meetings, Pukhov’s conversations, and finally, his arrival in his native Pokharinsk (of course, native to Platonov Voronezh). And finally, his participation in the battle with a certain white general Lyuboslavsky (“he has cavalry - darkness”).
Of course, one should not look for any correspondence to specific historical situations in the routes of Pukhov's wandering, wandering (although extremely active, active, full of dangers), to look for sequences of events of the civil war, of course. All the space in which Pukhov moves is largely conditional, like time. 1919-1920 gg. Others from contemporaries and eyewitnesses real events those years, such as Platonov’s friend and patron, the editor of the Voronezh Commune G.Z. Litvin-Molotov, even reproached the writer for “deviations from the truth of history”: Wrangel was expelled in 1920, then what white general could then besiege Pokharinsk (Voronezh)? After all, the raid of the corps of the white Denikin generals Shkuro and Mamontov (they really had a lot of cavalry), who took Voronezh, happened in 1919!
“What pleased Pukhov in the revolution and what immensely upset, intensified the flow of ironic judgments?” The teacher asks the class with a question.
Once in his youth, Andrei Platonov, a native of a large family of a railway foreman in the Yamskaya Sloboda, admitted: “The words about the steam locomotive-revolution turned the steam locomotive into a feeling of revolution for me.” For all his doubts, Foma Pukhov, although this is by no means heroic character and not a cold sage, not a conventional mockingbird, still retained the same youthful trait, the romanticism of the author's own feelings of life. Platonov invested much of his perception of the revolution as the grandest event of the 20th century, which changed the whole history, ended the past, “corrupted”, offensive history (or rather, prehistory) into Pukhov’s life feelings, much from his perception of the revolution. “Time stood around like a doomsday”, “deep times breathed over these mountains” - such assessments of time, all events that changed history, the fate of the past little man, very much in the story. From early lyrics Platonov, from the book "Blue Depth", the most important motif about the eternal mystery, secrecy (freedom) passed into the story human soul:
In the story, such “unlit”, i.e., not in need of the bestowed, prescribed, given from outside “light” (directives, orders, agitation), are the young Red Army soldiers on the steamer “Shanya”:
“They did not yet know the value of life, and therefore cowardice was unknown to them - the pity of losing their body ... They were unknown to themselves. Therefore, the Red Army did not have chains in their souls that chained them to their own personality. Therefore, they lived a full life with nature and with history - and history ran in those years like a steam locomotive, dragging the world's load of poverty, despair and humble inertia behind it.
“What upsets Pukhov in the events, in the very atmosphere of the time?” - the teacher will ask the guys.
He, like the author himself, saw in the era of the triumph of bureaucratic forces, the nomenklatura, the corps of omnipotent officials, signs of obvious inhibition, cooling, even “casing”, petrification of everything - souls, deeds, general inspiration, extermination or vulgarization of a great dream. The engineer sending Pukhov on a flight is already a complete fright: “he was put against the wall twice, he quickly turned gray and obeyed everything - without complaint and without reproach. But on the other hand, he was forever silent and spoke only orders.
In Novorossiysk, as Pukhov noted, there were already arrests and the defeat of "wealthy people", and his new friend the sailor Sharikov, already known to himself, realizing his right to proletarian benefits, the benefits of the "rising class", is trying to turn Pukhov onto the path of careerism. If you are a worker, then ... "- then why are you not in the vanguard of the revolution?"
“Two Sharikovs: what do you think, what are their similarities and differences?” The teacher will ask the class a question.
Fortunately for Platonov, it was not noticed that in The Secret Man ... his own Platonic Sharikov had already appeared (after, but independently of Bulgakov's grotesque novel Heart of a Dog, 1925). This yesterday's sailor, also the second "I" of Platonov, does not yet give rise to the so-called "fear-laughter" (laughter after a forbidden anecdote, a scary allegory, mockery of an official text, etc.). Sharikov is no longer averse to building up his revbiography, he does not want to remain in those snotty ones, without whom even Wrangel will be dispensed with, he does not enter, but intermeddle ... into power!
