The message of the "hidden man"About the military prose of Andrey Platonov. Stories and essays A

The work is devoted to the study of the prose of A.P. Platonov during the Great Patriotic War, the core of which was made up of stories written about the war in the war. Known unknown - this is how you can define the situation in literary criticism with the writer's military stories, which determined the relevance of the study. The study of this most important period of A. Platonov's work, where the gift of an artist-thinker, philosopher, historian was revealed brightly and in a new way, is carried out in the context of the writer's work and relationships with the historical and literary process of time.

Writer Andrey Platonovich Platonov (1899-1951) - an eyewitness and participant in the most important events of the national life of the first half of the last century. Throughout his work, A. Platonov kept his artistic chronicle: “Epifan Gateways”, “Intimate Man”, “City of Gradov”, “Chevengur”, “Pit”, “For the future”, “Garbage Wind”, “14 Red Huts”, “ Happy Moscow”, “Spiritual People”, “Recovery of the Lost”, “Noah's Ark”. A special chapter in it was the prose of the period of the Great Patriotic War. The writer's creative aim is to convey to the reader the innermost essence of the "beautiful and furious world". He is interested not in the external, social, section of history, but in its deep "substance of existence" (the basic concept of Platonov's artistic philosophy). In A. Platonov's workbook of 1942 we read: “We must go exactly there, into super-concreteness, into the “low” reality, from where everyone strives to leave”1.

1 Platonov A. Notebooks: Materials for a biography. M., 2000. S. 235. Further reference to this edition is given in the main text, indicating the name of the source (ZK) and page.

In an effort to comprehend and express the “over-concreteness” of life, a unique Platonic language was formed: childishly naive and technologically sophisticated (technology, engineering is Platonov’s profession and another passion), internally debatable and monolithic, frank and always containing a figure of default. S. Zalygin said about the work of A. Platonov: “... he belongs to those rare artists who are able to bring into their works not only the unknown as such, but, as it were, even its very nature, methodology and order of its existence in the world”2. A. Platonov's style is extremely subjective, but the writer does not have an ideological attitude towards subjectivism3. D. Zatonsky this type artistic creativity defined it as “semiomimetic, because, without copying the surface, visible forms of being, it seeks to touch its complex, contradictory, precisely “inexplicable” essence”4.

A. Platonov is involved in the “radical turn of the art of the 20th century from the reproduction of the world of phenomena to the embodiment of the world of entities”5. The writer does not have allegorical clarity of images, unambiguous assessments, indisputable thoughts. In his works, the same event may not coincide with itself, showing a multitude that does not add up to a total whole, especially since a person is a new, largely experimental form of the “substance of existence”. “To what extent a person is an unstable, agitated creature - trembling, swaying, difficult, tormented and painful, etc.,” A. Platonov reflected, “the main thing is the impossible, unstable” (ZK, 154). Human history is ahead of and is inextricably linked with nature: “People and animals are the same creatures: among animals there are morally even higher creatures than people” (ZK, 213). Variations of this theme are found throughout the work.

2 Zalygin S. Tales of the realist and the realism of the storyteller (Essay on the work of Andrei Platonov) // Zalygin S. Literary concerns. M., 1982. S. 175.

3 Platonov's entry in the workbook: “Very important!! The whole art lies in going beyond one's own head, which is filled with miserable, thin, tired stuff. Subjective life is in an object, in another person. This is the whole secret” (ZK, 101-102).

4 Zatonsky DV Modernism and postmodernism: Thoughts on the eternal rotation of the fine and non-fine arts. Kharkiv; M., 2000. S. 316.

5 Keba A. V. Andrey Platonov and world literature XX century: Typological connections. Kamenetz-Podolsky, 2001. S. 3.

A. Platonov. The interdependence of nature and history, the mystery of their convergence in man, a place in the space of life, not dramatically balanced, not found by him, despite all efforts and sacrifices, according to Platonov, does not reduce, but greatly increases the responsibility of people for world history. Hence the intense attention of the writer to the "work" of history. The revolutionary time was conceived by him as a historically necessary movement forward and, at the same time, a new round of human tragedy: “The revolution was conceived in dreams and carried out (at first) to fulfill the most unfulfilled things” (ZK, 171). The entry of 1935 aphoristically succinctly expresses the awareness that the most important historical tasks have not yet been fulfilled. We find epic confirmation of this idea in Chevengur, Pit, Juvenile Sea, Happy Moscow.

In the eventful series of the first half of the 20th century, the writer singled out the Great Patriotic War, which he defined as an epoch in an epoch. Andrey Platonov felt and realized the special content of the Great Patriotic War, which for him was not just another war in the long list of internal and external bloody lawsuits in Russia, but another war that became a matter of life - to save the Motherland and protect the world from fascism. For a writer of great social temperament, vitally interested in everything that happens, these four years have become a time of upheaval and discovery:

War with extreme speed forms new characters of people and accelerates the process of life. One Red Army soldier said: combat is life at high speed. It's right. Life at high speed means that a great many people are being formed, and such characters are being formed that could not have been formed before and which, perhaps, will never again be repeated as a likeness in another person. The service of literature, as a service of eternal glory and eternal memory of all the dead and all the living, is increased by this circumstance in its significance and becomes even more irreplaceable by nothing” (ZK, 280).

A new understanding of life and man, which was revealed to the writer, required an intense artistic search. The prose of these years, where the genre of the story dominates, - milestone creative evolution of Platonov. “It was a hard-to-find quantity,” notes V. Vasiliev, “solid and indivisible in terms of quality education, because the writer was guided in comprehending the war not by geography, not by a spectacular case or event, but by extracting the “philosophy” of people’s existence in war from ordinary, junk and for other journalists unprofitable and uninteresting material.”6 The prose of the “fiery years” is singled out as a special artistic phenomenon by other researchers as well. “Platonov's military stories,” writes S. Semenova, “are a special page in his work; it was born by life itself, which directly touched everyone, life, which stood under the sign of mortal misfortune and the ultimate test.

At the same time, the legacy of the writer of the war years remains one of the least studied pages of his work. N. V. Kornienko, anticipating the publication of the materials of the International Scientific Conference “Beyond the Potudan River”, dedicated to the 50th anniversary of the death of A. P. Platonov and the problems of studying the final period of his work (in the current literary practice, determined by the 2nd half of 1930 -X-1951), states: “It turned out that the source study of this period of the life and work of the writer is very approximate, and we write about the vast continents of Platonov’s work in the second half of the 1930s and 1940s, while only touching them, but not plunging into fundamental questions: text sources, dating, literary addressees and literary contexts, etc.”9.

The situation with the military stories of A. Platonov reflects common problems study (more precisely - unexplored) literature of the period of the Great Patriotic War. Following the epochal event, the Russian Soviet

6 Vasiliev V. Andrey Platonov. Essay on life and creativity. 2nd ed. M., 1990. S. 273-274.

7 Semenova S. Russia and the Russian people in the border situation. Military stories of Andrei Platonov // "Country of Philosophers" by Andrei Platonov: Problems of Creativity. Issue. 4. Anniversary. M., 2000. S. 139.

8 See: Andrei Platonovich Platonov: Life and work: Biobibliogr. decree. M., 2000.

9 Kornienko N. V. From the editor // “Country of Philosophers” by Andrey Platonov: Problems of Creativity. Issue. 5. Anniversary. M., 2003. P. 3. Literature of 1941-1945 (as part of it) is traditionally singled out as a separate period10. This is a tribute to the grateful memory of Russian literature, which "dedicated itself entirely to the noble cause of defending the Fatherland"11. V. M. Akimov called the literature of the war years “the literature of national self-salvation” and emphasized its “special spiritually rectifying significance” in the standing of a person and the people against death, in restoring the destroyed “structure” of the people’s soul, in preserving the Russian word12. However, the artistic specificity of the works of the war years is often derived from the extraordinary circumstances of historical reality and the ethical need for the artist to stand in the general ranks of the people's struggle against fascism and are reduced to them.

The literature of the war was re-censored at the end of the Stalinist era, then edited during the “thaw”, in the 1970s it turned out to be “forgotten”, unclaimed even with the ideological and problematic coverage of the topic “literature - man - war”: at this time, the focus of attention of readers, critics, literary critics - post-war works about the Great Patriotic War14. And today there is no chronicle of the literary life of 1941-1945, just as there are no generalizing studies on the issues of source study, publication, censorship, textual criticism, poetics, artistic codes of literature of the Great Patriotic War. The study of the work of A. Platonov during the war years prepares the scientific basis for fundamental research in this area.

10 See, for example: Essays on the history of Russian Soviet literature: At 2 o'clock. Part 2. M., 1955; Ershov L. F. History of Russian Soviet literature. 2nd ed., add. M., 1988; Akimov V. M. From Blok to Solzhenitsyn. The fate of Russian literature of the XX century (after 1917): a new compendium guide. SPb., 1994; Russian literature of the XX century: Proc. allowance for students. higher ped. textbook institutions: In 2 vols. Vol. 2: 1940-1990s / Ed. L. P. Krementsova. 2nd ed., revised. and additional M., 2003.

11 Russian literature of the XX century: Proc. allowance for students. higher ped. textbook establishments. T. 2. S. 4.

12 Akimov V.M. From Blok to Solzhenitsyn. pp. 81-82.

13 “In prose (wars. - Ya. S.) the essay genre dominated. Publicism paid tribute to M. Sholokhov and L. Leonov, I. Ehrenburg and A. Tolstoy, B. Gorbatov and V. Vasilevskaya, and many other prose writers. The impassioned declarations of the authors spoke of the horrors of war, the blatant cruelty of the enemy, the military prowess and patriotic feelings of compatriots.<.>

During the war years, artistic works of world significance were not created, but the everyday, everyday feat of Russian literature, its colossal contribution to the victory of the people over a deadly enemy can neither be overestimated nor forgotten "(Russian Literature of the 20th Century: Textbook for Students institutions of higher education, vol. 2, pp. 5.9).

14 See, for example: Bocharov A. Man and war: ideas of socialist humanism in post-war prose about war. 2nd ed., add. M., 1978.

The military stories of A. Platonov played an important role in the Russian Soviet literature of the Great Patriotic War, sharing its patriotic pathos, but they have "not a common expression on their faces." They differ from the previously written by the artist. What is the difference - the main question of the study.

T. A. Nikonova in the article "Man as a problem in Platonov's military stories" writes: ".Platonov presents his own " literary direction", offers his own philosophy and universal interpretation of the old problem of "man and the world" "15. The coefficient of unconventionality, originality in the artistic picture of man and the world is so high for the writer, the researcher believes that it has a paradoxical consequence: "Platonov belongs to the number of artists outwardly monotonous ( italics ours. - I. S.) "16. One of the methodological problems of studying Platonov's heritage is connected with this, because no matter what work or period of the writer's work is considered, it is necessary to analyze the special in the special." “Platonov writes one, never interrupted text in his mind. External circumstances change (revolutions, collectivization, war), but the main thing does not change - the intense thought about man, his inexhaustibility and diversity, his elusive nature. This circumstance is important to recall in connection with the fact that Platonov's military prose is of various genres, is closely connected with his reflections of the previous decades and can only be considered taking into account the integral context of Plato's creativity.

