Andrei Platonov and the language of his era. Artistic features of the language of A.P.

Among all the works of A. Platonov, the novel "Chevengur" (1929), the stories "The Pit" (1930) and "The Juvenile Sea" (1932), created by the writer in the late 20s and early 30s, stand out especially. The works we have named make a strong impression on readers both by the depth of the questions posed in them, and by the extraordinary density of writing, the sophisticated and deliberate "clumsiness" of the language, which are especially noticeable against the background of other works of the writer, for example, his journalism with its almost Pushkin's simplicity and clarity. The presence of works written in a slightly different or completely different stylistic vein makes us discard the possible idea of ​​the author's ineptness: it is quite clear that the language of these works was born from some deep and difficult to comprehend logic of the creative process. Unraveling the mystery of the Platonic language means getting closer to comprehending the originality of the artistic world of one of the most mysterious and brilliant writers of the 20th century.

It is quite possible to consider Platonov's prose, and above all the story "The Pit", as satirical prose. Indeed, the critical moment is strong in it, the negative phenomena and tendencies of the writer's contemporary life are ridiculed with merciless accuracy. What is the image of a bureaucrat sending a sandwich that has accidentally fallen into a basket, “for fear that he will be considered a person living at the pace of the austerity era”! Or the speech of one of the heroes of the story, Sofronov, subtly parodied by the writer, who is a vivid example of a demagogue, “weaving words” trying to hide all the squalor of his own thought.

Some critics saw in such clumsy language a stylization of the speech of the "lower classes", similar to what we find in early stories M. Zoshchenko. But this explanation is also far from sufficient, especially since, unlike Zoshchenko, Platonov does not have so many frank vernaculars. On the other hand, the complexity of constructions and the originality of the use of words by him far exceeds the most ornate speech of poorly educated jokers, which became the subject of artistic representation by the same M. Zoshchenko or, for example, I. Babel. No wonder his contemporaries reproached the writer: “They don’t say that among the people.” In addition, it is not clear why the speech of the author-narrator, who in the story "The Pit" takes an emphatically detached position and does not show himself in any way (unlike the hero-narrator in M. Zoshchenko), differs little from the speech of his characters. Yes, and the heroes of Platonov are asked by problems, from which the heroes of Zoshchenko with their mundane interests are absolutely far away.

Equally insufficient is the consideration of Platonov's prose as poetic prose, in which words are combined not logically, but associatively, through such artistic devices as metaphor, metonymy, paronymy, pleonasm, and others. the view of the narrator with sometimes shocking images and observations - all this is so contrary to the samples of lyrical prose known to us by I. Turgenev, A. Chekhov, I. Bunin, which suggests a lively response of the soul of the narrators to what he narrates.

Platonov's works are closer to the so-called "ornamental prose" - one of the most remarkable stylistic phenomena of Russian prose of the first third of the 20th century, which involves the organization of a prose text according to the laws of a poetic one. The plot in it recedes into the background, and the unity of the text is given by a complex system of repetitions, associations, through images and leitmotifs, and the rhythmic organization of the text. It is enough to compare the prose of Platonov with the prose of I. Babel, B. Pilnyak. Yu. Olesha and other masters of literary ornamentalism, to see the deep originality of the Platonic style, built on the deformation of the usual semantic, syntactic, and stylistic connections. You can also consider it primarily as a philosophical one, in figurative form and through the dialogues of the characters, carrying a strict author's concept. However, his heroes seem to us too inept thinkers, their attempts to reflect on the “last questions” of being seem too clumsy and naive.

Perhaps the analysis of the first phrase of the story will help us find an approach to unraveling the secret of the Platonic language?

"On the day of the thirtieth anniversary of his personal life, Voshchev was given a paycheck from a small mechanical plant, where he obtained the means for his existence" - this is how the story "The Foundation Pit" begins, immediately striking with some grotesque irregularity of word selection and phrases. Indeed, the phrase “on the day of the thirtieth anniversary of personal life” attracts attention with its redundancy (it would be enough to say “on the day of the thirtieth birthday”), it acquires a semantic connotation of some clerical, bureaucratic pedantry. The expression "earned the means for its existence" is also more appropriate for a scientific than for a work of art, it gives a certain impersonal, mechanical character to the work of the hero. Finally, the phrase "mechanical plant" allows the definition in it to be read as an epithet: "mechanical" means lifeless, hostile to a living person. Just such a use of words is more characteristic of poetic speech than of bureaucratic or scientific speech, which does not tolerate any ambiguity, vagueness, or metaphor.
So, let's get back to the existing explanations of the specifics of the language of Platonic prose (satire, stylization, ornamentality, philosophicity). Probably only a synthesis of these seemingly contradictory explanations can shed light on the riddle of the Platonic language.

The power that was given by the October Revolution to a man from the masses posed before him those very “eternal questions”, to seek answers to which had previously been the privilege of the “educated classes”: “What are you, under capitalism, what, do you live when only special people thought! ”- they reproach the main character in the story “Juvenile Sea”. But in order to answer these "damned questions", in order to philosophize, one must have the skill logical thinking and, importantly, the necessary tools - a set of philosophical concepts and conclusions that help to comprehend the foundations of being. The heroes of Platonov have neither one nor the other, but they have already realized the full burden of responsibility that falls on them. And therefore they are forced to use "improvised means" - those words and techniques that they could learn from their daily life practice. Common and colloquial words coexist here with fragments of slogans and appeals heard at rallies or read in newspapers, and clerical information and orders - with special words - professionalism, immediately giving out the professional affiliation of this or that hero.

The use of these words is by no means a discovery for Soviet literature of the 1920s and 1930s. The unusualness of Platonov's style is somewhat different - in that different stylistic layers are fancifully mixed in his prose, their difference is abolished, they are equalized in rights: "high" loses its absoluteness, and "low", on the contrary, rises to philosophical heights. And the words familiar to the ear of an educated person are often used by the heroes of Platonov in a different meaning. So, at the beginning of the story, the roofers call the "food clerk" who did not serve them beer a "bureaucrat", not understanding the meaning of this word, but firmly knowing that the bureaucrat is the enemy of the working man. Platonov's prose reveals to us the process of comprehending the truth, when there are still no established opinions and insufficient official explanations of what the meaning of life is. The narrator does not oppose his opinions to the points of view of the characters, does not impose them on the reader: his opinion, as is customary in philosophical, polyphonic (polyphonic) prose, is only one of several equal ones, and must still be tested for truth. Therefore, the speech of the narrator in Platonov is just as clumsy and, at the same time, sophisticated in its own way, as the speech of the other characters: the author is also in search of the "substance of existence."
The very expression "substance of existence" is a kind of key to the mystery of the Platonic language. Ideology, especially the official one, tends to erect between reality and man a kind of filter of clichés, axioms, common truths, behind which reality itself disappears and acquires distorted features. Ideology forces us to see what is supposed to be, and not what is: to consider the essential flaws of the system as “individual shortcomings” and “remnants of the past”, the timid sprouts of the future as stormy shoots. However, the originality of the worldview of most of Platonov's heroes lies in the fact that their worldview is concrete, sensual, they want to honestly "feel" communism, "touch" the revolution, "see" happiness. And the heroes of Platonov - people with an awakened, almost primitive, mythological consciousness - also want to experience the truth, feel it, find the substance of their existence. Promises that “happiness will come from materialism” are not enough for them, they want to be witnesses to this. "Convinced impression" (the unity of thought and feeling) - this is how the author defines the essence of such a worldview in the story "The Foundation Pit".

