The development of the personality in the totalitarian state (according to the novel Yevgeny Zamyatina "We" and the story of Andrei Platonova "Kotlovan") - Presentation. Man and totalitarian state in the story "Kotlovan

The problem of the tragic fate of Russia in the story of A. Platonova "Kotlovan" Andrei Platonov is one of those few Soviet writers who in their understanding of the new era managed to move from the adoption of communist ideas to their denial. Platonov believed in the revolutionary reorganization of the world sincerely, almost fanatically - and nothing in this sense was not different from most of its contemporaries. It seemed to him that for the first time in history, he finally had the opportunity to defeat egoism in a person, to create a society of "Higher Humanism", a society in which the benefit of others would be a prerequisite for his own happiness. But in the first works of his works, Platonic manifested himself with an artist who can see the world ambiguously, understanding the complexity of the soul of man. The longing of humanity in Platonov's stories is inseparable from attention to a separate person. The writer - voluntarily or unwittingly, followed the tradition, which was laid in Russian literature Gogol and Dostoevsky. Very brightly Humanism Platonova manifested itself in the story "Kotlovan". The topic of Russia is inseparable in this story from the search for humanity, and the reflection of the writer over the problems of the Soviet era is tragic and unusually deep. In the story of "Kotlovan" Platonov showed the Russian reality of the end of the twentieth - the beginning of the thirties as an era of almost irreversible exhaustion of the soil, at which the "culture of life" grows - the culture of humanity accumulated by centuries. And this exhaustion inevitably mean the loss of the meaning of human existence. The Heroes of Platonov are digging the pit for the dormitory tower, at home for the happy inhabitants of socialism, selecting for this construction "best" - the most disadvantaged, poorest people. But adults and children in the story are dying, "breeding" the soil for others, becoming a "step" to universal happiness, the achievement of which is impossible without sacrifice. But the fanaticism of the "builders", the blind faith in ideals does not give them the opportunity to doubt the rightness of what is happening. Of all the characters, only two know how to look at the era from the outside, they know how to doubt: Pruzushevsky and Warsch. Pruzhevsky, like air, is needed in this world of heat, humanity, the feeling of its need is not everyone, not a class, but a specific person. Warsch cannot, does not want to feel like a "screw", be happy by order. He is a Russian challenger, a dual nature, contradictory. At the beginning, the story of Warzhev goes to wander through the light, trying to find the meaning of life. He wants to "deliver" to the meaning of all things, to the move, shone, before the growth of the epics in the field - and the growth of the tower of the future, on the construction of which it turns out. And Warshev wants to know whether it is necessary for the construction of universal happiness that he, alive, only, "separate", and not impersonal mass. But at the same time, he does not protest the idea against the specific inhumanity, participates in collectivization. His desire to be a person - an invalid call to the communist state, and its cruelty is the reflection of the inhuman atmosphere of the era. He is dual, like his time, connecting and the dream of happiness, and massive murders. The story is full of hopeless metaphor. The heroes are digging for home of universal happiness, and they themselves sleep in coffins, harvested for themselves peasants who know that they are waiting for them in the proletarian state. And isn't the peasants? Everyone must turn into the sand, in the manure on which the "beautiful" future flower will grow. There is no difference between the ages, and the girl who has lost the mother and found shelter from the builders, also sleeps in a coffin: it is doomed, like adults. In the neighboring villages there is a terrible process of collectivization, the destruction of the peasantry, hated proletarians only because the peasant has at least some kind of personal - not common! - Property. The houses are empty, the wind walks, and on the grasshopping work for all the bear-breaker, a true proletarian, full of hatred for "owners" and fanatical, blind hardworking. Some pointed by coffins, without waiting for death, others plant on the rafts and fuse in the sea, on suffering and death. And especially the complete humility of the peasantry is terrible, only occasionally changing for single flashes of rebellion. Fear and cruelty are determined by the atmosphere of time. The fear of danger to avoid the general line, instantly from its turn into a traitor - and merciless cruelty to everyone who can prevent this line. Such are chiklin and safonov - fanatics ideas. Such is an activist, in the afternoon and night with a terrible look forward to the leadership directives - performing any, the most absurd indication, without thinking for a second above its meaning. There, at the top, they know what and how to do for universal happiness, the rest is the rest of the orders. Such is Russia, blinded by the idea that destroys itself. Violence in the story applies to everything: for live nature and per person. But the fact is that violence can not create anything, build. It is capable only to destroy, and its total is the coffins that are stored in one of the niches of the pit. The heroes of the "pit" no and will never be at home - there is a barn, near the pit of a pit, the place where they die, surrounding the night, but there are no walls, at home, the family is not: everything is dispelled, everything is broken in the wind. And why it is needed, this and not built house, if happiness in this house will never be! There can be no happiness for everyone, happiness exists only as carefulness to a person. And Kotlovan becomes a grave for a child, for the very girl, in the name of which adult victims bring, destroying themselves and others ...