As a result, he - and there is no need for any fantastic operation with a cute dog Sharik! - already with visible pleasure displays his surname on papers, warrants for a package of flour, a piece of manufactory, a pile of firewood, and even, like a puppet, is zealous: “so famously and figuratively sign, so that later the reader of his surname would say: Comrade Sharikov is an intelligent person! ".
A not idle question arises: what is the difference between Platonov's Sharikov and his "Sharikovism" from the corresponding hero in M. Bulgakov's story "Heart of a Dog" (1925)? Essentially, two Sharikovs appeared in the literature of the 1920s. Platonov did not have to seek the services of Professor Preobrazhensky and his assistant Bormental (the heroes of " dog heart”) to create the phenomenon of Sharikov - a self-satisfied, still simple-minded demagogue, a bearer of primitive proletarian swagger. There was no need for "material" in the form of a harmless homeless dog Sharik. Platonov's Sharikov is not an extraordinary, not speculative and exceptional (as in Bulgakov's) phenomenon: he is both simpler, more familiar, more everyday, autobiographical, and therefore, probably, more terrible. And it hurts more for Platonov: he grows up in "Chevengur" in Kopenkin, and in "Kotlovan" - in Zhachev. It is not the laboratory that grows it, but time. He is preparing a landing in the Crimea and is trying to somehow teach the fighters. At first, he simply "joyfully rushed around the ship and said something to everyone." It is curious that he no longer spoke, but continuously agitated, not noticing the paucity of his lectures.
Platonovsky Sharikov, having learned to move "big papers on an expensive table", becoming the "general leader of the Caspian Sea", will very soon learn to "buzz" and play tricks in any field.
The finale of The Secret Man is still optimistic on the whole: episodes of dying remain behind for Pukhov - the assistant driver, worker Afonin, and the ghosts of "Sharikovism", and threats against him ... He "again saw the luxury of life and the fury of bold nature", "unintentional returned to him in my soul. However, these episodes of reconciliation, a kind of harmony between the hero-seeker and the hero-philosopher (the first titles of the story "Country of Philosophers"), are very fragile, short-lived. A year later, another mockingbird, only more desperate, “doubted Makar”, having come to Moscow, the supreme, governing city, will cry out: “We don’t care about power - we’ll put the little things at home - our soul is dear to us ... Give your soul, since you are an inventor ". This is perhaps the main, dominant note in the entire Platonov orchestra: "Everything is possible - and everything succeeds, but the main thing is to sow soul in people." Foma Pukhov is the first of the messengers of this Platonic dream-pain.
Questions and topics for review
1. How did Platonov understand the meaning of the word "secret"?
2. Why did Platonov choose the plot of wandering, wandering to reveal his character?
3. What was the autobiography of Pukhov's image? Was not Platonov himself the same wanderer, full of nostalgia for the revolution?
4. What is the difference between Sharikov and the character of the same name from M. A. Bulgakov’s Heart of a Dog? Which writer stood closer to his hero?
5. Is it possible to say that Pukhov is partly a concrete historical character, and partly Platonov's "floating point of view" (E. Tolstaya-Segal) on the revolution, its ups and downs?
The protagonist of the work of Foma Pukhov looks very strange against the background of traditional Soviet art proletarian characters. Unlike the heroes A.A. Fadeev and N.A. Ostrovsky, who do not know any doubts, Pukhov does not believe in the revolution, he doubts it. He worries about “where and to what end of the world all revolutions and all human anxiety go.” In his soul is rooted a deep passion for a true knowledge of the world, the desire to check everything and make sure of everything for yourself. A parallel arises with the Gospel apostle Thomas the Unbeliever. He was not with the other apostles when the resurrected Jesus Christ came to them, and Thomas refuses to believe in the resurrection of the Teacher until he himself touches his wounds. There is an interpretation according to which Thomas was the only apostle who was able to comprehend the secret, hidden meaning of the teachings of Christ.
The hero of Platonov, like Nekrasov's peasants in the poem "Who Lives Well in Rus'", is attracted by the eternal mystery of happiness. He is interested not so much in everyday life as in being. The story opens with a very strange scene: a hungry Foma cuts a sausage on his wife's coffin. In this episode, the eternal and momentary are expressively correlated with each other, the whole measure of Thomas's dissimilarity to ordinary person. Thomas is orphaned, but he has to continue to live.