Features of artistic language

Everyone knows Platonov's “strange language”, this is expressed in the unusual construction of phrases, sentences (“unbalanced” syntax).

Let us turn to one phrase of Platonov.

Evening electricity was already lit on the scaffolding, but the field light of silence and the withering smell of sleep had approached here from the common space and stood untouched in the air.

If you try to read this sentence in the language of familiar concepts, then almost every phrase will turn out to be incorrectly constructed. In Russian classical literature there is an expression "evening light", which Platonov turned into an engineering and technical and not quite correct "evening electricity".

"The Light of Silence" is the unity of visual and auditory sensations. But this is only an external, "foreign" view of the logic of the Platonic language. In general, the semantic volume of this sentence increases due to the hidden meanings of each word.

In the prose of A. Platonov, each word not only has an independent meaning, but is associated with the context of the entire work.

Another pronounced “Platonic” feature is the transformation of the immaterial into the “substance of existence”. “The light of silence” and “smell of sleep” are made concrete from abstract concepts - in the quoted sentence they are localized and objectified. Moreover, this "acquired" objectivity is specially emphasized - the light and smell "stood untouched". Therefore, they are accessible to tactile perception. Summer evening literally becomes more and more tangible - its perception is made up of visual, auditory, olfactory, tactile sensations.

Let us formulate the conclusion: in Plato's prose, the word is not only an independent semantic unit and should be understood not only in its general language (dictionary) meaning, but also in its contextual meaning - and the whole work must be recognized as context.

The complexity of the perception of Platonov's language also lies in the fact that his phrase is almost unpredictable - more precisely, it almost never meets the reader's expectations. It is difficult for a reader brought up in an exemplary literary language to imagine that consciousness has a “dry tension”, that not only a song or (let's not neglect clericalism) a book can be plaintive - the girl Nastya becomes plaintive. If the phrase begins with the words: “It smelled on the mowed wasteland ...”, then the reader will first of all think that the missing word should be “hay”. And he will be mistaken, because in Plato's way - "the smell of dead grass" (let's pay attention to how one of the most important themes of the "Pit" - death and life) is carried out in the passage at first glance, the phrase.

However, certain patterns of Platonic stylistics can still be found. Let us dwell on those linguistic phenomena that occur regularly in the text of the Foundation Pit and are based on similar patterns.

Already the first sentence of the story stops the reader's attention with unnecessary clarifications and details: "On the day of the thirtieth anniversary of his personal life, Voshchev was given a calculation from a small mechanical plant, where he obtained funds for his personal existence." The first sentence of "The Foundation Pit" is a vivid example of how a word from a sentence unit becomes a unit of the entire text: the word "personal" sets the vector of meanings that will then organize the movement of meaning throughout the story - this is the search for meaning personal and general existence. Excessive clarification - "personal life", it would seem, without loss for common sense phrases can be excluded. However, there will be such redundant details on every page: “he loved ... to follow the passers-by”, “a liquid of tears crawled over the glass”, “Elisha had no appetite for food”, “fell down”, “lay down ... between the dead and personally died”, etc. From the point of view of normative stylistics, such phrases should be attributed to pleonasms - "redundant" expressions that use unnecessary words, which are no longer necessary for understanding the meaning. Platonov, however, almost never avoids pleonasm where it could be dispensed with. It can be assumed that in Plato's poetics, pleonasm is called upon to fill the semantic voids of the "for granted", to fill abstract concepts with objective meaning.

Another feature of Platonov's language is the violation lexical compatibility words. The simplest case is the combination of stylistically heterogeneous words in one phrase. For example, in the sentence “Milk was promoted from the carts”, the ideologically marked word “propagandize” and the apolitical “carts” and “milk” clearly do not fit together. The spheres of use of these words are so different that, having collided in one phrase, the words begin to pull into opposite sides. Hence the comic effect, but the effect is unplanned: this sentence expressed quite serious nostalgic reflections of the Platonic hero, in the creation of which official propaganda and childhood memories bizarrely merged.

Numerous formulations such as "ruthlessly born", "convex vigilance of the asset", "unpleasant water flowed", "dreary clay", "difficult space" are intuitively unmistakably understood by the reader - but it is extremely difficult to give them a rational explanation. In the phrase “dreary clay”, the adjective indicates not the quality of the clay, but the psychological state of the digger.

The language of Platonov's work is designed not for understanding, but for memorization. The official ideology proclaimed "combat-built socialism" as the ideal society. Newspeak, the language of utopia, was needed to establish fiction as reality. It already everything is, all questions and answers. Assimilation of "Newspeak" does not require any effort - you just need to memorize the correct formulations. The process of mastering the language is presented in The Foundation Pit on the example of Kozlov: “Every day, waking up, he generally read books in bed, and, remembering the wording, slogans, poems, covenants, all sorts of words of wisdom, theses of various acts, resolutions, stanzas of songs, etc. , he went around the bodies and organizations where he was known and respected as an active social force ... " inner speech Kozlov is conveyed in the author's narrative in the appropriate terminology: "This morning Kozlov liquidated his love for one average lady as a feeling."

A person who does not regret voluntarily mastering the "newspeak" of utopia will still not escape from its all-pervading obsession. For example, a radio is brought to the foundation pit for the political education of the masses, which continuously gave out "the meaning of class life from the pipe." "Comrades, we must mobilize nettles to the front of socialist construction!" (Let's pay attention to the fact that a purely peaceful process - construction - is presented in military terminology: "mobilize", "front"; ideology thereby affirmed the pathos of heroic daring - as opposed to reflection and "evening reflections".)