34. Social and philosophical in the Roman A.Platonova "Kotlovan"

"Kotlovan" (1930). Development of December 1929-April 1930 are depicted, an attempt to conduct "continuous collectivization" in the country. During the life of Platonov, the story was not published. Published in 1969. Expresses the essence of the era of the Great Framer. The main historical events of the late 20s - early 30s reflected in the story: Industrialization and collectivization. The symbol of transformations is the design and construction of the "Common Promotion House", designed to resettle the workers of a whole city from private houses. In the second part (action in the village), an analogue of a shared house becomes "Ordvor", where devoid of estates that joined the farm peasants are going.

Platonov understands the doomes of the project of the reorganization of nature and society based on violence. Two plots are intertwined: the journey of the main character in search of truth and the test of the next project to improve the lives of humanity. The hero - the wanderer unwittingly, forcefully pushed out of the usual life, devoid of livelihood. Feels unnecessary, becomes homeless and begging.

The main motive is the desire of the participant in the events to understand the meaning of what is happening to consciously participate in the construction of a new world. It is indicated at the very beginning of the narrative.

The image of the "community-speaking house" is multi-rival: its basis is the biblical legend about the Babylonian tower, which indicates the scale of the author's understanding of the "construction of socialism". The image-symbol of the house-tower in "pit" is enriched with the content that he acquired in the context of the proletarian culture and the art of avant-garde.

Heroes dream about having moved to this house, people will leave outside the hostile nature, will be released from the effects of her deadly forces. Belief in the ability of a person to achieve freedom from the material world brings together Platonov with Russian avant-garders (Khlebnikov, Mayakovsky, twisted). Overcoming matter is associated with Platonov with a person's desire to see a large-scale picture of the world and imagine his general plan.

The theme of salvation, the preservation of life: the train collected and the coast of "all objects of misfortune and obscurity", hoping that they would help resurrect people, Pruyshevsky built a house designed to "protect people". The joint brings the feeling of the meaninglessness of the life of people with the engineer (they are in something twins). Both are striving to save and preserve the fragile human life. Extractor Chiclin also suffers from the consciousness of the vitality of people: "He faced him that people are obliged to live and get lost on this mortal land at which the comfort is not yet arranged."

The theme of death and immortality. Chiclin is a special attitude to the dead: "Dead, too, people. The central metaphor of the story is rooted in "Universal Organizational Science", where the main principle of proletarian art is defined as the organization of matter for the efforts of the collective. The eternal building, according to the architect, should turn the death human life into the eternal life, is the implementation of paradise on Earth.

The symbolism of the house is intertwined with the symbolism of the tree: both images can act as a model of the universe with an underlined bond of top and bottom, life and death.

The keyword of the test is the liquidation - creates a leitmotif. He has several synonyms: elimination, destruction, death. The motive of the destruction of people and nature for the sake of the house sounds constantly. All heroes feel devastating. "Chicklin destroyed the land crowed, and his flesh was depleted." Images of people with dead soul.

The symbol of solid collectivization - mushrooms, prepared by peasants, perceived as a collective farm conclusion, captivity. Slogans of substrate. The collectivization process is permeated by violence. Peasants become victims of arbitrariness. The image of the country turned into a camp.