So from the first episode in the story everyday and philosophical dimensions of life are intertwined. All questions that concern Thomas will be both abstract and spiritual, and practical, everyday. Why, after all, does the revolution, Thomas thinks, if it does not bring the highest justice, does not solve the problem of death? For Foma's acquaintances, the goal of the revolution is quite specific - it is material equality, a practical improvement in the lives of workers. Pukhov, on the other hand, is worried that, apart from this material goal, there is nothing in the revolution.
Foma Pukhov is an eternal wanderer. At first glance, he travels aimlessly, while everyone around is busy with very specific things. He does not find a permanent home for himself, because in the revolution there is no place for his soul. Others find their place: Zvorychny, becoming the secretary of the party cell; sailor Sharikov, having settled down as a commissioner for hire work force in Baku, foreman of the Perevoshchikov assembly shop. From their point of view, the revolution is fulfilling its promise to bring happiness to everyone. Thomas is looking for - alas, to no avail - confirmation of the revolutionary faith. Only the reality of the revolutionary storm is revealed to him—the reality of dying. Leaving home after the death of his wife, he works on a railway snowplow. Before his eyes, an assistant driver dies in a locomotive accident, a white officer kills an engineer, a red armored train shoots a Cossack detachment “cleanly”. And there is no end to this feast of death.
Three deaths are written out in the story especially vividly. The death of the worker Afonin, who fought on the side of the Reds. The death of the white officer Mayevsky who shot himself: "and his despair was so great that he died before his shot." The death of an engineer, head of the distance, whom the bullet of a Cossack officer "saves" from execution by decision of the Revolutionary Tribunal. The reality of the revolution seen by Thomas only strengthens his doubts about its holiness.
Does this mean that Pukhov does not find happiness in the world? Not at all. Joy and spiritual peace gives him a sense of communion with the whole world (and not with a part of it). Platonov carefully writes out Pukhov’s feeling of the fullness of life: “The wind shook Pukhov like the living hands of a big unknown body, revealing his virginity to the wanderer and not giving it, and Pukhov rustled his blood from such happiness. This conjugal love of the whole, immaculate land aroused in Pukhov the feelings of a master. He looked at all the accessories of nature with a homely tenderness and found everything appropriate and living in essence. This is the happiness of Thomas - the feeling of the need and relevance of everything in life, the organic connection and cooperation of all beings. It is interconnection and cooperation, and not struggle and destruction. Thomas is a person who is equally open to all the hardships of the life of the country in the conditions of civil war, and the "luxury" of "desperate nature", " Good morning!" - says Pukhov to the driver he replaces at the end of the story. And he replies: "Revolutionary completely."
Another work in which the sanctity of the revolutionary cause is "tested" is the novel Chevengur (1929). Chevengur - name small town in which a group of Bolsheviks attempted to build communism. In the first part of the novel, its characters wander in search of happiness in the engulfed civil war Russia. In the second part, they come to a peculiar city of the Sun - Chevengur, where communism has already been realized. In revolutionary excitement, the Chevengurs exterminated most population "unworthy" of living under communism. Now they have to confront the regular army sent to pacify the evading from under state power city. The finale of the novel is tragic: the road to communism ends in death. For the heroes, this death is in the nature of a collective suicide. Chevengurs die in battle with a feeling of joyful liberation from the futility of the earthly "paradise" they built. "Chevengur" - awareness of the falsity of the goals proclaimed by the revolution of the Bolsheviks. True, in relation to Platonov to his heroes there is no unequivocal condemnation. The author is on their side in a passionate desire to "make a fairy tale come true", to realize an age-old dream. But he leaves them when they begin to divide people into "clean" and "impure". The heroes of Chevengur appear as victims of an incorrectly set goal, an incorrectly understood idea. This is their fault and misfortune.
The writer will return to the problems posed in the novel until the end of his creative way. Gradually, the circle of these problems narrowed, because in the 1930s. it will become more and more difficult to discuss them in print. However, the main result of the time travel undertaken by Platonov in the 1920s, the result of testing the past and the future, is the recognition of the "false project", the falsity of the plan for the revolutionary remaking of life. In the work of the writer of the late 1920s - 1930s. the place of alluring mirages of utopia will be replaced by a formidable reality.
