"Communication of creativity A. P

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The main provisions of the thesis were set forth in the reports: at five international scientific conferences dedicated to the work of A.P. Plotonov in themselves. A.M. Gorky RAS (1996, 1999, 2001, 2004, 2009); at Sheshukovsky Inter-University Scientific Conferences in the IPSU (2002-2010); At the All-Russian scientific and methodological conferences "The World Word of Children and For Children" (IFSU, 2003 - 2004); At the International Scientific Conference in Prague in 1990, dedicated to the 100th anniversary of B.L.Pasternak; At the Third International Scientific Conference in Voronezh, dedicated to the work of A. Blondov (1999); On the 7th international readings dedicated to the memory of N.F. Fedorov on June 2-6, 2009, held them. Gorky RAS, etc.

Provisions and conclusions The dissertation research was reflected in 75 published works, including 11 articles published in publications recommended by VAK MO and NPF.

Structure of work.The dissertation study consists of introduction, three chapters, each of which is represented by separate sections, and conclusions. The list of references used includes 400 items.

Protection

1. Prosaic heritage A. Platonova was "in demand" of the domestic artistic culture in the era of the rapid change of social, moral and aesthetic landmarks and can be considered as a subject of historical and literary contextualization and typology.

2. A. Platonov developed artistic and philosophical plants in creative dialogue with predecessors and contemporaries. A figurative system, artistic solutions made by Platonic prose areas, detect the possibilities of comparing them in certain aspects with artworks of individual authors, are one of the historical and literary universals, important for a number of writers of a later time. The identified converges form fields and vectors of a powerful Platonov influence on the most important directions for the development of prose the second half of the XX - the beginning of the twentieth centuries.

3. Inclusion of the works of A. Platonov, as well as works M. Sholokhov, A. Solzhenitsyn, A. Tvardovsky, V. Nekrasova, E. Nosova, V. Belova, V. Shukshina, Yu. Kazakova, Yu. Trifonova, V. Rasputin , L. Borodina, B. Ekimova, V. Makanina, V. Tokareva, etc. Writers of the twentieth century, in the "vertical context" of the artistic department using an "ontological" approach, determines the "face" of Russian literature of the XX - early XXI centuries., Allows from private observations to enter a new conceptual level of understanding the fruitfulness of the humanistic trend in Russian literature as its ethical and philosophical orientation, determines the "universality" of this property.

4. Creativity Y. Kazakova and A. Platonov unite similar installations on the philosophical understanding of life, the dominant ideas of the community of people and the integrity of the world are typologically close to the most important concepts of writers. The artistic world created by Cossacks will penetrate the "alarm of poor villages", "everyday needs." The historical and genetic consideration of Platonov's prose and Kazakov makes it possible to talk about the dialogue of creative consciousness in the formulation and resolution of the problem of the house, family, human essence. In the lyrical prose Kazakov, the symbolism of the image of "music" is important, which is a stable support in the artistic and philosophical system of Platonov. The situation of communication with music in the works of writers is a means of characteristics of poetically tuned heroes, makes a romantic beginning to the writers.

5. A deep interest in the hidden parties of the people's life, a folk view of the world and a person, an object and visual principle, the use of the traditions of the tale, parables, bring the creativity of A. Platonov and V. Belov. The epic fullness and the accuracy of the image in Prose Belov are connected with the psychologically convincing study of the internal life of a person. In the preservation of the family, People's Lada V. Belov, like A. Platonov, like V. Rasputin, V. Shukshin, L. Borodin sees the origins of the vitality of the people, in the family of his heroes will be drawing forces to help live in harmony with nature, " According to the heart. " The figurative aphoric language transmits the characteristics of the national character, the rejection of everything that destroys the peasant road.

6. "Thinking to life", the desire to solve its mystery, the rejection of the standards are rejected - the characteristic feature of the "Chudikov" V. Shukshin and "Chudakov" A. Platonova. Similar is to assess the polar sides of the Russian character, the two units of the human soul, in search of truth detecting their innergity. Writers experience heroes by defining moral law - attitude towards children, to old men, to the moral category of memory, land, and, finally, to death and immortality. In a number of stories, Shukshin is more rigid than at Platonov, a tragically painful awareness of death by the hero is emphasized. Realizing the immutability of death, the Hero Shukshin solves the ethical task - how to live life on earth; At the heroes of Platonov, an ambiguous attitude towards the "interest of death", which is mainly the ontological orientation. In the prose of both writers there is a connection of the epic on the scale of thought with the genre form of the story.