The subject of scientific reflection in the dissertation work is the artistic world of A. Platonov's military stories in its internal dynamics and the relationship of the components of the artistic structure, in interaction with the previous and subsequent works of the writer and the literary process of time. In this format, the study of prose

15 Nikonova T. Man as a problem in Platonov's military stories // "Country of Philosophers" by Andrey Platonov: Problems of Creativity. Issue. 5. S. 371.

16 Ibid. S. 371.

17 Ibid. S. 372.

A. Platonov during the Great Patriotic War is held for the first time. This is the scientific novelty of the work.

The category "artistic world" actively entered the domestic philological theory and practice at the turn of the 1960s-1970s and has been productively working to the present18. In 1968, the journal Voprosy Likhachev published an article by D.S. Likhachev “The Inner World of a Work of Art”19, which largely determined and stimulated further scientific understanding of the concept of “artistic world” . Synonymous concepts widely used in scientific everyday life: "artistic picture of the world", "artistic image of the world" and "artistic model of the world".

The universal category, conceptually formed on the principle of semantic parallelism (the real world - the artistic world), manifested the analysis of works of art in the inseparable unity of the artistic form and artistic content and turned out to be in demand in literary criticism in a wide range: from the study of the poetic structure of an individual work to the identification of the specifics of world modeling in literature as a whole. With regard to an individual author, we can talk about the "artistic world" of one work, a number of works that form a new artistic unity, creativity.

As an object of scientific research, the category "artistic (poetic) world" considers artistic reality, created by the writer, in its systemic integrity and uniqueness. J.I. V. Chernets notes:

18 See, for example: Bocharov S. G. On the artistic worlds. M., 1985; Gachev G. National images of the world: general issues. Russian. Bulgarian. Kyrgyz. Georgian. Armenian. M., 1988; Chudakov A.P. Word - thing - world. From Pushkin to Tolstoy: essays on the poetics of Russian classics. M., 1992; Nepomniachtchi V. S. Pushkin. Russian picture of the world. M., 1999; Yablokov E. A. The Artistic World of Mikhail Bulgakov. M., 2001; Semenova S. The World of Mikhail Sholokhov's Prose: From Poetics to World Understanding. M., 2005.

19 Likhachev D.S. The inner world of a work of art // Questions of Literature. 1968. No. 8.

20 Fedorov V. On the nature of poetic reality. M., 1984; Chernets L. V. World of work // Russian literature. 1995. No. 2; PotsepnyaD. M. The image of the world in the writer's word. SPb., 1997; Khrenov N. A. Artistic picture of the world as a cultural problem // Space of life: On the 85th anniversary of Academician B. V. Raushenbakh / Comp. T. B. Knyazevskaya, E. V. Saiko. M., 1999; Baksansky O. E., Kucher £ N. Modern cognitive approach to the category "image of the world" (methodological aspect) // Problems of Philosophy. 2002. No. 8; Zhidkov V.S., Sokolov K.B. Art and picture of the world. St. Petersburg, 2003; Shchukin V. G. On the Philological Image of the World (Philosophical Notes) // Questions of Philosophy. 2004. No. 10.

In terms of its structure, the world of the work is comparable to the real world: it includes persons in their external and internal (psychological) features, events, nature, things created by man, it has time and space”21. But the “world”, embodied in the word, lives according to its own laws: “The world of the work can be divided, divided into subsystems, structured differently, different in the degree of detail of the depicted: as part of the whole, it includes inserted short stories, episodes, dreams of heroes, their own writings”22 V. N. Toporov believes that “the very concept of “world”, the model of which is described, should be understood as a person and the environment in their interaction; in this sense, the world is the result of processing information about the environment and about the person himself. O. E. Baksansky and E. N. Kucher define the image (picture) of the world as a “hierarchical system of cognitive representations”, which “represent hypotheses that somehow interpret reality”24.

The artistic picture of the world is its linguistic picture (logos). N. D. Arutyunova in her fundamental work “Language and the World of Man” examines the role of the semiotic concept “image” in the formation of consciousness and comes to the following conclusions: “The concept of an image has the idea of ​​a form, conceivable abstractly from substance and therefore reproducible. Having separated from the matter naturally given to it, the form (image) merged with a fundamentally different "partner" - the spiritual (ideal) category. The concept of form has moved from the realm of nature into the realm of culture. .The opposition "form - matter" set by the world was replaced by a new relation "form - meaning" generated by man.<.>So, the image is a category of consciousness, not reality. The images are immersed in consciousness into a fundamentally different network of relations compared to the one that determines the place of their originals (prototypes) in real world. Consciousness deploys for

21 Chernets L.V. World of work. S. 70.

22 Ibid. S. 75.

23 Toporov VN Model of the world//Myths of the peoples of the world. Encyclopedia: In 2 vols. T. 2. M., 1992. S. 161.

24 Baksansky O. E., Kucher E. N. Modern cognitive approach to the category "image of the world". P. 69. them a new context in which the associative relations reorganizing the picture of the world acquire a special role”25.

The artistic picture of the world is a secondary, poetically processed information about a person and environment, therefore, “its own” special in the individual is valuable in it) - that which gives new aesthetic information.

The artistic world is always nominal, authorial, even when the author is unknown, since in this case the name of the author becomes the title of the work (the author of The Tale of Igor's Campaign). Even folklore, where the collective author is the people, necessarily has a national name.

G. Gachev, exploring the national images of the world, comes to the conclusion:

And the national is in time (together with the Earth and life on it), but its period of revolution, its "year", is probably different from the historical year. Despite the fact that all peoples walk under the same sun and moon and almost the same sky, are involved in a single world historical process (and this cover, the roof unites them and equates them to each other), they walk on different lands and have different ways of life and history, - that is, they grow from different soils. And hence the values ​​common to all peoples (life, bread, light, home, family, word, poem, etc.) are located in different proportions. This special structure of elements common to all peoples (although they are understood differently, have their own accent) constitutes the national image, and in

26 in simplified terms - a model of the world ". The methodological approach to identifying a special correlation of common objects and concepts retains its paramount importance in the study of the work of an individual writer - both in the intertextual aspect (the author's artistic world - others poetic worlds), and in the intratextual (dialectic of the special and the general within a given artistic structure in the dynamics of its development).

Artistic text is a complex structure, stable and dynamic at the same time. The basic component of the artistic structure, which determines its "fluid", "plastic" stability, is the image: "The ability of a person

23 Arutyunova N.D. Language and the human world. 2nd ed., add. M., 1999. S. 314, 318.

26 Gachev G. National images of the world. S. 46^7. to create a single image of an individual object, synthesizing contradictory impressions and disparate observations in it, is truly amazing.<.>This mechanism acts, as it were, on its own: the image is synthesized, revealed to consciousness, from vague and obscure it becomes more and more definite and distinct, it approaches, turning into a close-up. P. A. Florensky called this phenomenon of self-disclosure of the image “reverse perspective”27.

When studying the phenomenon of “self-disclosure of the image”, more and more often in philological studies, the motif is chosen as the main “unit” of analysis - “a mobile component woven into the fabric of the text and

28 existing only in the process of merging with other components” . Motivational analysis has shown its effectiveness in studying the specifics and systemic patterns of artistic worlds, manifested in the word29.

On the unique artistic world of Platonov JI. Shubin, whose works played an important role in the development of Platonic studies, wrote: “In the artistic world of Platonov, as in any cosmos (cosmos as an antithesis to chaos), there is its own structure, its own order created by a complex system of metaphors. Among these metaphors, images-concepts occupy a special place. It is, as it were, a "hollow concept", and this cavity can therefore contain everything, the whole world. Thus, the principle of integrity is assumed in the study of the artistic world of the writer, whether a separate work, a block of works, a period of creativity is considered. In the scope of Platonov's entire work, "repetition" and "return" are conceptually significant - a reciprocating movement of content and form.

At the same time, the artistic phenomenon of Platonov is such that already at the level of the idiostyle of a separate work, one can speak of the presence in

27 Arutyunova N. D. Language and the human world. S. 321.

28 Gasparov B. M. Literary leitmotifs: Essays on Russian literature of the XX century. M., 1994. S. 301.

29 See, for example: Kofman A.F. Latin American artistic image of the world. M., 1997; Epshtein M. N. "Nature is the world, the secret of the universe.": The system of landscape images in Russian poetry. M., 1990.

30 Shubin L. The search for the meaning of separate and common existence: About Andrey Platonov: Works different years. Moscow, 1987, p. 181 With such an interconnection between the "artistic worlds" of each individual work - the "artistic world" of Platonov's work, the question of military prose as a special period of his work, where there are significant internal changes in poetics and the artistic thinking that produces it, remains open, and the declared theme "Artistic world military stories of A. Platonov” - a scientific hypothesis that requires detailed justification.

The material of the study was the artistic prose of A. Platonov during the war years:

Publications of 1941-1946 in the Krasnaya Zvezda newspaper, Znamya, Oktyabr, Novy Mir magazines, and other wartime publications;

Collections "Under the skies of the Motherland" (1942), "Armor" (1943), "Stories about the Motherland" (1943), "In the direction of the sunset" (1945), "Soldier's heart" (1946);

Manuscripts and typescripts of works kept in the RGALI funds;

Draft sketches for the story "Spiritual people" (Reserve archive of M. A. Platonova in the Institute of Literature of the Russian Academy of Sciences);

The main body of the writer's works, his notebooks, journalism, literary-critical articles, letters;

Fiction and journalism of the 1940s.

History of texts. In 1939, in the year of Andrei Platonov's fortieth birthday, the world war began, the second in his life and in the history of the 20th century, in 1941 it became Patriotic. The front-line biography of Platonov was opened by a trip to the Leningrad Front in July 1941 (in the direction of the Political Directorate of the NKPS), which gave the first materials and impressions. Then return to

Moscow, evacuation with his family to Ufa in the autumn-winter of 1941/42, waiting for the draft. In 1942, Platonov was drafted into the army as a war correspondent for the Krasnaya Zvezda newspaper. His military biography included the Kursk Bulge in the summer of 1943, the spring offensive in Ukraine in 1944, and fierce winter battles on the Eastern Front in 1944-1945. In February 1946, Major of the Administrative Service A. Platonov, already seriously ill, will be demobilized.