It is impossible to hide from him: even when the mouthpiece broke, unable to withstand the “forces of science” (the last was the call to “help the accumulation of snow in the collective fields”), Safronov began to work instead. The listener does not have to painfully look for words to express his feeling - the language has ready-made formulations in advance, under which it remains to adjust his feelings. Reality is thus replaced by a phantom - "correct" in their meaninglessness formulations.

The language consistently adheres to the principle of the activist: "if there is truth, if there is a kulak loot - everyone will go into an organized cauldron." A senseless combination of heterogeneous concepts that do not fit with each other, an attempt to make “empty” formulations scientifically sound is one of the main principles of the statement. Indicative in this regard is the literacy lesson on the General Line collective farm:

Makarovna got up and spoke trustingly before science:

Bolshevik, bourgeois, hillock, permanent chairman, the collective farm is the blessing of the poor, bravo-bravo-Leninists! Put firm signs on the hillock, the Bolshevik, and also at the end of the collective farm, and there are soft places everywhere!

This language is a deformed picture of the world reflected in the distorted mirror of ideology, which should replace a person's own idea of ​​what surrounds him.

Platonov builds the speech of his heroes according to the “standards” of the era: they, assimilating the language of directives and slogans, try to express themselves in the same way: “The question arose in principle, and we must put it back on the whole theory of feelings and mass psychosis.” Safronov’s wording is no worse than those that he could hear on the radio, or those that an activist uses when filling out a list of “poor-middle peasant welfare”: one column was called “a list of the kulak liquidated to death as a class by the proletariat, according to the property escheat balance”. The only difference is that in official speech the words are gutted, devoid of living meaning and are designed to certify the speaker's belonging to ruling class, and Safronov sees all the words in their "objective", tangible form.

Thus, semantic shifts within a sentence, episode, plot are the most accurate reflection of a shifted worldview and world order. The Platonic language includes ordinary words, but the laws of word combination make its structure surreal. In other words, the language itself is a model of that fantastic reality in which the characters live and which we call the artistic world of Platonov. At the end of the century, A. Platonov was recognized as one of the great masters of Russian literature of the 20th century.

Questions and tasks to the topic

1. How is the dating of the story (December 1929 - April 1930) related to the events depicted in it? How do historical and plot time correlate in the story?

2. In the name of what do the heroes (“diggers”) of the story “The Pit” work?

3. In the exposition of the story, Voshchev is presented to the reader as a wanderer hero: "The Pit" begins with Voshchev setting off on the road. What are the similarities and differences between the Platonic hero-wanderer and his literary predecessors (remember in which works of Russian literature the central or secondary characters of the work were wanderers and wanderers)? What makes Voshchev go on the road? In what does the hero of Platonov see the vital necessity of his wandering?

4. Animals occupy an important place in the system of characters in the story: the hammer-bear, which has a class instinct and sets off together with the workers to dispossess wealthy peasants; horses that have learned to walk in formation and voluntarily participate in the socialization of property; a solitary "counter-revolutionary" dog, which in the "year of the great turning point" babbles "in the old way." How do the animals in the "Pit" differ from their fabulous and fabled "brothers"? What is the difference between their artistic functions in the works of Platonov and, for example, Saltykov-Shchedrin?

5. The most important place in the philosophical problems of "The Pit" is the problem of death and the resurrection of the dead. The plot of "The Foundation Pit" is oversaturated with episodes of dying, murders, preparations for death - and not causing any emotions in the characters. Kozlov and Safronov are killed in the village, Chiklin "accidentally" kills a village peasant who lived with diggers, and then an activist, and the story even ends with Zhachev's threat: "I'll go and kill comrade Pashkin now." However, Nastya's death shocks the heroes. Comment on the meaning of the name Nastya in the context of the plot. Why does her death receive symbolic meaning in The Foundation Pit?

6. What, in your opinion, gives the right to speak about the difficulty of the form of A. Platonov's works?

7. Write an essay-reasoning about the prose of A. Platonov on the topic "A. Platonov is looking for the dawn of humanity in man."

CONCLUSION

The twentieth century is over. Until now, despite the highest level of science and technology achieved in many countries of the world, billions of people suffer from hunger, disease, violence, and cruelty. Dream of harmonious development human relations and remained unfulfilled in this century.

The fate of Russian literature in the 20th century was as tragic as the fate of its readers, who suffered under the weight of unheard-of trials: bloody wars and revolutions, repressions, cruelest injustices, humiliation, lies, demagogy.

In Russia, several generations of readers grew up under powerful ideological pressure.

By the end of the 20th century, it became obvious how right some prose writers of the 1920s and 1930s were when they warned against a conflict between humanistic (ecological) consciousness and technocratic consciousness, against the growth of totalitarianism and anti-humanity. It is no coincidence that for many years the works of these authors were not published in Russia.

At present, not only names and books are returning to us, perhaps the most precious thing is returning to us - the right to freely choose, freely read and interpret the meaning of works of art, depending only on personal spiritual needs, desires, tastes and preferences.

One cannot but agree with the words of F.M. Dostoevsky: “Only uneducated and poorly developed people neglect artistry, artistry is the main thing, because it helps to express thoughts.”

School teaching of literature is based not only on specific interpretations of works of art, the conclusions of the scientific study of the literary process, but also on the general principles of analysis. Historicism in the consideration of literary phenomena, the definition of the social nature of the phenomena of art, the disclosure of the connection between the worldview and the artistic method of the writer, the discovery of the unity of the form and content of a work of art - these are the general principles of literary and school analysis.

Even during the life of the writer, his works received conflicting assessments (Stalin's review of the story "Doubting Makar" and the poor chronicle "For the future"; critical articles by L. Averbakh, A. Fadeev, A. M. Gorky's answer to A. Platonov about the publication of the novel "Chevengur ").

After the “second birth” of A. Platonov, during the years of the thaw, they started talking about him as a “sad”, “silent” writer, endowed with the mysterious power of intuitive, pre-analytical thinking. And only after the return of Plato's prose and dramaturgy in 1986-1989, in the light of the participation of A. Platonov's humanistic thought in the world dialogue of cultures, it became obvious that, probably, there was no artist in the 20s - 40s with such a tragic social and moral consciousness. “In our days, Andrei Platonov ... - writes S. Semenova, - is experiencing a special situation that does not often happen to a writer, even posthumously, when his new image is crystallizing (for us, for art, for history and the future): from a strange, marginal , even the "holy fool" - a harmful literary phenomenon - as criticism defined him during his lifetime, from a remarkable, original master - in the opinion of the literature of the last thirty years - he rises to the most select and responsible circle of classics. Climbing? Yes! But how difficult and long, and in what a colossal difference in estimates!