7. Propory typological bonds Y. Trifonov and A. Platonov are found in the approach to the hero. For its faithful interpretation, the provisions of the passionary theory of ethnogenesis L.N. must be taken into account Gumileva, the ideas of immortality and resurrection, considered in the "general business philosophy" N. Fedorov. Platonovskaya Installation on the philosophical understanding of being, searching for answers to "main" questions: Memory, human destination, human connection with a family, family, with humanity - will find further development in the study of the moral world of people in the "Moscow" Trephon Hands. The trifon concept of a person designed to strengthen spiritual relations between people coincides with Platonovskaya: "Light of Life" (Platonov), "Thread, passing through generations" (trifones). There is a significant difference in the receptions of psychological analysis from writers. Platonov more often resorts to the description of the internal state of the hero, transmitting its experiences through symbolic plastic. Trifones also refers directly to the inner monologue to transfer all the nuances of internal life.

8. In the description of the self-consciousness of the heroes V. Rasputin, like A. Platonov, resorts to techniques of metaphysical experience, relying on the overseas opportunities of the person. The system of fine-expressive means of language, the introduction into the text of the onyric space allows artists not only to enter their heroes in cruel conditions of reality, but also to make a field of solving moral and philosophical problems a majestic picture of the universe. The traditional Platonic motifs of "ideas of life", "philosophy of existence" are creatively developing dissolve in a similar system of "order inside" motifs, determine the plot basis of works. They contrasts the motive of the "foreign passage", dominating in the creation of images of "enemies of life." The problem of "lack of owner", "transformation of cities and weights in a landfill" writers are considered from a moral and ethical point of view, presenting "demand" to the person himself. The image of a child symbolizes life, the future, Russia, which is encroached by "Arharovtsy", "Nerudi", "Gorfasters", "Running". Similar are the concepts of writers, fixing mental clots of culture.

9. Creative dialogue L. Borodina with A. Platonov passes against the background of artistic achievements F.M. Dostoevsky, whose writers inherit interest in the complexity and contradictory of human nature. Browsing the writers an anti-astope strategy, the desire to save a person's consciousness from worshiping with false ideals, the intonation sphere of prose, a system of tonalities, expressed as the process of aesthetic development of the world. Writers predominate orientation on the archaic myth, on such archetypal constants, like a house, road, water, mother, child, bread, land, death, which are intertwined with biblical myths. Roll-drive of many motives and meaningful meanings in the prose of Borodin, as in the prose of Platonov, is associated with the way at home. The house in the artistic consciousness of writers is a unreasonable existent start, an indisputable value, the space in which the communication of generations is carried out, the house, as a source, nourishes the highest spheres of life, love for homeland.

10. Roman V. Berezina "Witness" in correlation with the story of A. Platonova "The secret man", his article "Happiness and suffering" about the novel "Happy Moscow" testify to the conscious mastering the modern writer of the creative heritage of the classics. V. Berezin follows Platonov in the main thing: in defending the value of human life, speaks of her fragility. The main motives of the Roman V. Berezina correlate with the key concepts of Platonic artistic methodology.

11. The story of V. Shpakov "Iron Renaissance" is a peculiar experience of stylization, travesting such works by Platonov as "Kotlovan" and "doubting Makar." In the story "Iron Renaissance", as in "Kotlovan," there is a couple of social plot with a biblical myth - the construction of the Babylonian tower in "Kotlovan" and the resurrection of the dead in the Iron Renaissance, and - the demiatologization of the myths - the "Common Protection House" in Tale A . Platonova and new mythology ("steel cavalry") in the story of V. Shpakov.

12. The principle of inclusion of "Platonovsky" words in the text of Roman V.G. Sorokina "Blue Salo", in the chapter "Platonov-3. The prescription "is determined by its parody use and is of an outstanding character. V. Sorokin appeals to those who became familiar to postmodernism, which put forward the concept of deconstruction, receiving style destruction. Stylization is focused on the breakdown of ethics and aesthetics of a brilliant writer. V. Sorokin demonstrates the Antiplaton line, not so much parody, how much dismantling, alone the story "inextric man" by the type of remake. Such an attempt was turned around by a paradox, confirming the star status of A. Platonov's prose. The functioning of the artistic "constructs" of Platonov in a reduced-destructive context of modern postmodernism testifies to the enormous role of the heritage of the writer in modern sociocultural space.

In Administered The degree of study of the problem under consideration is substantiated, the relevance is justified, the purpose and objectives, research, scientific novelty, theoretical and methodological base and the choice of the analysis methodology are substantiated, the theoretical and practical significance of the work are substantiated.