Platonov exposes the action of the violence mechanism: the one who is involved in Him himself becomes his victim. The tragedy is that the sake of bloody sacrifices are killed. The construction stopped on digging the pit for the foundation. The transformation of the pit in the grave is not only for builders, but also for the future of Russia (the symbol of the future is the girl Nastya, her mother Julia is the embodiment of past Russia). An open comparison of the construction site with a grave: "There graves are digging, not at home."

Julia - rejugging a person to an animal level, painful hungry death, complete alienation and hostility of others.

Nastya is weakness, death from hunger and cold, unvisability. The death of Nastya makes the heroes think that there is no communism. Description of the burial of Nastya in a special grave indicates the faith in her future immortality.

In the final "Fall" of the heroes who daring to associate the world, the situation of biblical stories about the fall of Adam and Eve and the Babylonian Tower will recreate the situation in the abyss.

The tragic symbol of the final contains a comparison of the dead with the "dead grain of the future", disclosed in the correlation of the meaning of the events with the epigraph of Dostoevsky to "Brothers Karamazov".

The story of Andrei Platonovich Platonova "Kotlovan" combines a social parable, philosophical grotesque, satire, lyrics.
The writer does not give any hope that in the distant future there will grow a "garden city" that at least something will rise from this pit, which heroes will be launched. Kotlovan expands and, according to the directive, spreads on the ground - first four times, and then, thanks to the administrative solution of Pashkina, six times.
Builders of the "Common Protection House" build their future literally on children's

Bones.
The writer created a merciless grotesque, indicating a massive psychosis of universal obedience, insane sacrifice and blindness, mastered the country.
The main hero of Warsch is an author's position expressive. Among the fantastic communist executives and a dead mass, he thought and bitterly doubted in human right-mindedly performed around. Having conceived "among the general tempo of labor", the joints are not moving in accordance with the "General Line", but is looking for his way to truth. Warsch never gained truth. Looking at the dying Nastya, Warzhev thinks: "Why does he need a meaning of life and the truth of worldwide origin now, if there is no little faithful person in which truth would be joy and movement?" Platonov wants to find out what exactly could move by people who continue to dig a pit with such a zeal. This new slavery is based on the rituals of the new faith: the religion of the pit in the presentation of Stalin.
"Kotlovan" - a dramatic picture of a broken time. Already on the first pages there are two words, which determined the pathos of time: the pace and plan. But next to them there are other keywords, entering the first in very difficult relationships: the meaning of what is happening and meditation about universal happiness.
"Happiness comes from materialism, Comrade Warev, and not from the point, - they say Weschov in the basement. - We can't defend you, you are an unconscious man, and we do not want to find yourself in the tail of the masses ... - You are afraid to be in the tail: he is a limb, and they sang themselves! "
The turning point gives rise to new relationships between people, all Russia ran away from the scene. Warsch sees "Story of children-pioneers with tired music ahead; Rides on his car with disabilities Zhachev. " "For the second day, there is a vocabulary in the vicinity of the city and empty places to meet the abandoned men and form permanent workers from them; They float on the raft "fool elements" under the sound of the "music of a great campaign".
Expressive symbolism of the construction of the pit - gradual monitoring: first the living grass is mounted, then the shovels are crashed into a lively top layer of the soil, then a dead clay and a stone will dump.
"Comrade Paskin vigilantly supplied the dwelling of the landlords of radiors, so that everyone could acquire the meaning of class life from the pipe during the rest."
Very important are in the lead three parables, which reflect the main ideas of the work.
The story of the love of the Master Nikita Chiklin, "Sensing everything without calculation and consciousness, but with an accuracy" and existing with the "continuously active sense of life," sad and short: "Then she did not like it, it was precisely a caught creature, - and so he passed in That time she did not stop past her, and she may be crying later, noble creature. " As sadly sad, the history of the engineer Pruzhevsky. And these are two unlike people, for various reasons refused by their happiness (one neglected them as low, that is, it was designated; the other was heard and did not decide), now it is equally unhappy. They themselves who ordered themselves to it, preserving the natural course of life.
The history of the Blacksmith-Bear, which has only two qualities - "Class Face" and "Diligent Strength"!
"- Rather, Misha, and then we are a shock brigade! - said Kuznets.
But the Bear tried so diligently that she smelled to pale wool burning from the spark of metal, and the bear did not feel. " So the metaphor "work as a beast" appears. The other metaphor is unfolded by the next - "bear service". Bear, learning already overly, robs for forgings.
According to Platonova, if a person is free from thought, if all his richest nature is reduced or to functioning in some kind of narrow plane, or to submission, it ceases to be a person.
History of the organizing collective farm name of the general line. The man Elisha suffers "the lack of his mind": "Elisha held in his hand the longest flag and, submissively listening to the activist, drove into the usual step forward, not knowing where he needs to stop."
Girl in Nastya dies, although he is heated by Elisha and worshiped Chiclin, understanding, "how much the world needs to be died and quiet, so that it was alive!"
But before the activist dies, and the collective farm perceives it calmly, "not having pity for him, but not rejoice, because the activist has always said exactly and right, quite in the covenant, only himself was before dirty that when all the society was thinking about him once To marry, in order to donate his activities, even the most minor to the face of women and girls wept from sorrow. "
The devastating attitude towards people and all natural life is that there was a malicious essence of the activist.
The man in the totalitarian state loses the most important thing - the ability to think, feel, remain personality. This is a great tragedy. Such a person will never build a house, he is capable only to dig meat.