Platonov's works such as the novel City of Gradov (1927), rich in irony, the "organizational-philosophical" essay "Che-Che-O" (1929), and the story "Doubting Makar" (1929) are devoted to the "test of the present". Literary scholars sometimes refer to these works as the "philosophical-satirical trilogy". Based on modern material, Platonov's plays Fourteen Red Huts (1937-1938, published in 1987) and Barrel Organ (1933, published in 1988) were created. The most significant works of this period are the stories "The Pit" (1930, published in 1986), "The Juvenile Sea" (1934, published in 1987) and "Jan" (1934).
The protagonist of the work, Foma Pukhov, looks very strange against the background of characters of proletarian origin traditional for Soviet art. Unlike the heroes A.A. Fadeev and N.A. Ostrovsky, who do not know any doubts, Pukhov does not believe in the revolution, he doubts it. He worries about “where and to what end of the world all revolutions and all human anxiety go.” In his soul is rooted a deep passion for a true knowledge of the world, the desire to check everything and make sure of everything for yourself. A parallel arises with the Gospel apostle Thomas the Unbeliever. He was not with the other apostles when the resurrected Jesus Christ came to them, and Thomas refuses to believe in the resurrection of the Teacher until he himself touches his wounds. There is an interpretation according to which Thomas was the only apostle who was able to comprehend the secret, hidden meaning of the teachings of Christ.
The hero of Platonov, like Nekrasov's peasants in the poem "Who Lives Well in Rus'", is attracted by the eternal mystery of happiness. He is interested not so much in everyday life as in being. The story opens with a very strange scene: a hungry Foma cuts a sausage on his wife's coffin. In this episode, the eternal and the momentary are expressively correlated with each other, the whole measure of Thomas's dissimilarity to an ordinary person is shown. Thomas is orphaned, but he has to continue to live.
So from the first episode in the story everyday and philosophical dimensions of life are intertwined. All questions that concern Thomas will be both abstract and spiritual, and practical, everyday. Why, after all, does the revolution, Thomas thinks, if it does not bring the highest justice, does not solve the problem of death? For Foma's acquaintances, the goal of the revolution is quite specific - it is material equality, a practical improvement in the lives of workers. Pukhov, on the other hand, is worried that, apart from this material goal, there is nothing in the revolution.
Foma Pukhov is an eternal wanderer. At first glance, he travels aimlessly, while everyone around is busy with very specific things. He does not find a permanent home for himself, because in the revolution there is no place for his soul. Others find their place: Zvorychny, becoming the secretary of the party cell; sailor Sharikov, having settled down as a commissioner for hiring labor in Baku, foreman of the assembly shop Perevoshchikov. From their point of view, the revolution is fulfilling its promise to bring happiness to everyone. Thomas is looking for - alas, to no avail - confirmation of the revolutionary faith. Only the reality of the revolutionary storm is revealed to him—the reality of dying. Leaving home after the death of his wife, he works on a railway snowplow. Before his eyes, an assistant driver dies in a locomotive accident, a white officer kills an engineer, a red armored train shoots a Cossack detachment “cleanly”. And there is no end to this feast of death.
Three deaths are written out in the story especially vividly. The death of the worker Afonin, who fought on the side of the Reds. The death of the white officer Mayevsky who shot himself: "and his despair was so great that he died before his shot." The death of an engineer, head of the distance, whom the bullet of a Cossack officer "saves" from execution by decision of the Revolutionary Tribunal. The reality of the revolution seen by Thomas only strengthens his doubts about its holiness.
Does this mean that Pukhov does not find happiness in the world? Not at all. Joy and spiritual peace gives him a sense of communion with the whole world (and not with a part of it). Platonov carefully writes out Pukhov’s feeling of the fullness of life: “The wind shook Pukhov, like the living hands of a large unknown body, revealing its virginity to the wanderer and not giving it, and Pukhov rustled his blood from such happiness. This conjugal love of the whole, immaculate land aroused in Pukhov the feelings of a master. He looked at all the accessories of nature with a homely tenderness and found everything appropriate and living in essence. This is the happiness of Thomas - the feeling of the need and relevance of everything in life, the organic connection and cooperation of all beings. It is interconnection and cooperation, and not struggle and destruction. Foma is a person who is equally open to all the hardships of the life of the country in the conditions of the civil war, and the "luxury" of "desperate nature", "Good morning!" - says Pukhov to the driver he replaces at the end of the story. And he replies: "Revolutionary completely."