Indeed, the depth of his thought, the concentration of spirituality in his work are striking, but also create certain difficulties in perception. A profound writer awaits a thoughtful, serious reader. How to prepare students for the perception of the complex personality and words of the writer? How to convey to them the meaning of the ideas of Platonic creativity? The solution of these issues determines what role and place A. Platonov will take in the life of students, what he will teach them.

Many language teachers are now talking about the need for methodological developments, where ways and approaches to understanding the writer's work would be outlined, the necessary tools would be given to help overcome the complexity of perceiving A. Platonov's language, and the features of the language and symbolism of his works would be highlighted.

Usually such stylistic means of a work of artistic expression as metonymy, personification, metaphor are considered as elements of poetics. However, in relation to a number of works by Andrei Platonov ("Still Mom", "Nikita", "At the Dawn of Foggy Youth", "The Iron Old Woman"), it is by no means possible to declare the standard use of these techniques as stylistic ones. The exclusivity of their use by A. Platonov lies in the fact that in the stories, the heroes of which are children, these techniques have become an organic and natural form of perception of the world. It should not be about metonymy, but metonymization, not about metaphor, but metaphorization, not about personification, but about personifying apperception, as well as its varieties. In particular, this style appears clearly in the story "Nikita". The way of perceiving the world and its cognition through one or another emotionally colored and ethically significant image 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 one single "tool" - the image of their own mother. The hero, metonymically and metaphorically trying it on to all unknown creatures, things and phenomena of the surrounding world, it is through this image that the protagonist expands his inner world. This is how Platonov sees the first meeting of a person with his homeland, probably the most difficult and difficult way of self-knowledge and socialization of a person.

The same methods of metaphorization and metonymization are implemented in the story "At the Dawn of Misty Youth", the heroine of which, the orphan girl Olya, comprehends and imagines people through the image of her own loving father.

Metaphorical in the children's stories of Platonov and portrait characteristics of certain characters. As, for example, the Red Navy sailor Tsibulko breathes “childishly with an open mouth”, or Lieutenant Colonel Meshcherin sleeps “meekly and blissfully, as in infancy” in the story “Dragon's Jaw”. Or remember that the old partisan from the story “The Seventh Man” has a bald head, as if covered with “childish fluff”. Thus, the prototypes of childhood appear in one way or another in the descriptions of many of Platonov's characters. In these cases, mainly comparison prevails, but it is precisely the comparison, together with the metaphor, that creates the artistic basis of the metaphor as such.

Platonov often tries to show the adult life of a person precisely through the prism of his childhood, thus referring the reader to the paramount and simple truths, characterizing his character most vividly along the way. Platonov's portrait is not just a mean image of external features, but a way to the world of the soul, a way to better feel the feelings and sensations of the hero.

Characteristic for Platonov and mythological overtones, an appeal to folklore. Many researchers of journalism and Platonov's work wrote about this, and it is not surprising. After all, the light, penetrating language of Platonov, the uncomplicated plots of children's stories, combined with a deep philosophical meaning, the appeal to the fantastic, often resemble fairy tales, but more metaphorical and sometimes even wiser than we see it in folklore. The logical series of images of Mother Earth, Motherland, Protector Father runs through all Platonov's children's works. This is the axis around which the world of a person revolves, both adult and small. The brightest examples of personification, but not as a literary and artistic device, but as a way for the hero to perceive the surrounding reality on the part of the author, and as a way to comprehend the nature of the character on the part of the reader, are found in the story "The Iron Old Woman".

The archaic metaphor of the Motherland sets the entire figurative structure of Platonic prose. The metonymic image of death, which is opposed to everything that exists, is inseparable from the concept of life, and not a single Platonic hero can avoid meeting with it. Striking, however, is the image of the child buried by the mother in the story Armor. She cradles him. “From under the blanket, the face of the child, adorned around with the curls of infancy, turned white, almost lit up. We leaned towards this strange, radiant face of a child and saw that his eyes were also looking at us, but his gaze was indifferent; he was already dead and his face shone with the tenderness of bloodless skin. Open eyes here become a symbol of the unnaturalness of what happened. On the other hand, the child in all his description resembles an angel. Death saved him from the labor of becoming an adult and callous, saved him from the torment of comprehending the complex and unfair world around him.

Thus, comparisons, personifications, metaphors and metonymy are typical for Platonov when depicting almost all images of children. They are inseparable from his special expressive language, and they no longer act as devices, but as something natural, as part of the plot and as part of the child's worldview.

Even during Platonov's lifetime, even during his first publications, it was the originality of the Platonic language, its special style of expression and narration that became the subjects of discussion of the literary elite of that time. To this day, disputes about certain philosophical subtexts continue, and the magnificent language of the writer has been subjected to careful analysis of well-known researchers more than once or twice. The great interest in Platonov is due to the fact that this writer, being ideologically opposed to the then ruling regime in our time, is open for reading and studying. Dozens of books and monographs, dissertations and articles have been written, and the topic of Platonov's burning, special language, which stands out from the Russian literature of the twentieth century, continues to excite philologists and literary critics. Critics declared their incomprehension of the "strange" language of Platonic prose.

Interest in studying the functions of a wide variety of tropes, as well as artistic techniques in the work of Andrei Platonov, has increased markedly. Which in itself is quite natural, because it is the image that is the main unit of the artistic text.

In solving the theme of childhood, the role of tropes, comparisons and metaphors used by Platonov is undeniable. The unusually rich language of the writer was especially vividly expressed in military stories about children.

During the Great Patriotic War the theme of childhood is present in the work of Platonov from the first story "Armor" to the last "Return". Childhood in these works is not a characteristic of individual heroes, but of a system of characters. Platonov's military stories can be conditionally divided into several groups. First of all, these are stories in which the main characters are adults, but the reality surrounding them is perceived by them through the prism of their own childhood, and the path to a better understanding of the plot leads to the childhood of these characters. The second group of stories is classified as stories about the children of the war, about their terrible fate, who from childhood receive such a terrible life experience that not every adult is able to endure, they learn life "under the Germans ... at death."

In the first group of stories, Platonov leads the reader to the idea that childhood is a category great in its creative power. It is in childhood that the most basic survival skills are formed, life positions are born and actively develop, including morality and morality. Only in childhood can one learn to love - first a mother, then a flower, then life itself ... And then - the Motherland, Fatherland, one's people. It is in childhood that a person begins to realize himself as a particle of a whole living organism, integral and unique - a particle of the people, a particle of nature itself. Such is the natural essence of things, but war disrupts this course, war interrupts time itself.