In August 1941, the story "God's Tree" was written; The typescript of the story "Grandfather-Soldat" is dated 1941, one of the copies of which is in the archive of the unpublished by the "Soviet Writer" publishing house among the manuscripts that were not included in the collection of the first months of the war "The Great J 1

Patriotic War" . The Platonov Fund of the RGALI has a draft of Platonov's letter, which allows you to clarify the time of creation of "Grandfather-Soldier". The exact address and addressee are not indicated in the letter (Platonov refers to "Natalya Alexandrovna." - I.S.). These are three stories that the writer plans to publish. Here are the works as they are stated by the author:

Across the midnight sky" - in the form in which it was abbreviated<ен>and edited for "Mol<одой>Gw<ардии>"

1) God tree

2) The boy at the dam [for w<урнала>"Pioneer"]"

At the bottom is the date - "4.YIII 41" and a postscript: "Manuscript, if p<асска>s is rejected by you, please return it to me”32.

Platonov underlines two new stories (since “Across the sky

11 midnight" was published earlier, and the writer indicates an "acceptable" version of the editorial change). "The Boy at the Dam", as you might guess from

31 The stories “God's tree”, “Grandfather-soldier” are dated: Kornienko N.V. History of the text and biography of A.P. Platonov (1926-1946)//Here and now. 1993. No. 1.S. 278.282.

32 RGALI, f. 2124, on. 1. unit ridge 37, l. 1.

33 First pub.: Platonov A. Over the Pyrenees // Lit. gas. 1939. June 5; second publ.: Platonov A. Across the Midnight Sky: A Story // Industry of Socialism. 1939. No. 7. S. 10-15. appearing" in the title of the plot-plot outline of the work, - one of the first variants of the title of the story "Grandfather-Soldier"; Pioneer magazine is the proposed place of publication.

It follows from the letter that the story "Grandfather-Soldier" was written by Platonov, like "God's Tree", already by the beginning of August 1941. This is strongly confirmed by the fact that Grandfather the Soldier was published in 1941 in the 10th issue of Pioneer magazine34. This is the first of the famous publications of Platonov during the war, but it did not attract the attention of modern criticism, and subsequently of researchers of Platonov's work. The explanation for this, among other reasons, lies in the fact that the work was published in a "children's" magazine and with a gap of a year from the main body of Platonov's military stories (a huge time for a war).

The fame of the writer in the literature of 1941-1945 was brought by the second story that was published - "Armor" (as a rule, from it, as from the "first", the publication of Platonov's military stories begins). An abridged version of "Armor" was published in the "Red Star" on September 5, 1942, expanded - in the October issue of the journal "Znamya", where it met under the cover of one issue with the publication of the end of A. Tvardovsky's poem "Vasily Terkin" - a visible evidence of how For a long time Platonov made his way to the reader.

The last months of 1942 became a turning point: the writer's works began to be actively printed central newspapers and the magazines Krasnaya Zvezda, Krasnoye Znamya, Krasnoflotets, Oktyabr, Znamya, Novy Mir, Ogonyok. Author's collections are published "Under the skies of the Motherland" (1942),

Armor "(1943), "Stories about the Motherland" (1943), "In the direction of sunset"

34 Platonov A. Grandfather-soldier: Story // Pioneer. 1941. No. 10. S. 18-23.

35 Platonov A. Armor: Story II Banner. 1942. No. 10. S. 93-100; Tvardovsky A. Vasily Terkin: Poem (end)//Ibid. pp. 101-108.

36 Platonov A. Under the Heavens of the Motherland: Stories. Ufa: Bashgosizdat, 1942. Contents: Peasant Yagafar; Soldier grandfather; homeland tree; Iron old woman; The story of the dead old man; Light of life.

37 Platonov A. Armor: Stories. M .: Voenmorizdat, 1943 (Front-line library of the Red Navy). Contents: Animated people; Old man; Armor; homeland tree; Sailor grandfather.

38 Platonov A. Stories about the Motherland. M.: Artist. lit., 1943. Contents: Spiritualized people; The story of the dead old man; Armor; Iron old woman; Soldier grandfather; Peasant Yagafar.

1945)39, "Soldier's Heart" (1946) 40. The last collection "Soldier's Heart", like Platonov's first published work of the war years, was addressed to children.

The works of Andrei Platonov, written about and for the warring people, themselves had a soldier's fate: many were wounded, others fell in hand-to-hand combat with censorship, others went missing. The collection “Stories, were”, prepared by the writer in 1942, will not be released to the reader. The book "Toward the Sunset", presented by Platonov to the publishing house "Soviet Writer" on August 28, 1943, will be published only in 1945 (signed for publication on 14/111, 1945). The publishing house involved four reviewers in its discussion: critics A. Gurvich and A. Mitrofanov, writers G. Storm and Vl. Bakhmetiev41. After long, intense collegiate discussions, 10 stories remained in the collection “Toward the Sunset”, each of which underwent strict editorial revision, while according to the author’s initial plan there should have been 18 of them: “Composition of the collection: 1. Towards the Sunset<солнца>2. Mother 3. Nick<одим>Maksim<ов>4. Kind cow 5. Officer and soldier<ат>6. Cross<янин>Yagafar 7. Mal<енький>soldier<ат>(crossed out. - I. S.) 8. House<ашний>hearth 9. Sampo 10 Three soldiers 11. Fight in a thunderstorm 12. Rose 13. Officer<ер>Simple 14. On the Goryn River 15. Yves<ан>. Great 16. Mid<астливый>root crop 17. Among the people 18. Stories Art. serge<анта>»42.

In Platonov's papers we find several entries on the composition of the book, including those with notes “For Sov. Write. Add” and “Given to the Council. Pisat. "43, from which it follows that the writer wanted to include in the collection, perhaps as

39 Platonov A. In the direction of sunset: Stories. M.: Sov. Writer, 1945. Contents: In the direction of sunset; Mother; Nikodim Maximov; Good cow; Officer and soldier; Home; Sampo; Three soldiers; Fight in a thunderstorm; Rose girl.

40 Platonov A. Soldier's Heart: Stories: (for Wednesdays and seniors) M.; L.: Detgiz, 1946. Contents: Storming the labyrinth; Ivan Tolokno - war worker; On the Goryn River; On good ground. The collection is rarely mentioned in studies, so let's dwell on it in a little more detail. The book includes 4 works - all the stories were published earlier, perhaps that is why the book about the war for children did not interest literary critics. Meanwhile, this small book is of undoubted historical and literary interest - as the last collection of military stories published during the author's lifetime. When republishing, Platonov managed in a number of cases to get rid of the censor's editing of previous publications, to restore his word.

41 The history of the publication of the collection “In the direction of sunset” is given by: Kornienko N.V. History of the text. pp. 283-287.

42 RGALI, f. 2124, on. 1, unit ridge 99, l. 18.

43 Ibid., l. 17,19,20,22. replacements for the "rejected" stories "The Seventh Man", "Reflections of an Officer", "Emptiness", "Recovery of the Dead", "Essays on a Soviet Soldier", "Kind Kuzya", "Grandmother's Hut", "How a Fighter Kurdyumov Defeated Four Germans". But not a single work from the “additional lists” of the author was included in the collection. “Toward the Sunset”, a book in which literally “half” of the composition conceived by the author remained, is the most voluminous collection of Platonov’s lifetime military stories in terms of the number of works included in it. At the same time, this is the least "Platonic" collection of those published during the war - all the works included in it were so radically edited.

In 1943, ideological control and censorship requirements in the field of literature and art were tightened44. The first stage of the war ended when, in the face of the threat of defeat and national catastrophe, “it became clear that one could appeal to the defense of the country and to victory only from the depths of national history, turning to the forces of national self-defense, to the thousand-year-old patriotic feeling”45. Now, in 1943, the Great Patriotic War was becoming a bloody, hard, but irreversible war and had to have an ideologically impeccable coverage46.

Platonov's works are more and more difficult to get into print. The editors of Znamya in 1943 rejected the stories “Reflections of an Officer”, “All Life”, “Grandma’s Hut” (they entered the journal on 18/IX, and on 21/IX, i.e., 3 days later, they were handed over to the archive of unpublished manuscripts - with numerous remarks and questions from the reviewer)47. In the magazine "October", among other refusals to Platonov in the publications of 1943-1944, "Reflections of an Officer", as well as "Emptiness", "Aphrodite" are again listed. Against the list

44 A sad milestone was the Moscow meeting of writers in the spring of 1943, at which the results of two years of work of writers under war conditions were summed up and new tasks of literature were formulated. Much of what was created in war time, starting with A. Tvardovsky's poem "Vasily Terkin", in which his fellow poet N. Aseev did not see the true artistic reflection of the features of the Great Patriotic War.

45 Akimov V.M. From Blok to Solzhenitsyn. S. 82.

46 “The Great Patriotic War of the Soviet Union against the imperialist aggression of fascist Germany - a heroic period in the history of the country of victorious socialism” (Essays on the history of Russian Soviet literature: In 2 hours. Part 2. M .: Izd-vo AN SSSR, 1955. P. 127 ).

47 RGALI, f. 618, op. 12, units ridge 53.

Manuscripts given. Platonov often says “Take the manuscripts.”48 In 1943 he was working on a book of short stories “On the Living and the Dead”49, but it was never published. The final book of the war, All Life, the manuscript of which the writer gave to the publishing house Soviet Writer in early September 1945, will not be published.

1946 was the last year of Platonov's military works published in his lifetime: Detgiz published a collection of stories about the war for older and middle-aged children, "Soldier's Heart"; in the "Red Star" was published a story about the hero of the Great Patriotic War Guards Colonel Zaitsev "The Beginning of the Road"51; in "Spark" - "Resident hometown»52; in the "New World" - "The Ivanov Family"53.

In 1946, a new round of world confrontation will begin - the so-called "cold war", it will be accompanied by political hysteria on both sides of the "Iron Curtain". The campaign to combat lack of ideas in Soviet literature was officially launched on August 14, 1946 (the date of publication of the resolution of the Central Committee of the All-Union Communist Party of Bolsheviks “On the magazines Zvezda and Leningrad”). Andrei Platonov will fall under the flywheel of exposure and repression at the end of 1946. After the devastating criticism of the story "The Ivanov Family", it is no longer printed. In his working papers, following a long list of works and books, most of which were never published during the life of the writer, Platonov left an entry: “The relation of words is a sacrifice to society for understanding. Nature, the essence is unanimity, a cry”54.

48 "Take the manuscripts:

In Kr. Star 1. Size<ышления>official<ера>2. Russian nesting doll 3. Spring

In October 1. Size<ышления>of<ицера>2. Void<ушие>3. Hut<ушка>bab<ушки>4. House<ашний>hearth”, etc. (RGALI, f. 2124, on. 1, item 99, sheet 23).