In chapter I, the idea of \u200b\u200blife as "philosophy of existence" by A. Blotonova in artwork and in literary and critical articles » In accordance with the stated topic, the goal and tasks, with reference to the research of Platonists, we present the historical and literary context of Platonov's creativity. The main body of works is considered at an angle of view of the indicated scientific problem, the nature of Platonovsky innovation, the originality of the creative method, language and style, verbal and artistic means, spiritual quest for heroes. All this allows you to identify the basic concepts and ideas of the writer's creativity, to identify worldview guidelines, leading philosophers, which will compile the continuity of the "postplatonian space" (O. Pavlov).

The elements of Platonovsky tradition will find creative development in the prose of writers of the second half of the twentieth - early XX1 centuries. A. Platonov's commitment to the study of ontological, axiological issues of being, is being studied by ways elected by his heroes for the implementation of the "Ideas of Life" ("Cheving", "Kotlovan", "Juvenile Sea", "Jian", "Ether Tract", "Happy Moscow " and etc.). Heroes of Platonov are looking for the "revival of the Earth" solve during drought, endowed with an inconsistent thirst for activity, and this thirst comes "only from everyday need." It is noted that the novel "Chevengur", according to the observations of Platonists, - "One of the largest in Russian literature" Roman questions "," The Book of Eternal Search, in which humanity is "detached" with the Being and Torn from Nature, as if a child from a mother ... "that" ... through the surrealistic style "shines" the deepest philosophical problem: Dichotomy of man and being, the fatal "ammunition" of the University is the central conflict of Platonovsky creativity not only on thematic headquarters, but also on the style level; It is determined by Platonov "crisis" the state of the artistic form, starting with the language ... "42 in the novel, the artistic understanding of the problem, immortality, freedom, fraternity reflected in the" Philosophy of General Cause "N. Fedorov.

The main platonic formulas "ideas of life", "the philosophy of existence", "the meaning of a separate and general existence" in the analyzed works are disclosed, taking into account the formulated by N.M. Maligina principles of the "Theory of Living Art". In prose, in the literary-critical articles of Platonov, such elements of the writer's tradition, as hard work, "doing", the glorification of labor as a "true mother of life", human memory, women, as the "souls of the world", are detected in journalism. Man ", appeal to biblical plots, symbolism, denial of the world -" Desert ", the development of a" garden model ", turning the desert in the" living land ", overcoming death, faith into the utopia of immortality, the idea of \u200b\u200bthe unity of a person from the Universe and others." Platonov's attention The theory of life-based art was due to the fact that the Bogdanovsk "Organizational" science was based on it. 43 poetics of creativity A. Blotonova is considered as a holistic metatext. The motives of the apocalypse are revealed, the planth-symbol system of Platonian metratet, the poetics of "return", the motives of the wanderings of heroes to know the knowledge and transformation of the world. Permanent elements of the universal story model are found in the plot of a separate work. "The analysis of the model of the Platonian metratet is based on the output, which is based on the mythological structure." .44 Zauriza Platonovsky "Mettextust" is already formed in its poetry. Motives, stories stories, stories, writer's novels will move from one job to another, acquiring new shades of meaning, where every work, being artistically complete, at the same time is part of a single holistic context.

As a key text in which the Platonov "idea of \u200b\u200blife" is recorded, important for the writer throughout the creative path, is considered a story " Sand teacher " (1927). The "idea of \u200b\u200blife" is determined by the most important plot-fabulous relations associated with the way teacher Mary Naryshkina. Maria, as well as heroes from the leads and stories of "Motherland of electricity", "Ether tract", "Dzhan", "Takik", "Wind-Byrkfather", etc., depicted in a merger with nature, from the Universe; In travels and travels, she strives for the conversion of the desert to the "house-garden" at the cost of incredible effort, "doing", patience and sacrifice. In the village, brought by sands, the heroine of the story "The Sandy Teacher" will train students of "Wisdom to live in a sandy steppe" and "turn the desert into living land." To overcome the "grief stress" and "exit to happiness", the creation of shower, sympathy and faith are needed, that "help will come only from another person" (" Jan). A. Platonov appeals to the artistic studies of the moral categories of memory, freedom of choice, entering into a dialogue with the largest European philosophers-existentialists: Jose-Ortega-I-Gasset (1883-1955), A. Bergeson (1852-1944). Refusal to memory, the loss of communication with the people of Platonov considers a destructive as for a separate person and for the future of mankind: "A typical person of our time: it's naked - without soul and property, in the pre-border of history, ready for everything, but not for the past." 45.