This is the “Platonic formula of life”, in Platonov's prose we see that the grief that is happening around the child is unnatural. It is the opposition, the play on contrasts, that makes it possible to understand how fragile and defenseless the child's world is, how changeable his inner appearance is. But the author believes that children are the saviors of the universe, in them he personifies the future great man who will rethink the mistakes of all past generations and lead the world to a new, saving life. After all, only children are able to see the dazzling simplicity of being, its meaning.

Of course, in order to create a bright, speaking image of a child, the writer needs to resort to the use of artistic and visual means. They are included in Platonov's texts so vividly and naturally, as if they were conceived by the plot itself, and not for a more colorful depiction of the characters. Most often, when solving the theme of childhood, Platonov uses such tropes as personification, epithets, metaphorical epithets, comparisons and contrasts. For example, the hero of the story “Petrushka” describes very vividly and tragically. He is compared with an elderly, decrepit person in his attitude. We read in Platonov: “on his calm, wrinkled and as if already tired of worldly cares” face, eyes especially stood out, which “looked at the white light gloomily and displeasedly, as if they saw the same disorder everywhere and condemned humanity.” Further on, we see that the author writes: “he spoke not according to his years, but like an old man, but there was no old man’s kindness in his speech.” A child who did not know wisdom, but was already tired of life. The tragic seal of the war, which can no longer be washed away. Then Petrushka is contrasted with the images of other children who, despite the difficult experiences, remain alive, still naive children, in whose hearts a dream and hope burn.

Expressing the moral state of the characters, Platonov from story to story compares their feelings with the fear and pain associated with life in a devastated world. “I was numb with fear”, “Nikita’s heart trembled and stopped”, “It’s boring for Athos to live in the world”, “the heart was afraid”, he looked “alien and timid”.

A portrait is a means of artistic expression, without which at least one work of Platonov can hardly do. Description, bordering on personification, interspersed with constant metaphors and comparisons, as well as epithets, make Platonov's portrait sketches surprisingly characterizing, accurate and lively. The heroes stand before the readers in their unique appearance, and in it, in this mysterious appearance, the key to understanding the semantic context of the works is hidden.

The author plays with the theme of the game, creating a whole metaphor from the very image of the game. For example, in the story “Spiritual People,” a Red Navy sailor sees children playing, according to Platonov, “children playing at death.” The metaphor itself is superbly played out and situationally, and has a deep philosophical and artistic overtones.

The author also superbly plays up the image of a child-flower in a number of his stories, such as “Unknown Flower”, “Nikita”, “Flower on Earth”. This image emphasizes the fragility and beauty of the inner world of the child. However, in the story “A Flower on the Ground” there is an idea that only such a fragile outwardly, and strong in spirit creature is able to survive on the stony soil of our dark world.

All this is expressed in the magnificent, elegant, but at the same time simple language of Platonov. Platonov's style of presentation is often characterized as the language of childhood, appealing not even to the theme of his stories, but to the form in which Platonov expresses his thought. Among the critics, the opinion was established that the writer's prose is in the nature of the language of the so-called "dark consciousness". Based on this, it is easy to conclude that the “heavy” expressions with which Platonov’s works are oversaturated are in fact the result of his heroes’ awareness of being, the world around them, and knowledge of a deep philosophical meaning. The unique style of the Platonic language consists of the following features.

Firstly, this is a violation of the lexical compatibility of words. This technique allows Platonov to portray his artistic reality more vividly, colloquially and expressively, creating a feeling of simplicity and clarity. The image, built on incompatible, at first glance, combinations of words unexpectedly more fully and colorfully reveals itself when reading.

Characteristic of Platonov and excessive refinement. It is used if the author wants to draw the reader's attention to some important detail, giving him (the reader) the key to understanding the metaphysical context of the work.

The repetition of words that are close in meaning has an intensifying effect, emphasizes the sharpness of sensation or experience. With Platonov, this technique acquires a special style.

The inversion word order serves for a qualitatively better construction of the image, makes the author’s speech more lyrical and smooth, more “folk”. It is also no secret that the favorite method of Platonic writing is the combination of different styles, which gives the reader a sense of three-dimensionality of what is happening in the stories.

From all that has been said, we can conclude that the creation of such a language is a way of expressing the author's position. This is evidenced by the confession of the writer himself: "... the boundaries of my language mean the boundaries of my world." This confirms that the main attention in Platonov's works is drawn to the person and the processes of cognition, perception of the worldview, which is one of the characteristic features of Platonov's artistic world as a whole.

Andrei Platonov entered the history of literature as the creator of a new prose style, defiantly original and sharply different from others. His manner of writing is so unusual that it confuses the reader and does not allow him to adapt to himself, so some readers cannot even master the school Pit. Accustomed to Turgenev's impeccably smooth prose or Tolstoy's classically long sentences, it is hard to accept an absolutely innovative method, detached from all the historical experience that Russian literature has. Like an alien, Platonov's style has no analogues and connections with our world, as if it was not invented, but brought from unknown countries where they really communicate like that.

The main authorial style of Platonov is often called "tongue-tied" because the author violates language norms, habitual connections between words, stringing morphological, syntactic and semantic errors on top of each other. It may seem to many that before them are not great Russian novels and stories, but the clumsy experiments of a mediocre student who has no idea about the rules of the Russian language. However, formal stylistic violations conceal many new meanings and create effects that most accurately reflect the ideological and thematic content. Each seemingly random sentence expresses the author's thought, and not a simple one at that. The “philosophy of the common cause”, which Platonov professed in his own way (like many poets and prose writers of the 20s of the 20th century), cannot be conveyed brighter and more convincingly. The artistic world of Platnov is built on a specific newspeak, like the totalitarian state of Orwell. There are new forms for new ideas. It is them that we will analyze on the example of the story "Pit".

Analysis of Platonov's story "The Pit"

Many people sincerely do not understand why Platonov uses unnecessary, ridiculous additions. But in order to realize their expediency, you need to clear your blinkered mind and think about what the author wanted to say. Talking about the main character Voshchev, the writer notes that "on the day of the thirtieth anniversary of his personal life" he was fired from the factory. Where does the word "personal" come from? Apparently, personal life is opposed to non-personal, public, collective. This indicates Voshchev's alienation, his restlessness and eccentricity: while everyone works and lives together, in a flock, in the unity of a tribe, the hero strayed from society, flying in the clouds. For "flights" on working days he was expelled. That's the whole story and the main problem hero were told in one sentence, which is so suitable for its hero: the same ridiculous and eccentric.