49 Version of the book presented in Detgiz on October 28, 1943: 1. Grandfather-soldier 2. Little soldier 3. Recovery of the dead 4. Iron old woman 5. Grandmother's hut 6. All life 7. Kind Kuzya 8. Cow

9. The seventh person 10. July thunderstorm 11. Journey of a sparrow (RGALI, f. 2124, on. 1, item 99, sheet 24).

10. Machinist Maltsev 11. Ivanov's family (crossed out in bold. - I. S.) ”(RGALI, f. 2124, on. 1, item 99, sheet 14).

Platonov A. A resident of his native city: (Essay on the painter I. P. Konshine) // Ogonyok. 1946. No. 38-39. pp. 29-30.

PlatonovA. Ivanov's family//New world. 1946. No. 101-1. pp. 97-108.

54 RGALI, f. 2124, on. 1, unit ridge 99, l. 25.

During the thaw, the difficult return of Andrei Platonov's work to Russian literature, which has dragged on to this day, began. Returning from the war and his front-line works. In 1957, Platonov's story "The Son of the People" was published in the collection "Frontline Essays on the Great Patriotic War"55. In 1958, works from the war years appeared in Platonov's Selected Stories56. As a separate book, stories about the war came to the post-war reader in 1963 under the title Spiritual People57. Over the next decades, military stories are reprinted with a certain frequency. The most detailed edition of the writer’s military stories, although by now, obviously, incomplete, was prepared by V. M. Akimov in 1986, and again the book receives the f Q title “Spiritual People”. Publications of new wartime materials (biographical data, memoirs, works of art, journalism) are contained in the monograph by N. V. Kornienko "History of the text and biography of A.P. Platonov (1926-1946)" (1993), collective monographs: "Andrey Platonov: The World of Creativity" (1994), : Memoirs of contemporaries: Materials for a biography "(1994), periodicals of the Institute of Literature of the Russian Academy of Sciences" "Country of Philosophers" by Andrey Platonov" and IRLI of the Russian Academy of Sciences "Problems of Andrei Platonov's creativity: Materials and research."

Military stories in criticism and literary criticism. In the first responses of reviewers and critics to the front-line prose of A. Platonov, the idea was often heard that the facts and phenomena of reality are overgrown by the author with so many thoughts, so artistically complicated that philosophy crowds out the action and becomes the center of the plot. This is the "philosophy" of the author in the historical situation, which seemed to require journalistic clarity, confused and alarming. Reviewer G. Storm, working with the manuscript

55 Platonov A. Son of the people: (Story) II Front-line essays on the Great Patriotic War. M., 1957. T. 2.

36 Platonov A. Selected stories/ Entry. Art. F. Levina. M., 1957. "Platonov A. Spiritual people: Military stories. M., 1963.

58 Platonov A. Spiritual people: Stories about the war / Comp. and intro. Art. V. M. Akimova. M., 1986.

Toward the sunset” and paying tribute to Platonov’s artistic skill, he saw the “undoubted danger” of his worldview, opposing modernity: “The meaning of this confrontation is as follows: evil has ripened in the world; it reveals itself in a war that has brought unheard-of disasters and suffering to the Russian people; At the same time, the author does not make a distinction between the world from which the “tigers” and “Ferdinands” are crawling at us, and the world lying on this side of the front; the whole world is “evil”, it is not yet ready for children to live in it.”59. Another reviewer, V. Bakhmetiev, also believed that Platonov's military stories could be published only if the reasoning was "amputated"60.

But even after going out of print (already "surgically" edited), the works were read as "dropping out" of the ideological task of the time. In 1944 the critic Vs. Lebedev was indignant: “Instead of writing the truth of life, he (Platonov. - I. S.) composes ridiculous, non-existent people, imposes on them semi-mythical, hysterical thoughts, thereby distorting the appearance of the people of our Motherland”61. Theorist of socialist realism V. Ermilov in 1947 put an end to the discussion (condemnation) of Platonov's work. The story "The Ivanov Family", which completes the writer's military epic, was assessed by V. Ermilov as a slander on the entire Soviet people and the socialist way of life, main argument criticism: A. Platonov always writes in parables. This is how the story about "a certain" Ivanov and his family is written.

Decades later, literary critics single out in military stories

Platonic ethical dominant. According to a number of researchers, the writer "1 became a hostage of Soviet patriotism. L. Ivanova believes that in the military

39 Cit. Quoted from: Kornienko N.V. History of the text. S. 284.

60 Ibid. S. 287.

62 Ermilov V. A. Platonov's slanderous story // Andrei Platonov: Memoirs of contemporaries: Materials for a biography. M., 1994. S. 467-468.

63 E. Nyman believes that Platonov bowed his head before the "Stalinist utopia" in his work even before the war - in a number of works of the 1930s on the family theme, which symbolize not only the author's "renunciation of the early ideal, but also a vow of loyalty to the new order ”(Niman E. “From the truth does not exist in Platonov’s prose, a special intonation of the sermon sounds and the psychological aspect of the image is weakened, if not completely absent64. A. Kretinin writes about “semantic sparseness” and the folding of philosophical overtones65.

M. Koch comes to the conclusion that “in wartime, the problem of death takes on a purely ethical meaning for Platonov”66. V. Chalmaev, for his part, believes that Platonov “turned the war, this “country of despair”, with incredible work, often with rational violence, into a “country of hope”, that the artist is looking for justification for death in its space (sometimes on the philosophical basis of ideas N. F. Fedorov and K. E. Tsiolkovsky) and consolation for a person who has lost loved ones. In our opinion, he did not find a convincing justification, the unity of "nature" and "ideas", facts and generalizations. Both authoritative scholars interpret Platonov's military prose in the spirit of rational ethism. The question arises: is it possible for a theme or problem in a work of art to have a "purely ethical solution", an "idea" to exist outside of "nature".

The above points of view only mean the discord that exists in Platonic studies about the writer's military prose. Soviet criticism, traditional poetics, structuralism and postmodernism, within the framework of the “slow reading” and “intensive reading” schools, but simply different researchers have different versions of the Platonic text. This brings to mind the writer's thought: “All truths are limited. Every truth is<вительна>within the limits - taken more, it is a lie and a delusion ”(ZK, 227). In the creative behavior of the artist, it was translated as respect for the position of each reader. For us, this thought is a Platonic exit”: Andrey Platonov between two utopias // Russian Studies: Quarterly of Russian Philology and Culture. 1994. No. 1. S. 137).

64 Ivanova L. A. "War" and "peace" in the work of A. Platonov during the war years // A. Platonov's work: Articles and messages. Voronezh, 1970. S. 78.

65 Kretinin A. A. Mythological sign complex in the military stories of Andrey Platonov // Creativity of Andrey Platonov: Research and materials. SPb., 2000. Book. 2. S. 147.

66 Koch M. The theme of death in Andrey Platonov // "Country of Philosophers" by Andrey Platonov: Problems of Creativity. M., 1994. S. 260.

67 Chalmaev V. Andrey Platonov (To the secret man). M., 1989. S. 429.

68 The book on literature, which A. Platonov prepared in the late 1930s, he called "The Reader's Reflections." became another motivation to focus on the work of Platonov during the Great Patriotic War. This is a period with its own "task" in the history of Russia, in the history of mankind. The artistic world of Platonov's military prose also has its own distinctive features, as we will try to show.

Turning to the work of Platonov during the war years, it seems important to put the author's understanding of the tasks of the literature of the period of the Great Patriotic War at the head of the study - to read Platonov with the help of Platonov. The task that we set and tried to solve was to clarify, concretize a number of fundamental, from our point of view, positions of reading Plato's military epic.

Andrei Platonov thought a lot about the relationship between art and life, what is necessary and due in them. In his notebooks, on the margins of the manuscripts of 1941-1945, an ethical and aesthetic program of the war years is deployed, where creative reflection is adjacent to intuitive insights, comprehension of what has been written is combined with the formulation and justification of new artistic principles. The writer saw the ethical necessity of creativity during the period of the Patriotic War in the creation of works “full of the truth of reality” (ZK, 279). At the same time, he especially emphasized the role of “private concreteness”, which ensures the completeness, and hence the truth of artistic memory: “... if the living and, so to speak, private concreteness of the Patriotic War is ever obscured in the future force of oblivion, then how can people see for themselves a lesson from a great but bygone event. It is particular concreteness that is important here, because literature deals with an individual person, with his personal destiny, and not with a stream of nameless beings” (ZK, 279-280).

The dissertation belongs to the type of historical and literary research. During the analysis of the literary material of the period of the Great Patriotic War, the author relied on the principle of historicism, systemic, comparative-typological and structural-semiotic research methods.

The theoretical and methodological basis of the study was the works on general poetics, history and theory of literature by S. S. Averintsev, M. M. Bakhtin, S. G. Bocharov, A. N. Veselovsky, B. M. Gasparov,

A. F. Losev, D. S. Likhachev, Yu. M. Lotman, I. P. Smirnova, V. N. Toporova, Yu. N. Tynyanov, B. A. Uspensky, O. M. Freidenberg, R. Jacobson.

On issues of history and social psychology of the Great Patriotic War, the methodological base was the work of E. S. Senyavskaya,

V. T. Aniskova, N. D. Kozlova.

The study of the military stories of A. Platonov was carried out in continuation and based on the work of predecessors and modern researchers of A. Platonov's work - in dialogue with them. These are the studies of O. Yu. Aleinikov, E. A. Antonova, K. A. Barsht, S. G. Bocharov, V. V. Vasiliev, V. Yu. Vyugin, G. Günther, M. Geller, S. P. Zalygin, M. A. Dmitrovskaya, A. A. Dyrdina, L. V. Karaseva, L. I. Kolesnikova, N. V. Kornienko, S. I. Krasovskaya, O. A. Kuzmenko, T. Langeraka, O. G. Lasunsky, N. M. Malygina, O. Meyerson, M. Yu. P. Skobeleva, S. G. Semenova, E. Tolstoy-Segal, L. P. Fomenko, A. A. Kharitonova, R. Hodela, V. A. Chalmaeva, L. A. Shubina, E. A. Yablokova, other authors.

Platonov's poetics is defined as "poetics of oddities" (E. Tolstaya-Segal), "poetics of riddles" (V. Vyugin). I. P. Smirnov, believing the secret to be an inalienable quality fiction, believes that in a literary work "the surface of cryptography is valuable only as something that we are able to overcome"69. As the structure-forming principles of Platonic poetics, researchers call "violation of semantic valence" (R. Hodel), the organization of the text "on mutually exclusive

69 Smirnov I. P. The novel of secrets “Doctor Zhivago”. M., 1996. S. 26. beginnings "(T. Langerak)," author's doubt "as Platonov's narrative strategy (N. Kornienko), the principle of "reversibility" (E. Yablokov), the method of "non-elimination" (O. Meyerson) , "isomorphism" (E. Tolstaya-Segal), "form reduction" (V. Vyugin). These provisions became the starting point in the course of work with the "secret texts" of Platonov.