In chapter " Anti-fascist works of A.Platonov"It is noted that A. Platonov was the military correspondent of the newspaper" Red Star ", fought side by side with soldiers on the battlefields. Four books of the writer who came out during the war - "spiritualized people", "stories about the homeland", "armor", "in the direction of sunset" - made a major contribution to the artistic development of the topic of war, patriotism, anti-fascist struggle. All anti-fascist works, reports from the front Platonov are imbued with the thought of the planetary community of people, the idea of \u200b\u200b"humanity". The fate of the soldier is evaluated by Platonov biblical motives of suffering, voluntary death take care for their land, mothers, wives, children. The stories of "spiritualized people" of Platonov puts the cornerstone of the Christian civilization - about bringing himself a sacrifice in order to change something in the world, eradicate hostility, to live according to the plan of God. Freedom for the soldiers of the Patriotic War is expressed in the possibility of choice, the initial "master" of any opportunity is hidden behind it, the biblical imperative - "... Do not damage the soul." It is noted that this moral law - life for the sake of the future - will be based on the basis "in the trenches of Stalingrad" V.Nekrasov, "Sotnikov", "to live to dawn" V. Beskova, Prose E.Nosov, the poems "Vasily Terkin. The book about the fighter "A.Varovovsky," Double-West "stories" Zhelybuga Vyselki "A. Solzhenitsyn, the leads and stories of the" Equal "prose, uniting the works of A. Blotonov about the Holy War with the works of Frontoviki Writers. "Spiritualized people" calls Platonos of the heroes of military stories, seeing the value of being in the soul of human, in her vitality and poetry, in faith in a bright rise in life. In the image of his heroes in the Platonic war, it proceeds from the presumption of the vitality and power of the nature of the Russian man: "... People, it turns out, find the ability of infinite life development. "46

The writing

In 1926, Andrei Platonovich Platonov writes a satirical story "City of Grads". This story is written in less than three weeks, under the influence of Tambov impressions: in Tambov Platonov sent to work in the department of amelioration of the provincial land administration. "Walking on the outback, I saw such sad things that I didn't believe that somewhere there are luxury Moscow, art and prose, - wrote Platonov. "But it seems to me - real art, a real thought and can only be born in such a zoofest."

Later the story received a new edition. Unfortunately, this work is less known than, for example, "Kotlovan" and "Chevengur", written much later. In many ways, this happened due to the fact that Platonov did not come to his reader so long ago, his reader audience was only formed. Now his work is of great interest, as well as the promotion of other writers, inaccessible to a wide reader due to the tough ideological control over literature in Soviet times. Soviet critics were considered to satire Andrei Platonov inappropriate, harmful literary phenomenon. Even Plato himself doubted his satirical abilities. But Maxim Gorky, appreciated his work, said that he would have a good comedy, which, undoubtedly, speaks of a special satirical talent of the writer.

The writer discovers new opportunities in the genre of satire, speaking of the creation of a new society, about the life of people during the revolution. The very name is already reminded by the city of stupid from the "History of one city" M. E. Saltykov-Shchedrin. "The people in the city existed without a rush and did not worry about the allegedly better life. He served with zeal, holding order in the province, but did not know the rage in labor. They traded a little, without risk, but firmly selling bread pressing. Heroes did not have the city, and unanimously taking resolutions on international issues. Or maybe they were in the Heroes in Grada, only their exact legitimacy and appropriate events transferred them, "Platonov tells us. This is a satire on the angry of the day, ridicuing a bureaucracy.

Ivan Shmakov, Moscow official, comes to the Grads to work. He reveals a bunch of service violations, but gradually touches and gets used to everything that is happening in the city. And there are even technicians who do not know all Karl Marx, do not hire. But hunger happened from drought, so the wells asked to make soldiers and self-taught, and did not accept the technicians to work. As a result, six hundredth dams built by them, and four hundred wells stood dry. But on the money allocated to fight the drought, the money was still built more "eight gliders for postal service and transportation of the hay and one perpetual engine acting with ureaged sand." "The people here lived a stupid," the author sums up.

Bureaucrats consider themselves true workers and think that without their papers and institutions where they work, the Soviet government will not be able to exist. Bureaucracy for them is a symbol of invincible power. They think about the reorganization of society, in two days amounted to a 25-year-old promising plan of the national economy. Shmakov creates a huge and important work - "notes of the state man." It approves the need for the existence of a bureaucracy as the basis for the construction of the Soviet state, its merits are emphasized before the revolution. Paper, according to the hero, is the product of the highest civilization.