We are checked: Man and totalitarian state in Tale A. P. Platonova "Kotlovan"

People in the work of A. Platonova "Kotlovan".

Andrei Platonov lived in the hard time for Russia. He believed in the possibility of reorganizing the Company, in which the general good would be a condition for his own happiness. But in life, these utopian ideas did not fail. Very soon Platonov realized that it was impossible to turn people into an impersonal mass. He expressed a protest against violence against the person, turning reasonable people in the poor creatures that perform any order of power. This protest sounds in many works of Platonov, characterized by the originality of the copyright, the symbolism of images.

The most complete the topic of human destiny in the totalitarian state is disclosed in the story "Kotlovan". Excavals are digging, on the site of which should build a house for the "happy" residents of socialism. But many of the heroes of the work perish, the achievement of happiness is impossible without human victims. However, the fanatical devotion of the idea does not allow the workers to doubt the correctness of all that is happening. Only Warzhev began to reflect on the essence of being. He was dismissed due to the fact that he thought about the meaning of life "among the general tempo of labor." Warsch is a contradiction, the symbolic image of the truth crawler. In search of the meaning of life, Warzhev gets to farms. This man wants to be a person, his desire he throws an invalid call to the state for which only masses exist. But, on the other hand, harsh participates in collectivization, showing cruelty to peasants. This proves that Warsch, in spite of everything, is a man of his era, his time.

In the work of Platonov a lot of opposition. The workers dig a pit, on the site of which they want to build a house of universal happiness, and they themselves live in Saraj: "In addition to the troubles in the barrack there was no sound, no one saw dreams and did not speak with the memories, - everyone existed without any surplus of life." The girl who lost his mother and found shelter from the farms is sleeping in a coffin. It is doomed in the same way as adults. Nastya is a symbol of the future, a person, for whom the workers dig a pit, do not regret their strength. But the girl dies, Kotlovan becomes a grave for a child, a dream about the bright future is buried, and the workers continue to dig.

It is peculiar to the language of the story "Kotlovan". When describing the heroes, the author uses non-standard, unusual expressions. "His old veins and insides closely approached out, he felt the surrounding and consciousness, but with accuracy," writes the author about Chiklin, one of the farms, Kozlov Platonov depicts so: "... was a sullen, insignificant to all the body, sweat Weakness dried in clay with his muddy monotonous face. " People in the work are similar to cars, their faces do not express feelings, and the actions are mechanically carried out, thoughtlessly. It is completely different from Platonov Nature: "The deceased, the leaf lay next to the head of the Warrior, he brought him from a distant tree, and now the arrangement was to humility in the ground." Unlike a man, nature is alive, it is endowed with feelings. The person exists, without thinking about anything. It destroys the soil - the living body of the Earth: "Chiclin rusted the age-old soil hastily, turning his body his body into blows on dead places."