In the study of military stories, we relied on the approaches and methods of textual analysis, which are given in the works of E. Antonova, I. Dolgov, V. Vyugin, N. Kornienko, T. Langerak, A. Kharitonov.

The stated theme led to the appeal in the course of the analysis to the main body of the writer's works of other periods of creativity. In 2000, an academic edition of the story "The Pit" was published, prepared by the staff of the Institute of Russian Literature (Pushkin House). It includes materials from the creative history of the work (manuscript, rough drafts, typewritten versions of the text, as well as dynamic transcription of the manuscript of "The Pit"); thus, for the first time, the reader was given the opportunity "to obtain information about the real sources of the text and trace its change at all stages of the author's work on the story"70. In 2004, the first volume of the scientific publication "Works" by A. Platonov was published, which is being prepared by the A. M. Gorky Institute of World Literature. The task of the publication is “to present the most complete collection of all the literary works of the writer identified to date, to restore the authentic appearance of the classic on the basis of previous experience and re-verified and open sources, to lay the fundamental foundations for further work on the study of one of the unique phenomena of Russian culture of the 20th century.”71. The above-mentioned editions, accompanied by detailed comments, became a support in the study of the writer's creative laboratory.

To date, there are a number of monographic studies devoted to the analytical decoding of the artistic structure

70 From the Editor // Platonov A. Pit: Text, materials of creative history. SPb., 2000. S. 3.

71 From the Editor // Platonov A. Works. T. 1. Book. 1. M., 2004. P. 5. of Plato’s metatext: N. M. Malygina “Aesthetics of Andrey Platonov” (1985) and “Andrey Platonov: the poetics of the “return”” (2005)72; O. Meyerson ""Free Thing". Andrey Platonov’s Poetics of Non-Elimination” (1997), K. A. Barsht “The Poetics of Andrey Platonov’s Prose” (2000)74, V. Yu. Vyugin “Andrey Platonov: Poetics of a Riddle (Essay on the Formation and Evolution of Style)” (2004)75.

In "The Aesthetics of Andrei Platonov", one of the first domestic monographs on Platonov's work, N. M. Malygina focused on the problem of the formation of the artistic method of A. Platonov in the context of the literary process of the 1920-1930s, the formation of images-symbols that support everything the creativity of the writer. The study of the aesthetic principles of Platonov's "symbolic realism" was continued by N. Malygina in the articles "Images-symbols in the work of A. Platonov", "Transformation of images and motifs of Platonov's early prose in the play "Noah's Ark"", a textbook "The Artistic World of Andrei Platonov" , other studies, which, in a revised and supplemented form, were included in the monograph "Andrei Platonov: the poetics of the "return"".

O. Meyerson in the book “The Free Thing”. The poetics of non-elimination in Andrey Platonov” explores the receptive functions (addressing the reader) of language disorders, which are a kind of artistry rule in Platonov. The absence of surprise - "normalization of the abnormal" - in Platonov's artistic world gave grounds to O. Meyerson to define his poetics as the poetics of non-elimination. The writer created a literary model in which "the "freedom of a thing" (an event, that is, an object of knowledge or reaction). oppresses the freedom of the hero (subject) who reacts to it

72 Malygina N. M. Aesthetics of Andrey Platonov. Irkutsk, 1985. She: Andrei Platonov: the poetics of "return". M., 2005.

73 Meyerson O. "The Free Thing": The Poetics of Non-Elimination in Andrei Platonov. 2nd ed., rev. Novosibirsk, 2001. First ed. book. O. Meyerson - Berkeley Slavic Specialties, 1997.

74 Barsht K. A. Poetics of Andrey Platonov's prose. SPb., 2000. In 2005, the 2nd edition was published: Barsht K. A. Poetics of Andrey Platonov's prose. 2nd ed., add. SPb., 2005.

Vyugin V.Yu. Andrey Platonov: Poetics of the Riddle (Essay on the Formation and Evolution of Style). SPb., 2004. knowledge or reactions to an event)”76. The functional task of such a literary model of a "free thing" is to destroy the idiomatic inertia of the reader's perception.

The poetics of Andrey Platonov's prose” by K. A. Barsht represents the first attempt at a systematic description of the main parameters of the writer's artistic ontology and anthropology. The author traces the relationship between Platonov's artistic codes and scientific ideas, hypotheses and discoveries of the 19th-20th centuries (Darwin's teaching, Marx's historical materialism, Einstein's theory of relativity, the second law of thermodynamics and Lobachevsky-Minkowski's non-Euclidean geometry, Vernadsky's concept of the noosphere, Steiner's anthroposophy, etc.). In the course of a creative dialogue with the scientific and philosophical ideas of the time, Platonov created his own unique concept of man in his relation to the Universe, which is based on the “hypothesis of the “living Earth” and the inseparable inseparable

77 with her the body of a man ". According to K. Barsht, a unique picture of the Universe according to Platonov is formed on its basis, where the “substance of existence”

78 represents the “third reality” and operates “a single principle of the total equality of matter and energy, mutually passing into each other”79. We note the scientific relevance of the very formulation of the problem of the nature of artistry by A. Platonov and the approaches to its solution proposed by the researcher.

V. Vyugin proposed his own version of the artistic model of Platonov's prose in the monograph "Andrei Platonov: Poetics of Enigma (Essay on the Formation and Evolution of Style)". The scientific hypothesis put forward and developed by V. Vyugin is the “principle of mystery”, its aesthetic functions and ideological background in the artistic world of Platonov. The author stipulates that it was not his intention to "detail

76 Ibid. S. 6.

11 Barsht K. A. Poetics of Andrey Platonov's prose. 2nd ed. S. 449.

78 Ibid. S. 13.

79 Ibid. P. 81. Platonic poetics, but only one of its facets, although fundamental”80. Comparing the artistic structure of Platonov's works with the structure of folklore riddles, V. Vyugin comes to the conclusion that "mysteriousness" as some structural involvement in a specific genre of proverbs is inherent in most of Platonov's works of the 1920s and the first half of the 1930s; then, starting from the second half of the 1930s, a rejection of the "mystery style" can be traced in the writer's work. The study involves a large archival material, based on the analysis of which a conclusion is made about the "reduction of form" as one of the main laws of Platonov's poetics.

In the above monographs on Platonov's aesthetics and poetics, the attention of researchers is focused on the works of the 1920-1930s, when Platonov's artistic worldview was being formed, and then, from the second half of the 1920s, the "classical" Platonov, the author of Chevengur "and" Pit. Military stories (and more broadly - prose of the 1940s) are either absent from the lists of sources, and observations on them for "general conclusions" are not made at all, as in O. Meyerson's book, or are presented implicitly, by a minimum number of works and references to them in the course of analysis, as in the studies of N. Malygina, K. Barsht, V. Vyugin. But even such a “thinned out” inclusion of the works of the 1940s in the analysis overall picture Platonov's work allowed the authors to draw conclusions about the changes in Platonov's poetics and worldview in the final period of his work81.

The question of the contexts of Platonov's work, his connections with the literary, folklore, philosophical traditions of Russian and world cultures is being studied quite intensively today. We find the formulation of the problem in the works of E. Tolstoy “Literary material in the prose of A. Platonov” (1980), “To the question

80 Vyugin V. Yu. Andrey Platonov: Poetics of Enigma. S. 8.

81 Thus, N. Malygina points to the semantic expansion of the concept of “resurrection” characteristic of the works of the 1940s (Malygina N. M. Aesthetics of Andrey Platonov, p. 36), the transformation of images and motifs of the writer’s early prose (She. motives of early prose in the play "Noah's Ark" // Malygina N. M. Andrey Platonov: the poetics of "return", pp. 316-321). on Literary Allusion in Andrei Platonov's Prose: Preliminary Observations" (1981), "A. Platonov's Ideological Contexts" (1981). N. Malygina, T. Langerak, V. Zolotonosov, A. Keba, E. Yablokov, N. Duzhina, M. Dmitrovskaya, E. Rozhentseva, and others are working in this direction. Today, the distant contexts of Plato's work are sometimes better explored than the near ones82. However, the domestic historical and literary context contemporary to Platonov is not only the background of his works; these close connections help to better understand the genius of Platonov, who spoke about the same thing differently. Example

Q7 to that - V. Turbin's article “July 16, 1933. Andrey Platonov and the Newspaper”, which made it possible to read the story “Garbage Wind” in a new way through the modern newspaper material for the writer - “the language of time”.

The attention of researchers, along with Platonov's mythological sign complex, has recently been increasingly attracted by the Christian cultural code in the writer's works of different periods: biblical images, quotations, reminiscences, and other textual elements dating back to Christian culture (hagiographic motifs84, the type of holy fool85, the genre of o/ martyrdom, etc.). Christian motives and images, biblical overtones in Platonov are considered in the works of O. Aleinikov, M. Geller, G. Günther, A. Dyrdin, N. Kornienko, L. Karasev, O. Kuzmenko, E. Proskurina, S. Semenova, E. Yablokov.

As contextual consideration shows, Christian motifs, elements of Orthodox culture and spirituality, included by Platonov in the artistic narrative, become one of the mechanisms

82 See: A. V. Keba. Andrei Platonov and World Literature of the 20th Century: Typological Connections. Kamenetz-Podolsky, 2001. Such a detailed analysis of Platonov's work in contextual connections with his contemporary domestic literature No.

83 Turbin V. N. July 16, 1933: Andrei Platonov and the newspaper // Turbin V. N. Shortly before Aquarius. M., 1994. S. 311-348.

84 Aleinikov O. Hagiographic motifs in Platonov's prose about the Great Patriotic War // "Country of Philosophers" by Andrey Platonov: Problems of Creativity. Issue. 5. S. 142-148.

85 Gunther N. Foolishness and "mind" as opposite points of view in Andrei Platonov // Sprache und Erzahlhaltung bei Andrei Platonov. Bern, 1998. P. 117-133.

86 Kuzmenko O. A. Radiance of the Rose 11 Kuzmenko O. A. Andrey Platonov. calling and destiny. Kyiv, 1991. S. 129-149. Meaning formation in the structure of his works. At the same time, Christian elements act as a symbolic text in the new text. Being in new formal-semantic relations, various Christian elements in a work of art are recognized by the reader: they are perceived by him as previously encountered, having a certain place, function and significance in the cultural tradition. Receiving a new combination in the current context, the familiar model is “recoded” (Yu. M. Lotman), giving rise to a new meaning, which, however, does not cancel the traditional cultural semantics. Christian elements act as a general symbolic text "territory" for the author and reader in a work of art. To reveal what their function is in Platonov's military epic is one of the objectives of this study.