But suddenly the Grad province abolish. Head of the administrative and financial department, bolets, wants to create a "autonomous national republic, because the province lived five hundred Tatars and a hundred Jews" only for the sake of "preserving continuity in office production". But the bureaucrats are transferred to other places, Shmakov now runs authorized on dirt roads and is habitually writes: in line "Socio-philosophical work" with a wisdom of the defense name "Principles of monotment of a person in order to reborn it in an absolute citizen with legitimately ordered actions for every MiG of Being .

Platonov continues the traditions of Saltykov-Shchedrin as political satiric. As well as in the fairy tales of M. Saltykov-Shchedrin, it is talking about society at a certain stage of change. The author denies the vices of this society and its imperfection, leading to the life of the state as a whole, and not about individual phenomena. The topic of the bureaucracy in Platonov stands in the foreground of the narrative, in the second one - the study of the nature of the state. Using irony, satire and grotesque, combining life and fiction, the author warns about the danger of perversion of the idea of \u200b\u200bsocialism, in generous, hyperbolyuing his features, revealing its true essence. His heroes are the same era products. The writer pushes the reader to the disappointing conclusion that the Russian state cannot exist without bureaucracy. Confirm this we, modern readers, see and now. Of course, no censorship could miss it in print.

Platonov's critics - L. Shubin, S. Bocharov, E. Thick-Segal - they talk about a paradoxical combination of lyrics and satire in the work of the writer and the limit polyphony of the narrative, where "the narrator agrees at all from any of the points of view." Platonov uses signs, poster, slogan speech, newspaper stamps, offices, warbrisms, "awkwardness" of speech and even church salons, creating their unique style of narration. The name of the story is tautologically, the city of cities is obtained. This is a symbolic image of a state that disobeds and destroys where freedom of people is minimal. Platonova is outraged by bureaucracy, scinting mismanagement, showing, distraction of the general state idea from practical life. Platonov is convinced in the dehumanization of society by the state, and it determines the pathos of its following works.

Word about a favorite writer.

Having become acquainted with the "beautiful and violent world" of Platonovskaya prose, I realized that his work corresponds to the level of hopes and anxiety, attacks and falls of the twentieth century.

In his works, the most complex problems of our lives are delivered. The main thing for him is to preserve and save on Earth life. The writer enters the open battle with everyone who would like to "reduce a person to the" animal "level, grind humanity in the imperialist war, demoralize and corrupt it, eliminate all the results of historical culture."

With his life, criticism declared the harmful effects of his works on the reader. According to today's literary critov, Andrei Platonov is an outstanding writer.

Platonov wrote his works calmly, "quietly", not seeking anyone around him. And as a genuine wizard of the word, which has interrupted the "rosary of wisdom of the Child" / Pushkin /, he listened not to the sound of phrases, but in a complex melody, in the alarming variations of thought.

Daily, even the hourly difficulty of understanding the world was so absorbed by Platonov that he was ashamed of bright, flowery, but unceous words not filled with meaning.

His pen does not rest on the frequency descriptions of the relatives of the Native Voronezh steppes, although he is not less than Koltsov and Nikitina loves their homeland, the edge of his youth. But he speaks of this love extremely restrained, carefully. The orphans and the poverty of the children's years did not kill in it the main thing - the soul of the child.

Platonov reminds each of us that a person is your first and probably the most important name.

Platonov's voice, slightly muted, tedious-sad, already in early stories conquering endless shortness, restraint, some kind of sad crotness :« He was once a gentle, sad child who loving mother and his relatives, and the field, and the sky above all them ... At night, the soul grown in the boy, and languished in it deeply sleepy forces, which will once explode and again create the world. There was a soul in him, as in every child, it included dark, uncontrollable passionate forces of the world and turned into a person. This is a miracle for which every mother admires every day in his child. Mother will save the world, because he makes it a "man" / story "Yamskaya Sloboda".

As unusual for the twenties, among sharp, abrupt phrases, "barking" intonations and rude gestures is the word Platonov!

Probably after A.P. Chekhov was not in the Russian prose of the artist, endowed with the fortune of falsely-pathos, loud words.

A. Platonov is always a wise interlocutor, turning to a separate person. He is not in the distance, but the "human heart".

I want to portrait A. Platono in, the image of his soul take the epigraph of the word F.I. Tyutcheva:

Damage, exhaustion and in everything

That meek smile of faddown

What is essential we call

Divine shortness suffering.