The main idea and main themes of the story "Pit"

In the format of utopias, Platonov often reflected on whether a person can become only an element of society, renouncing individuality and the right to it, if the common good is at stake? He does not fight against the dogmas of socialism and communism. He is afraid of their ugly implementation, because you will never understand the true meaning of a theory without its practical application (the fear of people completely merging into an impersonal, insensitive mass is the main theme in the story "The Pit"). That is why Voshchev is crossed out of his public life on the occasion of his private life. He is initially given an ultimatum: to fully integrate into the collective consciousness or survive on his own, not counting on the support of society and its attention. However, the individual is not just fired, but "removed from production." "Eliminate" a defect, breakage, pollution, but not a person. It turns out that the "thoughtful" worker is a malfunction in production, interfering with the "general pace of work" and hostile to him. A person is valuable as a mechanism in a single system, but if he fails, he is eliminated, like an old worthless piece of iron - Platonov doubts the justice of this. As a consequence, he doubts the new system. That is why many of his works were published only during the perestroika period.

The image of Voshchev in the story "The Pit"

The exact indication of Voshchev's age also makes sense. Firstly, the author was 30 when he wrote "The Pit", and secondly, this is the so-called "age of Christ", which is secularly called "mid-life crisis". A person is neither young nor old, he has achieved something, but this is not enough, and the best time of life is irretrievably lost. He doubts and rushes about, while it is still not too late to change everything for the better and find answers to the most global and complex questions. It is "in the middle of life in dusk forest» Dante got lost and went in search of himself. The symbolic age endows the hero Voshchev with a restless nature, focused on philosophical questions, which is already enough to eliminate a person from the production of the new world.

Linguistic features in Platonov's story "The Pit". Examples from the text

The first paragraph of "Pit" consists of clerical stamps. So the author plays with and ridicules the bureaucratic raid in the everyday language of illiterate contemporaries who did not understand the meaning of this bureaucracy. Platonov does not just copy the cliché, but loosens the stamp from the inside, leaving only the general principle of construction and replacing the essence: "Voshchev received the calculation due to the growth of weakness in him and thoughtfulness."

In the second paragraph, along with the marginal hero, comes the traditional poetic vocabulary: “the trees carefully kept the heat in their leaves”, “the dust was boring on a deserted road.” But Voshchev is a child of the era, the author also does not tire of reminding him: “there was a quiet situation in nature” - a clerical term, but devoid of the usual semantics.

The life of a person is equated with the existence of a thing, which, moreover, is nationalized by the state. It turns out that a person is under total control and in an unimaginable forced asceticism without faith: for example, joy was rarely "relied" on Voshchev.

Andrey Platonov: interesting facts from life and literature

Thus, the "tongue-tiedness" of Platonov's style is not empty expression and innovation, as an end in itself. This is a semantic necessity. Language experiments allow him to retell the contents of the ten-volume descriptions in one story. Unfortunately, his fears, masterfully formulated in The Pit, were not in vain or at least exaggerated. His only son was detained and spent 2 years without guilt in prison, waiting for his case to be considered. He was released, but he was already terminally ill with tuberculosis, which infected the entire family. As a result, without money and care in a kind of isolation from society (no one allowed them to work and write), all the Platonovs soon died. Such was the price of a style that triumphantly entered the history of literature.

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V. Buylov

The artistic legacy of Andrei Platonov for decades was the subject of research that corresponded to the spirit of his time, the object of literary and non-literary controversy, in which the figure of the writer was considered in the range from "a true proletarian realist writer", "who did not come out" from the people, who remained with the people, and to the holy fool "podpilnyachnik" (by the name of B. Pilnyak - the most original writer and friend of Platonov). One of the main factors determining such a difference in approaches to Platonov's work was his language. Although, if you think about it, formally Platonov's language just corresponded to the spirit of the times. According to Joseph Brodsky, Platonov “wrote in the language of this utopia, in the language of his era; and no other form of being determines consciousness in the way language does. But, unlike most of his contemporaries - Babel, Zamyatin, Bulgakov, Zoshchenko, who were more or less engaged in stylistic gourmetism, i.e. each playing his own game with language (which is, after all, a form of escapism), - he, Platonov, subordinated himself to the language of the era.

Such a “quasi-language of utopia” can be conditionally, with some reservations, considered as a kind of secondary semiotic system, an “attachment” to the national language used by a certain social group. It plays the role of a kind of stylistically marked signal that separates “one's own” from “them”, the role of a speech “password” that provides a “passage” to a socially limited zone of class-ideological communication. Russian literary language rejected as the language of the bourgeoisie and intelligentsia, it becomes the subject of ridicule and persecution. Thus, by creating and trying to bring to life a utopia, "man destroys the language." A new, modified, Soviet language is born, “encouraged by the state, formed by the state”, upholding a system whose feature was “declarative utopianism”, i.e. a statement about the creation of an "ideal society". This language has a slogan, poster, declarative character. “Some have to think, others have to work. Some have to compose words, others have to study them. The language of utopia is characterized by poverty, the absence of a distinction between the written and spoken word, the change in the value of words and their frequency. The main features of the language of the revolutionary era were still in the 20s. described by A.M. Selishchev.

Geller described the features of the Platonic language as follows: “The head of the Parisian school of Freudians, Jacques Lacan, came to the conclusion that a person first speaks and then thinks. This truth was known to Platonov, whose heroes always speak first and then think... Moreover, they think in a certain way because they speak in a certain way. And they speak and think in a special way... Platonov's language is the language spoken by utopia and the language that it creates to be spoken. The language of utopia becomes a tool of communication and a tool for the formation of an inhabitant of an ideal society.

You can express an idea, or you can say a phrase. But it is already possible to have thoughts in the form of once prepared phrases, when the natural complex thought process of generating speech is replaced by a mechanical substitution of ready-made clichés. Wherein speech activity is reduced to the functional-syntactic organization of language elements only within the framework of a separate statement, excluding the programming and implementation of a holistic text and its constituent blocks of content. For example, Platonov's heroes can only pronounce separate phrases, but are not able to put them into a detailed speech. About the danger of irreversible changes in human mental nature, as well as about other consequences of the totalitarian remaking of society, back in the 19th century. warned M.E. Saltykov-Shchedrin, grotesquely rewarding one of his satirical characters with an organ that replaces brains.