Another work in which the sanctity of the revolutionary cause is "tested" is the novel Chevengur (1929). Chevengur is the name of a small town where a group of Bolsheviks tried to build communism. In the first part of the novel, its characters roam in search of happiness in Russia engulfed in civil war. In the second part, they come to a peculiar city of the Sun - Chevengur, where communism has already been realized. In their revolutionary passion, the Chevengurs exterminated most of the population, "unworthy" of living under communism. Now they have to confront the regular army, sent to pacify the city evading from the government. The finale of the novel is tragic: the road to communism ends in death. For the heroes, this death is in the nature of a collective suicide. Chevengurs die in battle with a feeling of joyful liberation from the futility of the earthly "paradise" they built. "Chevengur" - awareness of the falsity of the goals proclaimed by the revolution of the Bolsheviks. True, in relation to Platonov to his heroes there is no unequivocal condemnation. The author is on their side in a passionate desire to "make a fairy tale come true", to realize an age-old dream. But he leaves them when they begin to divide people into "clean" and "impure". The heroes of Chevengur appear as victims of an incorrectly set goal, an incorrectly understood idea. This is their fault and misfortune.
The writer will return to the problems posed in the novel until the end of his career. Gradually, the circle of these problems narrowed, because in the 1930s. it will become more and more difficult to discuss them in print. However, the main result of the time travel undertaken by Platonov in the 1920s, the result of testing the past and the future, is the recognition of the "false project", the falsity of the plan for the revolutionary remaking of life. In the work of the writer of the late 1920s - 1930s. the place of alluring mirages of utopia will be replaced by a formidable reality.
Platonov's works such as the novel City of Gradov (1927), rich in irony, the "organizational-philosophical" essay "Che-Che-O" (1929), and the story "Doubting Makar" (1929) are devoted to the "test of the present". Literary scholars sometimes refer to these works as the "philosophical-satirical trilogy". Based on modern material, Platonov's plays Fourteen Red Huts (1937-1938, published in 1987) and Barrel Organ (1933, published in 1988) were created. The most significant works of this period are the stories "The Pit" (1930, published in 1986), "The Juvenile Sea" (1934, published in 1987) and "Jan" (1934).
The purpose of the lesson:
- comprehend key features Platonic hero;
- Determine the specifics of the spatio-temporal organization of the text.
Teacher: “Foma Pukhov is not gifted with sensitivity: he cut boiled sausage on his wife’s coffin, hungry due to the absence of the hostess ...”
The first phrase of the story makes you think about the hero, comprehend his actions. Who is Platonov's "hidden man"?
What characterization does the hero give himself?
Pupils: “A foolish man”, “A vague person”, I am a natural fool”, “I am a light type person”. (Writing appears on the board)
Teacher: Today we will try to understand the features of the Platonic hero, the features of his worldview and worldview.
The writer loved the word "secret", in which both shelter and blood, and frankness, and cover, and treasure are heard at the same time.
Today in the lesson we will slightly open the covers from the secret in man.
Teacher: What is the meaning of the word "hidden"?
Disciple: Kept in secret, protected from others, secret; stored in the depths of the soul, cherished. We find this definition in the dictionary of the Russian language. In the dictionary of V.I. Dahl read the following definition: “Hidden, hidden, concealed, secret, hidden, hidden or hidden from anyone.” (The student is prepared in advance. Writing on the board)
Teacher: What is behind the concept of the innermost in a person?
Disciple: The sacred, stored in the depths of the soul, that which determines the essence of man, the truth.
Student: Through the portrait of the hero, attitude towards other people, actions, attitude towards oneself ...
Student: In the story there is no picturesque, pictorial portrait as a description of appearance. There is only a behavioral portrait. Nevertheless, we can imagine a hero: simple, primitive, a man from the crowd, a working bone ...