This is a person who has not known the ecstasy of theatricality, the bright light of the word. He is convinced that someone else's suffering and pain does not happen and therefore always remembers the fate of many honest macarov.

In nine hundred and twenty-ninth year, A. Platonov wrote a story "Personal Makar", which was submitted at the beginning of the thirties, a biased criticism. After the angry review of Stalin about this story, Platonic disappeared from the field of view of readers, leaving at the bottom of obscurity, poverty and ailments, dividing the fate of those people who wrote about Chevengur.

During the first thaw, the publishing of some stories of Andrei Platonov became possible, but not "pit", "Cheving", the "Venile Sea". These works published in the West were returning to their homeland illegally and in the car painting walked around the country. And only in recent years, when the idea that the universal value is above class interest, has ceased to be confused, the real return of Platonov to the reader began.

What was caused by this attitude to the writer? In the story, the "dumbfounded Makar" the author showed a man from the lowest layers of society. Man Makar goes to the city to seek the truth. The city amazes his meaningless luxury, the proletariat he finds only at the night.

"And he sees in a dream of a terrible dead idol -" scientific person ", which stands at a huge height and sees everything ... but does not see Makara, and Makar Idola breaks."

The idea of \u200b\u200bthis story is that the statehood of the people is hostile. Makar is a dreamer, pretending to the eccentric, smart and insightful. He passionately dreams of rushing machine, industrial. Makar, having arrived in the capital, bypassing the office and construction situations, chatting at an overnight house with a proletariat, the first of the Platonic heroes doubts the humanistic values \u200b\u200bof the revolution, as DemaGoga reigned around the circle, "writing" "writing", Master of Slavovia and Sorry. And Makar Ganushkin, a smart and insightful person, felt that in such conditions in humans, misinterdiction, passivity, "meaningless fear of state-owned paper, resolution" is developing.

And they doubted our hero in the rightness of the revolutionary case. His meditation and "doubts" were adopted for ambiguity and anarchism. In them, it seems to me, Andrei Platonov expressed his thoughts, ahead of time, solved the problems of combating corruption, formalism, bureaucracy, borneling and fraud.

Naturally, at that tense time, when the elimination of fouls as a class was laced, Stalin regarded the work of A. Platonov from a political point of view as "ideologically ambiguous and harmful story, so deciding to deal with the writer in his own way.

After reading the story, I was once again convinced that Platonov, like his Makar, did not doubt the plans of industrialization. It is historically necessary. For ten years, go through the way, which other countries held a century - is truly wonderful! Otherwise it is impossible.

The writer warns only about the danger of formalism, the troubles of the bureaucratic stagnation, the soulless, and the meeting. Nobody understood this outstanding writer's position of the writer.

Unwittingly remember yu Taste V. Rasputin "Fire" and Roman V. Astafieva "The Sad Detective", in which the same as in the works of Platonov, sounds the alarm of writers about the moral health of the people, about the fading mercy, sympathy, friendship between people.

I can confidently say that Platonovsky Makar acts as our contemporary in the struggle against the elements of corruption, kindness, parade sloop.

The works of Andrei Platonov helps to develop nobility in each of us, courage and active humanism in the modern struggle for peace.

But also as the best manifestation of what a person makes a person inherent in the books of A.P.Platonov for small readers: "July thunderstorm" (1940), "Soldier's Heart", "Magic Ring" (1950) - more than twenty writer books for kids.

A.P. Platonov challenged the smart, devoted to his workman, the Creator. Love for the technique, to the case for him, like the love of the peasant to the ground, is the first-Russian life. Tale

"Epifan gateways", "secret man", "The Origin of the Master", "Yamskaya Sloboda", etc.; Essay "Integro", who did not like Stalin and therefore destroyed by criticism; novels "Chevengur", "Juvenile Sea", "Dzhan" (1934); More than a hundred stories, essays, four plays, six moviezenaries, a large number of fairy tales, dozens of literary-critical articles - such is not a complete list of works of the outstanding Russian Soviet writer. Pieces "High Voltage" (written in 1932), "14 red huts" (1936) are included in the modern repertoire of the theaters of the young viewer. During the Great Patriotic War, the writer was a correspondent of the newspaper "Red Star". Recent years spent in poverty thrown out of the literature.

And he started as a poet. One of his poems (Collection "Blue Depth", 1922) is called "in a dream":

Sleeping baby - the song of the Prophet. Meek and sad

From the hot source of early bets your light.

Everything flows, flowing until the deadline, you left one from the road,

And spring rats far away. I froze my heart and fell,

You will forget the image of a secret, the path in the desert, knowing, long,

There is no sky over the earth. You, my native, quiet and small ...