Destroying the Earth, people kill their soul. The soil is depleted by a person loses the meaning of existence. And in the village there is a terrible refraction process. The peasants in advance are harvesting the coffins, as they do not expect anything good from the power of the proletarians. The wind walks in the houses, in the village, in the village: Some are inhibited by coffins, others are fused on the rafts. Thousands of peasants were brought sacrificed. New life in the country is built on their dead bodies. Fear and cruelty became determining the era. Everyone could turn into a traitor, the enemy of the people.

The cruelty is inherent in many heroes of the work. Such are the saffron and chiklin, the fanatically devoted idea of \u200b\u200bbuilding socialism. That is also a rustic activist who expects a directive in the afternoon and at night: "He read every new directive with curiousness of the future pleasure, accurately spying into passionate secrets of adults, central people." The activist constantly performs orders, without thinking over their meaning. Its business is to fulfill, and the authorities are better to know what is good for the people. Power is a symbol of violence in the work. Violence applies to living nature and per person. People do not create anything, but only destroy. The pit is not pulled out, since directives are permanent about its expansion. The farms have no house, there is no family, there is no point in their lives. It makes no sense and in the life of the Pruzushevsky engineer: "Pruyshevsky did not see who he would need it so much to maintain himself to still distant death." He gives all his time, the only goal is to build a house.

At the end of the story, Nastya dies, the last joy of farms. Together with her, hope is dying, but the farms do not leave work. It becomes unclear why to build a house in which no one will live. The work is built on the opposition of man and nature. You can not destroy their connection, otherwise the consequences will be crying. Platonov showed a peculiar form in the story, which will lead to collectivization and industrialization. A person in such a state is not able to think, feel, remain personality. There is no individual person in such a society, there is only a mass - a rampant and submissive.

The idea of \u200b\u200bparadise is the logical end of human thought in that respect, which is next, the thought does not go; For he has nothing more for the paradise, nothing happens. And therefore, we can say that Paradise is a dead end ... The same applies to hell.

I. Brodsky

Throughout its history, mankind did not stop attempts to look at the edge of reality, to predict and predict their future. Sometimes these predictions came true, sometimes no, but in man did not cease to live naive faith in a bright future, full of joy and deprived of sorrow. Naturally, in the turning point of history, interest in the future became especially acute, and it is also natural that the creative intelligentsia was rejected to changes in society, which radically changed the course of history, influenced the destinies of the country and the people.

Many writers of the 1920s and 1930s enthusiastically responded about transformations that took place at the time in the country, about the construction of socialism and the creation of collective farms. In their works, sincere faith was reflected in the possibility of transforming the world, his turn to the Golden Age. But there were those who understood the doomes of projects of reorganization of nature and society based on violence. Among those who perceived the October Revolution of 1917 and the state transformations that followed it as an apocalypse, the collapse of all hopes for the long-awaited world, the freedom of thought and the update, was Andrei Platonov. In his works, he recreated a real, truthful picture of the life of the time, with the striking courage reflecting the essence of the era of the "Great Flamm".

The writer was aware of the utopian of the ideas of collective construction "Paradise on Earth". It was not by chance that the "Common Protection House" was based on the legend of the Babylonian Tower. The construction of the house of Platonov compares with the unsuccessful and punishable attempt by mankind to build "City and Tower, height to heaven."

People in the story "Kotlovan" think that by building such a dream house and settled in it all together, they are completely liberated from external influence, from hostile deadly forces of nature, will acquire eternal life and eternal happiness. But in order to build this house, they must give their lives with severe physical work to complete exhaustion and, ultimately, before the loss of their soul.