Teacher: How does the story reveal the essence of Foma Pukhov?
Student: Through the hero's attitude to work. Foma Pukhov “... feels a strange pleasure from the upcoming difficult anxiety ...”
Teacher: In notebook Andrey Platonov wrote: "Labor is conscience." How do you understand this statement? Let us turn to the meaning of the concept of “conscience”.
Disciple: The essence of the hero is revealed through the attitude towards the revolution. In the story we read: "He jealously followed the revolution, ashamed of every stupidity, although he had little to do with it."
After the death of his wife, “I sensed where and to what end of the world all revolutions go.”
“I’m ready to shed blood myself, only so that it’s not in vain and not a fool.”
If Thomas saw in the revolution the highest goal, he may have given his life for her, but he does not find such a goal. The hero doubted the sanctity of the revolution. Foma is not convinced by other people's attitudes and political literacy courses, he personally needs to be convinced of the sanctity of the revolution.
Teacher: This unbelief brings the Platonic hero closer to the biblical Thomas.
Disciple: (prepared in advance) Thomas is a faithful and practical, down-to-earth disciple of Jesus, who lived by the principle “to see is to believe”, whose doubts about the Resurrection of Christ were dispelled only in the presence of the risen Lord.
Teacher: But the image of Thomas is most clearly revealed through his attitude to the car. How does the author show this inseparable connection?
- “If only he had a car, he considered himself at home there ...”
- “Near the car, he was always good-natured…”
- “Wrote reports about machine diseases…”
- “I redid the engine according to my understanding ...”
Teacher: We can hardly call such a person a natural fool. The originality of self-expression is the principle of his behavior.
In relation to the machine, Platonov creates his own philosophy, the philosophy of technology. What is its essence?
Student: She is a living being. “Day and night the machine rotates - smart, as if alive, tireless and faithful, like a heart.”
Teacher: The machine for Platonov is a special substance. “There are many people, few cars; living people will stand up for themselves, but a machine is a tender, defenseless, brittle creature…” the author continues in Chevengur. Next to the car, Foma seems to release hidden feelings, hidden somewhere in the soul, care, love, kindness. Initially, Thomas feels the fullness and joy of life only in communication with the machine, because he sees a harmonious combination of parts in a well-functioning mechanism.
What else seems harmonious to Pukhov? What gives a feeling of happiness?
Student: The natural world, space, movement.
- “Pukhov was always surprised by space…”
- “I felt the ground…
- “Unexperienced feeling of complete pleasure…”
Teacher: How then to come to terms with the words “Pukhov is not gifted with sensitivity ...”?
Teacher: Andrei Platonov indicates a different reason for Pukhov's act: he was hungry. Gesture of an eccentric person. In the first phrase of the story, a key opposition is revealed: life and death, the unity of the eternal and the everyday, the everyday and the existential. The hero is shown not only through his attitude to nature, people, but also through the movement, the path made by him. The student presents a map of Thomas Pukhov's wanderings.
Teacher: Pukhov's movements are very chaotic, not logically motivated: "almost unconsciously, he was chasing life through all the gorges of the earth." The hero does not have a spatial goal, he is not looking for a place, but for a meaning, therefore the road in Platonov loses its spatial significance, becoming a synonym for spiritual search.
In many mythopoetic and religious traditions, the mythologeme of the path appears metaphorically, as a designation of a line of behavior, especially a spiritual one. The structure of the path archetype is characterized by testing. A constant and inalienable property of the path is its difficulty. The path is built along the line of ever-increasing difficulties and dangers, therefore overcoming the path is a feat. Marking the beginning and end of the path as two extreme points - states is expressed objectively - by changing the status of the character who has reached the end.
How do we see the hero at the end of the journey?
Student: Pukhov passed the test, did not do meanness, made friends, did not betray, comprehended himself, retained a pure, bright beginning, a pure soul.
Teacher: Thus, Andrey Platonov leads us to a global conclusion, to a thought about the possibilities of the human soul, to a thought that was his torment, his joy, an eternally elusive and enticing mystery: “The main thing is to sow souls in people.”