In the face of A. Platonov, we had a thinker writer. His talent is in one row with the great writers of the past and this centuries. His works give the happiness of communicating with great art, and through it - penetration into life, its most complex historical contradictions. The artistic world of the writer is multifaceted, multicolored. Often harsh. Metaphoric, and therefore multivarid.

1925-1935 - The most fruitful creative decade of the writer, although in the next 40s he worked furiously, invariably strictly treat himself and to the case of his life - to creativity. Writer Viktor Poltoratsky, who has repeatedly encountered with A. Platonov at the fronts, in the introductory article to the collection of military time, compiled by the writer's daughter (Andrei Platonov. There is no death. - M.: Owl. Writer, 1970), writes with a full basis: " Andrei Platonova was over forty years when the Second World War began. By that time he was already known in the literature as a thin, peculiar artist, with a piercing sharpness, the feeling of anxiety and the joy of the world and seeking to express them in his own way. He was attracted by such conflicts, which with the greatest completeness helped to reveal and understand the mechanics of life movement. " From such a position

more fruitfully modern reading Platonov. When mastering his work, we are having a danger to distort the ideals of the writer, due to the new, second discovery after the current publication of the novels written in the 1930s. Even the platonists actually did not escape in the analysis of "Kotlovan", "Cheving" of the emotionality of the record of the ideals of the writer, which leads to the extremes of unreasonable judgments, which imposes an imprint and to the interpretation of stories for children.

Yes, Andrei Platonova can be recognized by the most metaphorical Russian Soviet writer. Literary critic S. Semenova rightly notes that the power of attractions and readers, and researchers to Platonovskaya prose "is largely determined by the mysterious depth of the meaning, which flickers for the impacts of all the molders," (New World. - 1988. - № 5. - S. 218). However, no matter how difficult it is to unravel the lick of thoughts formed by the writer, as a result, a moral meaning, endured by a person from hard work, reading Platonovskaya prose. Personal reading conclusions that correspond to the ideals of the writer are important, assessing the reality that has become the subject of his research. In this work, S. Semenova is far from indisputable. In it, enthusiastic analysis of metaphoricity scores on the moral, humanistic position of the writer. I produce your approach to the work of A. Platonov-Children's writer, it is useful to compare the point of view of S. Semenova with the one that is expressed in the already named article of V. Polatorsksky "Andrei Platonov in War", to see the study of Yu.N.Daevdov "Andrei Platonov and" Russian Handra "(literary newspaper. - 1988. - October 19), materials in" matters of philosophy "(1989, №3)" Andrei Platonov - a writer and philosopher ", the publication" so that the word does not kill ", prepared by Mikhail Goldenberg (Soviet culture . - 1989. - 2 Saint.) ...

The metaphoricity, the multi-layerness of Platonov's prose, its special language abundant by peculiar word formations, intonational polyphony - everything encourages the philosophical understanding of the author's moral ideals and the life he explores and reproduces uniquely, in his own way. It is important to try to see the main thing: Nowhere Platonov has been identified with folk thoughts, the establishments of the "Campfire of Class Fight", which claim the Dogmatic of Sofrons, Chepourny (Japanese nicknamed), "Svvengur".

Before the fact of everything experienced now, a new level of understanding, communication, civil consent, cohesion, cobatriness, not allowing the irrational elements to overlook what is the forces of creation, move forward. The massage of all new and new terrible facts from life without comparing the sources of their antigumanism, without bringing to the young developing consciousness of faith in good, without awakening conscience and personally significant responsibility for their behavior in front of them and others all this felt the line between good and evil, between freedom and dismissed permissiveness.

Humanistic art, thanks to his ability to harmonize the spiritual world of man, is the prevention of moral, public infancelism, medicine from mental worn. This ability cleansing and elevation in a person inherent in literature, the theater, cinema for children, because it is laid in their nature, predetermined by their aesthetic specificity. A talented children's writer takes into account the natural property of his reader - the need to know the world, himself, his place and appointment in it. He is inspired by the opportunity to help the child himself to improve himself, to form himself and, in the event of a tendency to develop moral qualities, to him opposing. This is the main task and responsibility of a person at all stages of his life. But it is in childhood that the origins of her understanding, recognition of their life program. Therefore, invaluable the role of good book, as well as humanistically directed works of other arts, in childhood, in adolescence. Therefore, organic anti-human pathos and patos of self-knowledge, moral self-esteem in the work of talented children's writers, playwrights, directors. This is one of the main installations, the moral traditions of Russian, Soviet and world classics. Recall the commandment of L.N. Tolstoy: "In order for every day your love of your whole genus would be expressed by something." A brilliant writer, teacher, thinker, whose work today is extremely modern, considered the moral law of the life of every person the love that prompted to good action. This approach to the goal of his creativity and A. Platonov is close.