Changes in the language primarily affected Soviet literature, which was passed through the meat grinder of "normalization" by socialist realism, not only in terms of content, but also in terms of form. Andrey Platonov also writes in the language of this era. But he does it consciously: formally subordinating himself to the language of utopia, he, as it were, reveals the substitution of universal values ​​expressed in this language, and thus fights the language of utopia through its use. And "through the language" fights against utopia itself. The language of the story "The Foundation Pit" is distinguished by its devotion. We can observe the process of shorthand in the language of thought and feeling. The heroes of Platonov say what they feel, and then they think, if they can think at all. This is how Platonov defines the ability of representatives of the “normalized” (according to Platonov) masses to think: He could think with difficulty and greatly grieved about it - involuntarily he had only to feel and silently worry; And with humility he bowed his despondent head, which had nothing left to think; ... tired, unthinking people; ... Elisha ... from the absence of his mind could not say a single word; Chiklin had a small, stony head, thickly overgrown with hair, because all his life he either beat with a bastard or dug with a shovel, but did not have time to think and did not explain his doubts to Safronov.

In the absence of thought, Platonic characters have nothing to express in their speech. Attention is drawn to some deliberate duality of such a linguistic situation, modeled by Platonov, a certain hidden meaning expressed by the writer through a kind of Aesopian language. One can understand this state of affairs in different ways: 1) they cannot think at all - they have been weaned by the system or have already been so; 2) they do not know how to think in the way that is required of them, and since it is forbidden to think independently in their own way, it remains only to feel.

In turn, the representatives of the Soviet government - "deputies of the proletariat" (Platonov's paraphrase), - having forced such a linguistic and mental regime on the people, they themselves perfectly adapted to it: ... various acts, resolutions, stanzas of songs, and so on, he went around the bodies and organizations where he was known and respected as an active social force - and there Kozlov frightened the already frightened employees with his scientific nature, outlook and savvy.

Andrey Platonov names the main reason for such a massive mental deformation: Voshchev, the state gave you an extra hour for your thoughtfulness - you worked eight, now seven, you would have lived - kept silent! If we all think at once, then who will act?

The creative manner of Andrei Platonov and his style are called differently. This is "absurd", and "surrealism", and "jerky" and "tongue-tied", and "the wrong charm of the language." The genre of some of his prose works is defined as utopia or dystopia. Plato's anti-utopia can be presented as a socially oriented satire, expressed in the grotesque, realized in an organic relationship with such elements of literary convention as myth, symbol, allegory, menippea, carnivalization.

Let's try to conduct a selective analysis of the language of the story "The Foundation Pit", in order to see what specific forms of literary and artistic conventions and what language visual means the author uses to increase the expressiveness of the text, its artistic expressiveness, to achieve a satirical effect and how the language of the story correlates with the language of the era, in which Platonov wrote.

The artistic space of the story is built on the grotesque, which makes it possible to create an surreal, carnivalized, but at the same time recognizable picture of the socialist reorganization of the world. The grotesque symbolism evokes horror rather than a smile in a normal, thinking person: the Activist came to the Yard together with the advanced personnel and, placing the pedestrians in the form of a five-fold star, stood in the middle of everyone and uttered his word, instructing the pedestrians to go into the environment of the surrounding poverty and show him the property collective farm through a call to the socialist order, because the future will be bad all the same.

Platonov carnivalizes the plot: the price of human life in the new state has fallen so much that even coffins are used as ordinary everyday equipment, and this does not surprise or protest anyone: Chiklin said that ... a hundred empty coffins were opened: two of them he took it for the girl - in one coffin he made her a bed for the future, when she begins to sleep without his stomach, and the other gave her for toys and any children's household: she also has her own red corner.

The grotesque takes on a symbolic meaning, drawing a line under the entire system, which has put the destruction of its citizens on a mass flow: “But why do the logs get along, comrade activist?” - asked the rear middle peasant. “And this is to eliminate classes, a raft is being organized, so that tomorrow the kulak sector will travel along the river to the sea and beyond” ...

Platonov actively uses allegory. The "normalized" life and work of "normalized" workers evoke in him an association with animal life. The collectivist content of the new life further strengthens the Platonic sense of the “herd-like nature” of human existence. His allegorical generalizations acquire a conceptual character, passing judgment on the system as a whole: ... the horses passed the street in a cohesive mass and went down into the ravine, which contained water ... then they got out onto the dry land and started back, without losing formation and cohesion among themselves. .. In the yard, the horses opened their mouths, food fell out of them into one middle pile, and then the socialized cattle stood around and began to eat slowly, resigned in an organized way without the care of a person.

Along with hyperbole, grotesque, allegory, etc. Andrey Platonov actively uses both such artistic and stylistic means satirical reflection of reality, as irony, which often borders on sarcasm. The writer laughs at the Soviet slogans, which have become a way of thinking for some: - Eh! ... the blacksmith said plaintively. - I look at the children, and I myself want to shout: “Long live the First of May!”.

He sneers at the absurdity of the ongoing campaigns: “Listen to our messages: prepare willow bark!” And here the radio stopped again. The activist, having heard the message, thought for memory, so as not to forget about the willow-bark campaign and not to pass for the whole region as a lapse, as happened to him last time, when he forgot about the organization for the bush, and now the entire collective farm is sitting without rods;

mocks false party enthusiasm: The activist sat with his three assistants, who had grown thin from incessant heroism and were quite poor people, their faces depicted the same firm feeling - zealous selflessness;

ironically exposes the primitive thinking of the “deputies of the proletariat”: The activist would also like the district to declare it the most ideological in the entire district superstructure in its resolution, but this desire subsided in him without consequences, because he remembered how, after the grain procurements, he had to declare himself that he is the smartest person at this stage of the village, and, having heard him, one man declared himself a woman.

The irony is replaced by bitter sarcasm when Platonov describes the tortured people: There were also strangers along the collective farm street: they silently stood in anticipation of the joy for which they were brought here by Elisha and other collective farm pedestrians. The whole horror of the situation of these peasants lies in the fact that joy is the sinister raft-scaffold already waiting for them, prepared for their deadly descent into the sea.

In the following passage, there is a hint of the party's active struggle against "right" and "left deviationism": A rider on a trembling horse jumped out into the street.

Where is the asset? - he shouted to the sitting collective farm, without losing speed.

Jump straight! - the collective farm informed the way. Just don't turn left or right.

Platonov writes not in the “language of thought”, but in the “language of feelings”, using it as a technique for reflecting contemporary reality, introducing elements of hyperbolization and metaphor into it. The author actively uses metonymic transfer, especially to describe the collectivist consciousness, when everyone thinks the same and at the same time: “What a horse spoils, bureaucrat!” - thought the collective farm; Going outside, the collective farm sat down by the wattle fence and began to sit, looking around the whole village ...; - And where to? asked the farm...

Platonov uses a metonymic personification, giving the Soviet administrative and political instances the character of a consciously acting treasury force impersonal at its core. Even abstract concepts act as a character: ... however, this hammer fighter was not listed as a member of the collective farm, but was considered a hired person, and the trade union line, receiving reports about this official farmhand, alone in the entire region, was deeply worried.