The purpose of this work is to consider the specifics of the artistic world of the writer's military stories in the context of creativity and time. The study of the features of the poetics and semantics of Platonov's military epic clarifies and deepens our understanding of the work of one of the brightest and most complex writers of the 20th century as an integral artistic object that exists in time. On the other hand, a comparative analysis of Platonov's military works with the work of other authors of the period 1941-1945 introduces a number of significant additions and adjustments to the established characteristics of Russian Soviet literature during the Great Patriotic War.

Research objectives:

To study the history of military prose texts, to conduct a comparative analysis of various lifetime publications of works and manuscripts;

To trace how traditional Platonic themes, images, motifs, plots function in the artistic world of military prose;

Find out what new formal content elements and mechanisms of meaning formation manifest themselves in the artistic structure of military stories;

Determine the place and functions of Christian images and motifs in the writer's military prose;

Consider conceptual tropes and their role in the fictional world of war stories;

To analyze the features of Platonov's poetics and artistic thinking in the historical and literary process of time.

The military stories of A. Platonov are considered for the first time in the light of the universal category "artistic world". Three interrelated levels of research - the inner world of the work, the features of the poetics of the metatext of military stories, the artistic world of A. Platonov's military epos and its place in the poetic space of the writer - allow us to trace the dialectic of the special, the singular and the general in the creative evolution of A. Platonov. In the course of the study, a methodology and methodology for studying the artistic codes of the metaphysical problems of Platonov's military works (ontological, epistemological, natural-philosophical, religious aspects of artistic creativity) were developed, which can be used to study other artistic worlds in the literature of the Great Patriotic War. The scientific novelty and theoretical significance of the study lies in the formulation and solution of the tasks and problems discussed above.

The practical significance of the work. The dissertation materials can be used in the preparation of a scientific edition of military stories; in further research artistic specificity and the evolution of the work of A. Platonov, primarily the final decade of the 1940s; in the process of developing new (or, at least, to correct existing) approaches to the study of the history of Russian literature during the Great Patriotic War; in university lecture courses on the history of Russian literature of the XX century, special courses and special seminars on the work of A. Platonov.

The essence of a scientific hypothesis submitted for defense. A. Platonov's stories of 1941-1946 form a complex artistic whole - a large epic canvas that organically grew out of a small epic form: they are distinguished by a problem-thematic community, through socio-moral and religious-philosophical conflicts, common principles for constructing a system of characters and figurative structure, genre and narrative strategies of the author. A. Platonov defined the Great Patriotic War as an epoch within an epoch: this is the time of consolidation of man and the world in the face of the deadly threat of fascism, when the Russian man and the Russian world were called into the “spacious sphere of historical being” (M. Bakhtin) to fulfill a historical duty instead of a falsely understood revolutionary messianism. Responding to changes in the "text" of life, the basic images-concepts constituting the artistic world of A. Platonov acquire new content, a new configuration of the components of the poetic system and a value hierarchy are built. The trinity of the image is preserved: anthropomorphism, natural morphism, theomorphism, but the forms and semantics of their interaction change. Theomorphism acts as a structure-forming principle of artistic world modeling, forming the image of the World-Temple as an alternative to historical reality and at the same time its real possibility.

The following provisions are put forward for defense:

1. Plato's metatext of the war years thematically and poetically inherits the writer's previous work and at the same time manifests the semantic substitutions recurring in it in a new way.

2. Heroic truth and tragic truth - such a new artistic synthesis is given by the writer's aesthetic, philosophical and ethical attitudes in stories about war in war.

3. In the situation of "ethical necessity", in which the Patriotic War put the writer, an important mechanism of semantic expansion artistic text, actualization of innermost meanings and conflicts in

Platonov becomes "one word" - an artistic sign that does not coincide with the artistic whole.

4. The concept of "intimacy" in the stories of 1941-1946 is supplemented and deepened by the concept of "spirituality". "Spirituality" becomes the conceptual center of world modeling and folk characterology.

5. Polypersonalism is the leading principle of organization of the character system. The heroes of military stories differ in their outlook, character and fate, but they are aesthetically equal: whoever is not worthy of "eternal glory" is preserved in Platonov's artistic world by "the eternal memory of all the dead and all the living."

6. In the prose of the war years, the image of the “people-family” crystallizes. The highest meanings of life - love and peace - find artistic realization in the figurative "parallel" warrior-mother. "The image of the mother integrates in Platonov the main meanings of the" living secrets of the world ", helps to reveal the metaphysics of Russia, the moral origins of people's life, which the war not only did not cancel , but helped their tragic awareness.

7. The artistic thinking of A. Platonov is archetypal, which determines the peculiarity of the writer's artistic historicism. The idea that animals and plants are "accomplices" of history and "our contemporaries" is from the writer's arsenal. In the work of the war years, the idea of ​​a “common conglomerate” (equality of existence in chaos), one of the central ideas in Platonov’s philosophy of the tragic in the 1920s and 1930s, is replaced by another one about the need to unite the efforts of people and nature in the search for “roads to the deity”, about their equal opportunities for communion and participation in the divine cosmos of life. The cosmosophy of Platonov's military prose is the earth and people "under the skies of the Motherland".

8. A variety of textual elements that go back to Christian culture focus existential problems in military stories and at the same time provide ideal images of the World-Temple and Russia-Temple as an alternative to historical reality.

Approbation of work. The research results were presented in reports and discussed at the I-XVII annual international Platonov seminars (1990-2006, IRLI RAS (Pushkin House), St. Petersburg); international conferences dedicated to the work of A.P. Platonov (1997, 1999, 2001, 2004, IMLI RAS named after A.M. Gorky, Moscow); international conferences "Gospel Text in Russian Literature of the 18th-20th Centuries: Quotation, Reminiscence, Motif, Plot, Genre" (1993, 1996, 1999, 2002, 2005, PetrSU, Petrozavodsk); scientific conference dedicated to the 90th anniversary of the birth of A. Platonov (1989, PIP LI RAS (Pushkin House) Leningrad); I Russian Zamyatin Readings "Creativity of Evgeny Zamyatin: problems of study and teaching" (1992, TSU named after G. R. Derzhavin, Tambov); All-Russian Conference "Children's Literature: History and Modernity" (2003, PetrSU, Petrozavodsk); V International Platonov Readings "Andrei Platonov: Searches of the Century and Voronezh Contexts", dedicated to the 105th anniversary of the writer's birth (2004, Voronezh State University); at meetings of the Department of Russian Literature of Petrozavodsk State University.

According to the results of the study, special courses "Creativity of A. Platonov: traditions and innovation", "Creativity of A. Platonov: problems of interpretation" were read at the Faculty of Philology of Petrozavodsk State University. The main provisions of the thesis are set out in scientific publications, including the monograph "Inside the war" (Poetics of military stories by A. Platonov)" (Petrozavodsk, 2005). The total volume of works published on the topic of the dissertation research is 26.2 p.

The structure of the dissertation work includes an introduction, 4 chapters, a conclusion, a bibliography and an appendix.

Conclusion

The artistic image of the world stores colossal information of the author's, national, universal experience - this is the "memory of memory" (A. Bely). At the same time, the image is movement, variability is “news”. Outside the element of novelty, the artistic image loses its eventfulness already on the “private” scale of the author's creativity, simultaneously losing them in the general literary process. This dialectic of the image has become Starting point in the study of the artistic world of military stories by A. Platonov, she set the parameters for their study - in the context of creativity and time.

Platonov's stories of the period of the Great Patriotic War form a complex artistic whole - a large epic canvas that organically grew out of a small epic form: they are distinguished by a problem-thematic community, through socio-moral and philosophical collisions, common principles for constructing a system of characters and figurative structure, genre and narrative strategies author. Plato's metatext of the fiery forties thematically and poetically inherits the writer's previous work and at the same time manifests the semantic substitutions that repeat in it in a new way.

If you think about the writer’s work, then the “forties-fatal”, where the issues of life and death, good and evil, freedom and necessity, faith and doubt, love and hatred, having lost metaphysical abstraction on the battlefield, immediately converged, is the time of Platonov by vocation : to participate in the cause of national and universal salvation. This is the time of consolidation of man and the world in the face of the common deadly threat of fascism, the time when the Russian man and the Russian world are called into the spacious sphere of historical existence ”(M. Bakhtin) to fulfill a historical duty in return for the falsely understood revolutionary messianism. For the writer, the Great Patriotic War is not a change in historical scenery, not a new socio-political background, but an epoch-making event that reveals the innermost content of life in a new way. Responding to changes in the "text" of life, the supporting "images-concepts" (JI. Shubin), which constitute Platonov's artistic world, take on new content, a new configuration of the components of the artistic system and a value hierarchy are built.

Platonov shared the patriotic pathos of the times. The writer of a tragic vision of reality, he took part in the heroic struggle of the people to defend the Fatherland with an artistic word (the main tool and deed of the writer). Patriotism as an ethical constant, heroic and tragic as an aesthetic dual command determined the ideological and artistic originality of Platonov's military prose. The creative task that the writer gives himself and implements in the works of the war years is to create literature of "eternal memory": "eternal glory" of heroes and "eternal memory of all the dead and all the living." This task was ideally suited to the small epic genre story. Each subsequent work allowed the writer to take another, different event, a different character - and tell them in a new way, thus adding and completing what was previously written. As an ideological, thematic and poetic whole, the stories of 1941-1946 gave a stereoscopic artistic picture of Russian life during the Great Patriotic War - in various details and the integrity of a tragic and great event.

Heroic truth and tragic truth - such an artistic synthesis is given by the writer's ethical, philosophical and aesthetic attitudes in stories about war in war. In the works of 1941-1946, the heroic theme is expanded: not only the “holy war” receives heroic coverage from Platonov, but life as such, where the ontological conflict of life and death continues in everyday life, and life wins. Plants, animals, the "giving birth" earth are the heroes of life in Plato's stories. The hero of life is also a person who wins a spiritual, moral victory over death in its many guises: fear, selfishness, indifference, bestiality, despair, and finally, the enemy. Such different characters of the stories "Grandfather-soldier", "Peasant Yagafar", "Spiritual people", "Iron old woman", "There is no death! (Defense of Semidvorye)”, “Girl Rose”, “Flower on the Ground” are equally necessary for the writer to artistically represent the “heroic truth” (“Girl Rose”).

Parallel to the heroic, the zone of the tragic is also expanding, which traditionally characterizes Platonov's “all life”. Tragic truth is present in the artistic world of military stories from the use of "speech clause" ("Armor") to the genre model ("Sampo"). Where the tragedy is reduced to details, a separate statement of the narrator or hero, landscape, portrait, motif, it is supported and deployed in the subtext, in the plot of the "second plan" - through the connection with the whole of Platonov's work, with literary and other contexts. In the situation of the “ethical necessity” of the Patriotic War, the innermost meanings and plots are often expressed by the writer, by his own definition, by “one word” - a special artistic sign that does not coincide with the artistic whole, due to which the semantic expansion of the text occurs in the zone of stylistic conflict.