Engineer Grushevsky, as well as his "twins" Chiclin and Villas are tormented because "people are obliged to live and get lost on this mortal land, which is not yet arranged comfort." And the "Eternal Building" conceived by them should change this position, should turn the "mortal" human life into life eternal. "Through the device at home ... life can be organized by the future for future fixed happiness and for childhood." But we see that in fact the opposite is happening: people spend their lives, their dreams, efforts to the dead stone. You can only dig a collective, all together, the workers of the excavators have no personal life, there is no possibility to manifest their individuality, because they all live only for the sake of embodiment of one goal. The builders themselves turn into essence, in building material and not built building. Instead of the "elevation" over the world, to which the heroes are aspire, instead of power over the matter, which opens the possibility of immortality, the builders fall into the abyss. And in this fall, there is also a connection with biblical stories about the fall of Adam and Eve, about the Babylonian tower, when God punished people for their peculiar and bold plans to reorganize the world created by him. Old men and children are dying in the pit, instead of eternal life and salvation, the heroes find death.

By interlacing several plot lines of Platonov reveals the tragic destinies of different people. Yes, each of them has their aspirations, hopes, dreams, their own life. But all of them unites one thing - they are doomed. They took away both faith and hope, and the purpose of life, and the desire itself to live. Their ideas of good and evil, honor, dignity, conscience, justice are perverted, simply lost meaning. They are trying to impose new orders, promising a happy future. And in the end, they become "free and empty hearts." Is it possible to happiness, if destroyed, the soul died, if the eternal human values \u200b\u200bare lost? The builders of the "Common Protection House" are too late to realize the monstrous erroneousness of their aspirations and ideas. The overall mood expresses "overwhelmed" Warsch, who is ready to abandon all the "bright truth of public benefits", if only the girl Nastya was alive: "Why do you need the meaning of life and the truth of worldwide origin, if there is no little faithful person?"

The author gradually leads its heroes and us to understand the fraud of such construction: "Chiklin ... destroyed the land crowed, and his flesh was depleted." Doomy on the death and excavations, which turned "all the life of their body into blows on dead places." Clear labor, existence on the limit of physical opportunities destroy the souls of people. "So the graves are digging, not at home," says the author. And indeed, the pitted, dugged under the foundation "at home", turns into a grave not only for its builders, but also for future residents. This is a pit that threw everything good, good, bright, which was in humans. At this image, Platonov wanted to show the utopy of those processes that took place throughout the country. All the best thing in it was, in the same way, under the slogan of the best future, threw into the pit, spent in the dirt. This is an indispensable, inevitable punishment of mankind for absurdity:

Kotlovan became a brotherly grave, in which the lives of many people, such as Safronov and Kozlov, as a girl Nastya, together with which the whole future dies, will die by his young particle. Nastya was for the working symbol of the idea. They saw a real child in front of them, for which it is worth "to live in future", and it forced them to work at the limit of human capabilities.

Critic V. Malukhin wrote: "Kotlovan" reads not just as a terrible dream of a utopian ideal, but also as a real chronicle of his historical cloak and decay. "Horror is that the Heroes of Platonov themselves choose their destiny, but they have no opportunity to turn Back and correct something, go on another way. They become slaves of their idea, their future. And the very existence, as a real, loses its importance and primary. "Common-Water House", conceived as a paradise abode for the ever-happy population, faced under Himself, turning it into a means, into a material that does not have its spiritual value. Kotulov took away from the builders all physical and mental strength and became a grave for Nastya - their only child, their hopes for the future. He destroyed humanity itself. This is a catastrophe Universal scale, because many of the builders were built the house "for the masses", never thinking about themselves, and therefore lost themselves, lost their soul, their lives. Dramism Communication to the general new, "happy" life for the heroes of Platonov is that the blind following the idea corrupts them, calls for violence, destroys the personal qualities of everyone. And in this way, you can only destroy, but not to create the best society.

The work of Platonov and today did not lose its relevance, forcing us not only to recall the past, but also think about the future, how not to lose, not to destroy him. And for this you should always stay by a person, remember the main, fundamental, eternal values, trample that, having sacrificed the utopian idea, we will destroy ourselves.