The reception of metonymy allows you to see the ugly face of power:

This regional trade union bureau wanted to show your first exemplary artel...; The administration says that you stood and thought in the middle of production, - they said in the factory committee.

By means of metonymy, the official attitude of the representatives of power towards the working people is conveyed: Chiklin looked after the bygone barefoot collectivization, not knowing what to assume further ...; ... a beer hall for otkhodniks and low-paid categories ...

Platonov actively uses an oxymoron. Putting two words opposite in semantics and stylistic coloring next to each other gives the sentence an expression of sarcasm: ...and now I was watching a great digging from the back of an animal.

The use of antithesis creates the effect of the relativity of any, even the most categorical, ideological judgments, the impression of the illogicality of what is happening. By ironically playing with contradictory ideological clichés, which allow for frequent inconsistencies between the facts of life and declarations, Platonov ridicules the stupidity of Soviet propaganda: the latest materials, available in the hand of the regional committee, - was listed at the end of the directive, - can be seen, for example; that the activists of the General Line collective farm have already run into the leftist swamp of right-wing opportunism.

The text of the "Pit" is distinguished by its stylistic layering. It is conditionally possible to distinguish three stylistic levels, the interaction of which determines the special, unique sound of Platonov's prose. The style of a business report is characterized by an abundance of vocational and official business vocabulary. Platonov's interspersing this vocabulary into the narrative, where there are words and phrases of other styles, creates the effect of unusual pathos, elation, so characteristic of the language of utopia. It is the words of the "high" style that act as emotional and semantic centers in sentences of a different style characteristic. The style of objective narration is determined by common, neutral, often colloquial, even dialectal vocabulary and is used by Platonov to reveal the first plan of narration - the image of the concrete in life. The style of sublime narration with a predominance of actually sublime vocabulary contributes to Plato's "speculation" of the world of everyday relations, gives them a touch of sublimity, which is typical for the language of utopia, often serves as a means of expressing the author's irony or, on the contrary, helps Platonov to express his own romantic vision of the world, his idea of the special significance for him of many universal human categories, such as “happiness”, “soul”, “love”, “good”, etc.

In order to achieve the highest linguistic expressiveness and satirical effect, Platonov actively uses bureaucratic, official language: ... Every citizen, as they say, is obliged to carry the directive given to him, and you abandon yours and equal to backwardness. This is no good, I will go to the authority, you are spoiling our line, you are against the pace and leadership ...; I heard, comrades, you abandoned your tendencies here, so I will ask you to become more passive, otherwise the time for production is coming! And you, comrade Chiklin, you should take the installation on Kozlov - he takes the line for sabotage.

Platonov sneers at the mythologization of ideology, at thinking in images-pictures, images-posters like “Windows of GROWTH”: ... We must throw everyone into the brine of socialism, so that the skin of capitalism peels off and the heart pays attention to the heat of life around the fire of the class struggle and there would be enthusiasm!

He confronts the Church Slavonic vocabulary with clericalism, correctly identifying this characteristic feature of the clichéd Soviet ideological speech, which Selishchev also mentioned: Farewell, Sofronov told him, you are now like an advanced angel from the working staff, in view of his ascension to official institutions ...

Platonov resorts to stylization as a folk language to create a satirical effect: - Wake up! Chiklin told him. - Lie down with a bear and forget; - The poor man is not afraid anywhere: I would have signed up for a long time, only I'm afraid to sow Zoya. - What zoya? If it's soy, then it's an official cereal! In the latter case, Platonic sarcasm is manifested: the ideology extends not only to language, but also to all other areas, in particular to agricultural science (“official cereal”).

In "The Foundation Pit" the Bolsheviks' use of military vocabulary (mobilize, front of construction) in ideological speech is played up: Comrades, we must mobilize nettles to the front of socialist construction! Nettle is nothing but an object of need abroad.

Platonov's Soviet official-bureaucratic speech is saturated with such elements as acts of inducement (directives, prescriptions), acts of acceptance of obligations (commissives), acts of establishment (declarations, verdicts, operatives), etc.

Platonov also resorts to an interesting technique, which consists in stylizing speech as the speech of "deputies of the proletariat." One of the characters in "The Pit" reproduces character traits speeches of two dead activists, Safronov and Kozlov, in an imaginary conversation with them: “You are finished, Safronov! So what? Anyway, I stayed, now I will be like you: I will become wiser, I will begin to speak with a point of view, I will see your whole trend, you may well not exist ...; - And you, Kozlov, don't bother to live either. I will forget myself, but I will start having you all the time. I will hide all your lost life, all your tasks in myself and will not throw them anywhere, so you consider yourself alive. I will be active day and night, I will take note of all the organization, I will retire, lie still, Comrade Kozlov!

The syntax of the speech of Plato's characters is characterized by vaguely personal, generalized personal and impersonal constructions: there are no personalities - there is something "there", "above". Life is regulated to the limit: sleep is part of the salary, and it was counted. Stop taking the floor when I'm sleeping, otherwise I'll file an application against you! Don't worry - sleep is also considered as a salary, they will tell you there ...

To create a satirical effect, Platonov uses derivational means. Formations with suffixes -ets, -shchik, -shchin-, in the new, Soviet language, express the negative attitude of the speaker to objects or phenomena named with these suffixes: degenerate, aliluyshchik, shturmovshchina. Platonov puts in the mouths of his heroes, next to such words, parodic neoplasms: So, I am an over-pleasing? - more and more guessing, the professional representative was frightened. - We have one kind of hallelujah in the trade union bureau, and I, then, am an over-pleaser ?; ... The accompanying directive noted the undesirable phenomena of inflection, running away, overzealousness and any slipping along the right and left slopes from the honed sharpness of a clear line.

Thus, the interaction of the semiotic openness of the Platonic text and its structural and semantic completeness, with the active inclusion of various forms of artistic and literary conventions, creates that unique Platonic style, which can in no way be reproached for either imitation or fading forms of content and expression. And of course, one can only very conditionally speak of Andrey Platonov's "subordination" to the language of the era, the language of utopia. On the contrary, the writer not only declares the substitution of universal human values ​​expressed in the language of utopia, but also consciously fights this language through its use in his anti-utopian narrative. As a result of a complex synthesis of mutually complementary artistic forms and a system of linguistic visual means, Andrei Platonov's idiostyle is not amenable to any copying and processing.

Keywords: Andrei Platonov, utopia, criticism of the work of Andrei Platonov, criticism of the works of Andrei Platonov, analysis of the works of Andrei Platonov, download criticism, download analysis, free download, Russian literature of the 20th century