The conflict between text and subtext leads in military stories from the socio-political surface of the historical conflict to the ontological depths of the problems of "eternal war": the eternal struggle of life and death, good and evil, truth and lies, and the main arena of this struggle, shows Platonov, continuing the traditions of the classical Russian literature - the human soul. "Spiritual people" (1942) - the central work, in in a certain sense, a metatext of Platonov's prose of the war years. In the artistic structure of the work, the general tendency of Platonov's military stories towards cyclization and romanization is visible; in it we find a set of main themes and problems, the key to a figurative solution. The story is a multi-hero narrative art space incorporates the front and rear, the realities of socio-historical and intimate, mental life man, artistic time - past and present, moment and eternity. The study of the history of the work, the analysis of its inner world in the context of time and creativity made it possible to revise the current version in literary criticism about the “traditional” heroic content of the story for Soviet literature during the war (V. Poltoratsky, O. Kuzmenko).

Spiritualized People” are currently being reprinted according to the last lifetime publication of the story in A. Platonov’s collection “Stories about the Motherland”, which was released at the end of 1943, however, it is in this edition that the largest number of text cuts and editorial corrections that violate the will of the author. Draft sketches for the story, letters and notebooks, and finally, the full author's text (a typewritten version prepared by Platonov for publication in the Znamya magazine) show that the dramatic principle that generates artistic ambiguity plays an important role in the organization of genre, plot, and narrative structures. story.

Comparative analysis motives of rage and the beast in the story "Spiritual people" and in the literature of the Great Patriotic War revealed the features in the semantics and functions of these motives in Platonov. In the Patriotic War, love for one's people is sacred and hatred for the enemy is sacred. The themes of "sacred love" and "sacred hatred" merge in the journalism and fiction of the war years into a single theme-pathos. "Noble Fury" is a variant of "sacred hatred" in JI's works. Leonov, other authors. The motive of the "beast" characterizes the enemy in the literature of the Great Patriotic War and becomes the antithesis of the motive of the people's "rage-anger".

A. Platonov, like contemporary artists, wrote the Great Patriotic War as "sacred", but the tragically universal meaning of the ongoing homicide is preserved by him in the semantic field of the work. In the motive structure of the story "Spiritual people" the boundary "one's own - someone else's" is violated. The leitmotif of rage absorbs - once, but with the preservation of positive connotations - the theme of the enemy. The motif of the beast is also used once, but it is used in the plot of the story to characterize the defenders of the Motherland: it is the “spiritual people” who discover the “beast” in themselves in a mortal battle as a catastrophic consequence of the war. An "explanation" of such a motivated organization can be found in Platonov's work of the 1920s-1930s, in the evolution of the writer's views on history and nature. Nature, according to Platonov's philosophy, is a full-fledged participant in historical processes; it gave rise to and preserves the humanistic beginning of life, while history is saturated with zoological hatred. These convictions did not allow Platonov to depict the image-motive of the enemy-beast in military prose. The enemy is designated in a number of Platonov's stories as a "beast" (mainly through the word hero), but in the artistic world of the writer's military prose there are no vivid, memorable images and pictures given by this characteristic. The motive of the beast in "Spiritual People" is a sign of the historical tragedy of mankind in its entirety: in the pre-war works of the writer, the motive-image of the beast characterizes the national revolutionary history ("The Pit") and fascism ("Trash Wind"). Diffusion of the motives of rage and the beast in the plot of "Spiritual People" cancels the pathos of retribution.

Musical motives the “requiem” story, as Platonov defined it, are tragic themes of separation forever, loss, the mortal limit of man. At the same time, they actualize the Christian subtext of the plot. The defenders of the Fatherland inspired by love and truth perish, but in their very death they affirm the highest values ​​of life, restore its harmony, embody (return) its ideal beginnings to life. The main signs-signals of Christian themes in the artistic structure of the story are the "cross" (an episode of children playing in the cemetery) and a free quotation of the prayer "Eternal Memory", which are introduced into the central episodes. Based on the memory of the pretexts of Plato's work, they provide an Easter illumination of the plot.

The poetic code of the beginning, the musical theme and the motive structure of "Spiritual People" actualize Blok's subtext in the story. A comparative study of "Spiritual People" and A. Blok's poem "The Girl Sang." showed that "direct contact" with Blok's poetic masterpiece at the beginning of the story serves Platonov as a starting point for further free use of motifs and images from Blok's repertoire, which are filled with new content; it is "a multi-step process whose final product (implicate of the operation) is distanced from the source"548. It should be noted that Blok's subtext supports and strengthens the Christian layer of meanings in the semantics of the work. Despite the typological similarity of motive and figurative structures, genre solutions, the works have different content. Stanzas "The girl sang." Blok became another prophecy of Russia's future troubles. “Spiritual people” is a work of “permission” (B. Zaitsev), where man and people, Platonov shows, suffered in the catastrophe of the Great Patriotic War and discovered the true meanings and values ​​​​of being. The story "Spiritual people" integrates the most important meanings of Platonov's military stories.

In Platonov's artistic picture of the world, landscape and natural images play an important role. In military stories, landscape images of a field and a tree are of particular importance, symbolically representing national life in the coordinates of time and eternity, war and peace. Tortured, scorched by fire and killed by shells, "gnawed" in the course of

348 Smirnov I. P. Generation of intertext (Elements of intertextual analysis with examples from

B. L. Pasternak). SPb., 1995. S. 56. fighting "to the bone" mother earth, the nature of Russia - an accusation not only to the enemy, as in the works of JI. Leonov and M. Sholokhov, the literature of the war years in general. In Platonov's stories, the defenders of the Fatherland bear and realize their guilt for the ruined native nature, the unprotected field and tree of Russian life. With natural-philosophical issues (numerous landscapes of "native ashes", "burned-out places"), the motives of repentance and the vow of soldiers of the Fatherland before the Russian land and the world are included in Platonov's military stories. The taking upon oneself of the guilt of the war and purification by the work of one's life is an important moment in the spiritual biography of the Platonic hero.

In the image of the hero, the figurative parallels "man-tree", "man-flower" are important. This is a symbolic sign of the hero's exit from the "animal story". With the significance of the figurative parallel "man-plant" throughout the entire work of Platonov, it did not previously carry such a high content as in military prose. The characters in Chevengur, who yearn to “stop history,” consider the tree to be an element of nature that is “alien” to communism. Alexander Dvanov orders to cut down the reserved forest for the construction of socialism, since the "long-growing" tree does not fit into the revolutionary pace and ideology of life. Subbotniks are held in the Chevengur commune, where not only property is destroyed, but gardens are uprooted.

In military stories, the metaphorical images of the “man-tree” and “people-tree” (“God's tree”, “Young Major”) represent the ideal content of the life of the “animate homeland” and “inspired people”, deployed from the present to the past and the future vertically standing and growing tree from the earth - to the sky. In the figurative parallel “flower man”, “flower child”, the semantic emphasis in the multi-valued symbolism of a flower is not on frailty, brevity, finiteness, but on beauty and perfection - the “color” of life (“Girl Rose”, “Flower on Earth” ).

The image of man, the human soul, which Platonov writes in military stories, is an important component of the overall artistic picture. In the military gallery of Platonov - portraits of soldiers of the Fatherland ("Young officer", "Among the people", "There is no death! (Defense of Semidvorie)"), military childhood ("The Iron Old Woman", "Little Soldier", "Petrushka (Fear of a Soldier)" , "Return"), old age ("The Tale of the Dead Old Man", "Old Nicodemus", "Inhabitant of the Hometown"), despair ("The Seventh Man"), stupidity ("Happy Root"), martyr ("Girl Rose), enemy ("Emptiness"). Never before in Platonov's detailed description of the hero did not occupy such a place as during the war years. This is due to the ethical and aesthetic attitude of the writer to preserve in the memory of art, if possible, all the individual traits and traits of a person, generation, people, doomed to a feat and death by war. Platonov continues to paint the image of the “human soul” in the war, to artistically explore its secrets. In the portrait of a wartime man, as in the previous works of the writer, physics, biological reality and metaphysics, the existence of a person are combined.

In military stories, the image of a “people-family” is crystallized, united by blood and spirit, conscious of its obligations to nature and the earth. The dream of the author and the heroes of his works of the 1920-1930s about a single organism of life, universal partnership, a people-family finds its fulfillment in the Great Patriotic War. Platonov writes during the war, like A. Tvardovsky and M. Sholokhov, the life of the people. He is looking for an integral image that would express the spiritual essence of the "holy war" and the people defending their right to live freely "under the skies of the Motherland." It was important for the writer to show that the person who stood up for native land, and in the tragic circumstances of a deadly, merciless single combat with fascism, it can reveal the meaning of life and death, the meaning of love. These higher meanings, which guide the people in the Patriotic War, are artistically realized by Platonov in the figurative parallel “warrior-mother” (“Spiritual People”, “Sergeant Shadrin”, “Officer and Peasant (Among the People)”, “Recovery of the Dead”) . The maternal theme is deployed by Platonov on the entire figurative system. In Platonov's military stories, the image of the mother integrates the main meanings of the "living mystery of the world", helps to reveal the metaphysics of Russia, the moral origins of people's life, which the war not only did not cancel, but helped their tragic awareness. The image of the mother reveals the guilt of the son before the mother for the war-ravaged world, for those born to live, but killed. This guilt is combined in Platonov's stories with the mother's guilt before the children she gave birth to in a world where there is so much evil. The image of the mother at the same time becomes for Platonov the highest poetic and moral justification for the feat of the people in this terrible war.

The writer understood how the war would devastate the Russian world, where the “flower” of national life was destroyed. It was all the more important for him to preserve that “beautiful world” that people discovered in suffering and death amid the fury and hatred of war. From the writer's diary:<ень>important. It depicts what, in essence, is killed - not just bodies. Great picture of life and. lost souls and opportunities. Peace is given, as it would be with the activities of the dead - a better peace than the real one: that's what perishes in the war. (ZK, 231). Art, according to Platonov, must preserve in eternal memory this "better world than the real one", the knowledge of which is obtained in death itself.

In Platonov's work of the 1920s - early 1930s, the tragic is a phenomenon of the space of life, which is catastrophically imperfect, denies itself, and therefore all the ways out of it that a person can find in history are justified. The image of an ontologically imperfect world, where man is a "prisoner" of nature and history, runs through Platonov's works of the 1920s-1930s from early journalism, poetry and short stories to the novel Happy Moscow. In this world, an orphan man rebels against a disastrous life. However, already in the second half of the 1930s, anthropological claims to the universe were removed in Platonov's artistic philosophy. In the stories of the 1930s on the family theme, Platonov's heroes in social and family conflicts rediscover the relationship of all things, humbly accept the laws of universal natural existence, returning to the traditions and values ​​of the folk culture of the past: cooperation with nature, family, home. The life space of the Platonic hero is tragically narrowed, but in this small space of work and family, he fulfills the moral duty of life (“Among animals and plants (Life in the family)”, “The driver's wife”, “Potudan River”). The artistic formula of the "beautiful and furious world", reflecting the dichotomy of the world, where a person is not free to cancel the tragic dialectic of nature, but can and must make his own, human choice, appears in Platonov's 1940 story "Machinist Yartsev (In a beautiful and furious world) ".

In military stories, the Platonic hero, choosing in a deadly historical duel with fascism as a personal life guide " good truth"("Spiritual people"), knows the joy of finding the meaning of life. The heroes of Platonov are not concerned about fame, it is important for them to save their homeland, loved ones, their human dignity and multiply the good in life. It is such a person, with a family ideal, a great conscience and modesty, who appears in the artistic world of Platonov's military stories as the main face of the story in which the world is being created. The artistic philosophy of history in Platonov is focused on the Pushkin tradition ("The Captain's Daughter", " Bronze Horseman"). The declaration “Pushkin is our comrade” in the work of the war years was confirmed and artistically realized by Platonov already in one of the first stories “The Tree of God”, written in August 1941.

The concept of "intimacy" remains basic in the work of the writer during the Great Patriotic War. The word "mystery" forms a voluminous lexical-semantic block in the works of 1941-1946. At the same time, the concept of "intimacy" is supplemented and deepened by the concept of "spirituality". "Spirituality" becomes the conceptual center of Platonov's folk characterology during the Great Patriotic War.

In tragic circumstances, often having a way out only in death, but at the same time revealing the sacred meanings of life, the writer was convinced that a new person was born - inspired by truth - a person: “And this is great, patient knowledge, in which both a deep understanding of the value of life and death in the name of the people, as the best last deed of a simple life true man." (261).

During the war years, the idea of ​​a “secret world” also evolved. The idea that animals and plants are "our contemporaries" is from Platonov's arsenal of unchanged. The thirst for all-encompassing, true equality takes the writer beyond the framework of traditional artistic anthropologism. K. Barsht writes: “In the works of Platonov there are no value differences between living beings, as well as between being and matter”549. In the work of the war years, a new vision of the problem can be traced. This is evidenced by the writer's diaries. Reflection of the late 1930s: “People and animals are the same creatures: among animals there are morally even higher creatures than people. Not a ladder of evolution, but a mixture of living beings, a common conglomerate” (ZK, 213). Lines from Platonov's front-line notebook, marked on June 22, 1944: "Isn't nature one of the roads to the deity?" (ZK, 253). In the first case, we are talking about "mixing", "common conglomerate", in other words, about the equality of existence in chaos, in the second - about the search for "roads to the deity", that is, about equal opportunities for communion and participation in the divine cosmos of life.

An analysis of the artistic structure of military stories does not allow one to define the Platonic text as anthropomorphic. In the writer's works, the anthropomorphic characteristics of the world external to man, as before, are balanced by the natural morphic representation of a person who, in the Platonic image, is devoid of self-identity. However, man, who is a problem and a mystery to himself, cannot fully understand and explain his existence through nature; it is not derived, according to Platonov, from natural (as well as social) laws of necessity and

549 Barsht K. A. Poetics of Andrey Platonov's prose. M., 2000. S. 225. is not limited to them. He cannot realize himself through people and nature. “The essence, where the true living secret of the world is stored” (ZK, 274), is not revealed in the plane of social and natural relations.

Platonov, like his characters, is fascinated by the mystery of being, where life is each time limited and finite in its concrete reality, natural and historical, and inexhaustible, incomprehensible in endless manifestations and metamorphoses. The way out of the epistemological impasse of the secrecy of life, in which atheistic consciousness inevitably finds itself, in the Platonic artistic world is in its very secrecy, in the miraculous possibilities lurking in life, until a certain moment unknown to man. Therefore, in Platonic plots, an important role is played by the moment of existential insight and transformation, where man and the world surpass themselves, show divine perfection. Platonov's artistic model of the world is religious in its deepest essence and affirms the reality of infinitely more than the reality of the visible world and man. The mystery of man in the artistic world of Platonov borders on some greater and deeper mystery. This mystery remains in his texts not called the name of God, a hidden figure of silence - and yet allegorically indicated.

Paradoxical as it may seem, it is precisely the religious idea (the idea of ​​“connection”) that largely determines the Platonic poetics of “doubt” (the juxtaposition of different, including ontologically different, points of view). R. Hodel believes that the trend of "synthesis" can be seen in Platonov already in the second half of the 1920s: represented primarily by his father's generation. This path remained dramatically unfinished, but the vector of the author's spiritual quest is indicated: “But the whole secret is that our people are good, their ancestors “charged” them well. We

350 Hodel R. Uglossia - tongue-tied, objective narration - a tale (To the beginning of the novel Chevengur) II Sprache und Erzahlhaltung bei Andrei Platonov. Bern, 1998, p. 149 Like his hero, Major Makhonin, from the story "An Officer and a Peasant (Among the People)", in the atheistic cold of time and personal doubts, the writer was warmed by the "warmth of the faith of the people."

Platonov tirelessly searched "among the people" for answers to those questions that he could not solve personally, where he did not trust his mind. The question of faith is one of them. He constantly returned to this topic throughout his work, pondered, tried to decide, doubted. Let us cite two entries from the writer's diaries of 1944: “God is unique and transient in the being, unlike anything or anyone, disappearing and marvelous. Holiness is the loss of life, the loss of the divine. Pts<ень>important ": on the back of the sheet we read:" No, everything divine - the most everyday, prosaic, boring, poor, patient, gray, necessary, which has become fate - and internally consistent with all fate "(ZK, 250. In both cases, it is emphasized Platonov - I. S.). The writer, for whom the people were not only the main "object" of artistic research, but also the main spiritual "authority", could not pass by the "father's heritage" and "the faith of the people" in his work. In the situation of the Patriotic War, an appeal to the spiritual experience of the past becomes vital both for the people and for the people's writer Platonov.

In the early prose of the writer, the main symbol of the Christian faith - the cross - is subject to figurative inversion: a cross made of wood "turns" in the artistic world of "Chevengur" into a dying tree that is about to rot and fall to the ground. This is the point of view of the child-hero Sasha Dvanov, who in the novel represents the tragedy of the revolutionary apostasy of the people. In the understanding of the Chevengur Communards, this is a “grave” cross that has lost its New Testament content and has become a symbol of the frailty of human existence and death. It would be possible to speak about the dominant negative semantics of the image of the cross in the novel, if not for the variant of the image "old cross". Everything in the art world is in the "dilapidated" zone

Platonov is “still alive”, filled with love and sympathy. In the eyes of the heroes of Chevengur, who profess a worldwide revolution, the threat of physical death "saves" the main Christian creed from "metaphysical death." The icon of the Mother of God in the story "The Motherland of Electricity" is subjected to inversion destruction in the word of the narrator. In military stories, images-symbols of the cross and icons are introduced into the artistic world of works with a minimal accompanying "comment" of the narrator, they are given the opportunity to speak "for themselves" and represent the faith of the people.

Spiritualized people”, “God's tree”, “Rose girl”, “Recovery of the dead” - these military stories “name” another integral “quality” of the Platonic text - theomorphism. This is also evidenced by the semantics of the tropes in military stories. Anthropomorphism, naturomorphism, theomorphism - it is precisely this trinity, their complex interaction and changing hierarchy that determines the unique artistic logos of Platonov.

To understand the specifics of the theomorphic principle in Platonov, the mechanisms of the thematic and aesthetic “coexistence” of theomorphism, anthropomorphism and naturomorphism in his works, the writer’s working notes help: “God became direct, etc., that he was divided among everything - and thus, as it were, was destroyed.<.>He dissipated in people, because he is a god and disappeared into them, and it is impossible that he should not be, he cannot be forever absent-minded, in people, outside himself ”(ZK, 157). Heretical, from the point of view of church dogma, Platonov’s reflections, who has “his own” understanding of Christ and Christianity, paradoxically “spiritualized world” in his works revive in memory the lines from the “Second Epistle to the Corinthians” of the Apostle Paul, where he conveys the word of God: “.You are the temple of the living God, as God said: “I will dwell in them and walk in them.”” (2 Cor. 6:16).

In the work of the period of the Great Patriotic War, Platonov retains the artistic trinity of the image: anthropomorphism, natural morphism, theomorphism, but their value position changes. The theomorphic principle of representation plays a structure-forming role in the artistic picture of the world of military stories. A variety of textual elements that go back to Christian culture focus existential problems in the prose of the war years and at the same time provide ideal images of the World-Temple and Russia-Temple as an alternative to historical reality.

There is a drawing in Platonov's wartime notebook. The writer's hand depicts a flat Russian space: in the center - a church with a bell tower, around - the sky, a forest, a meadow, a human dwelling (ZK, 276). Explanatory inscriptions are made on the figure: “sky”, “clouds”, “mighty forests grow”, “forbs grow here”, “and here the mother lives in a hut”. The semantic center of the picture - God's temple - is not verbally marked, it is recognized ("read") without words. The drawing, on the one hand, refers to the Voronezh realities of Platonov's childhood, on the other hand, it gives a projection model of the artistic world of military stories.

The military prose of Andrei Platonov is the most important stage in his creative evolution. Ignoring this period, it is hardly possible to correctly define its artistic cosmos. Platonov is an integral writer, whose evolutionary changes in the artistic and philosophical picture of life all the more emphasize the constancy of leading ideas and principles. I Stories of 1941-1946 constitute the artistic and philosophical core of the writer's military prose, but do not exhaust it. Stories, essays, scripts for theater and cinema, works in progress (including ideas for large epic canvases), criticism, essays, diaries, epistolary heritage - the shortest list of the writer's creations during the war years. We tried to take this diverse and multi-genre unity into account when considering the artistic world of the writer's military stories. The dissertation research is the beginning of the study of the legacy of the writer of the period of the Great Patriotic War and the evolutionary processes of Platonov's work in the final decade. In the 1940s, as in the 1920s and 1930s, the writer's intensive artistic search continued, his creative reaction to changes in historical reality, its catastrophic turns remained just as sensitively sharpened, if not more piercing - a touch on life with a "bare heart" ("Return"),

An appeal to Platonov’s work of the forties war years, a study of archival materials and lifetime publications, an analysis of the artistic world of military stories showed how “approximately” we know the literature of the Great Patriotic War - a whole period in the history of native literature. Those literary collisions that we came into contact with in the course of studying the military epic of Andrey Platonov (the interaction of essay and novel forms by M. Sholokhov, the genre distribution of themes and motifs by A. Tvardovsky and JL Leonov, the "Blok canon" in poetry and prose of the war years) , indicate the need for a "return" of literary critics to the works of the period of the Great Patriotic War.

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