The idea of \u200b\u200bthe boundless value of the human person is dominant for A. Plonov. The value of man, according to Platonov, is predetermined by his willingness and ability to sacrifice the sake of love for the neighbor, for the sake of embodiment of moral, social ideals ("Sokro

venny man "," Master's Birth "," spiritualized people ", etc.). To live for others, it is necessary that your own life is worthy of the good relationship of others. In this core of the philosophical and moral looks of the writer. Based on them, it determines the movement of the soul, concrete actions, actions of heroes, named ages and such, for example, unparalleled on the life of the stories as the "sand teacher", "Little Soldier".

Young teacher Maria Nikiforovna and the nine-year-old son of the Colonel and the Voicer - children of different times: the involvement of the first to a large social life begins in the 20s, shortly after the revolution; Nine-year-old Sergei was a member of the Great Patriotic War. Each of them independently managed by his life. Themselves make a choice. Your selfless choice, because the soul of each of the heroes of "starving" by good, alive by self-dedication for others, for the victory of life over death. Serge's fate is tragic, close to the fate of the Little Scout of Ivan from the story V. Bogomolov "Ivan". But if V. Bogomolov emphasizes that the boy takes the fascists for the death of loved ones and therefore can not leave from the front to the rear, then A. Platonov motivates the selfless conscious actions of the boy pity for their parents who died in his eyes, pity for everyone, perishing on the front . These are two psychological nuances helping to understand how deep personal experiences of a child who can rise to the height of social, moral analysis of life.

A. Platonov emphasizes the uncompromising sense, the inability to change it for the sake of rational, more precisely, a reasonable solution is to calculate. In devotion to the feeling, in the power of the feeling - the main motive of the behavior, the writer sees both the power and the weakness of the child, its vulnerability: "This weakness of the child, human heart, melting a constant unchanged feeling that connects people into one relationship - this weakness meant strength Child ... »Feeling, immediacy, intuition of a child, an instinctive moral reaction raise it to the highest manifestation of the human generic nature of human. This is the special strength and value of childhood. Maybe one of the most remarkable installations of these and other works of the writer is a recognition of morality that makes up the meaning of art, creative strength not only self-development, spiritual, social self-allocation of the individual, but also of productive strength across society, states, man

traience. Productive force that may have a positive and destructive action. It is this final action that makes the main care of the artist: "The working person must understand deeply that the buckets and steam locomotives can be done as much as possible, and song and excitement make it impossible. Song is more expensive than things, she approxes man to man. And it is difficult and most likely. " This is also expressed by the creative force of art, which produces the main thing - the human, immortal in people - their unity in an effort to life, their strength of life.

None of the works of Platonov, being extremely relevant during the spelling and today, was not only a response to a topical subject, only to make a spiritual, emotional shock and a child, and an adult, although all the work of the writer is the result of his shocked consciousness, his openness immensely the Great Heart Breakfasting for People. In the story "Return" read: "He studied all that he knew before, much more accurate and more valid. Before he felt his life through the barrier of pride and his own interest, and now suddenly touched it with an exposed heart. " The touch of a "naked heart" gives the prose A.Platonov infectious emotionality, the infinition of empathy. These are his heroes. These are their creator. He comes from the belief: "... The task of every person in relation to another person, and poet especially (allocated by me. - Etc.) not only to reduce the grief and the need of a person suffering, but also to open it a life, really affordable happiness. This is precisely the highest appointment of human activity. " Any activity, and artistic creativity - most, for it is the manifestation of truly human in man, manifestation and identification of our generic essence and the vital relationship, mutual understanding, mutual dismissal: "... Without me, the people are incomplete", like me Himself, if alienated from him, if you are guided in the actions of the promptings contrary to morality.

Today, maybe, more than ever before, it is necessary that our children from young nails have mastered the universal ideals of morality: "Do not steal", "not kill", "honor your father", do not evil people, do not be offended, not destroying done Others, not a ruffe nature, take care of all living in it, for you are not only her particle, you are her son and keeper. Didn't you explain all this thousands of times with children, starting with Yassel

age? So why are the best of them call about help, becoming teenagers? Why is it difficult to be young? Apparently, the moral does not become the content of the inner "I", unless it is impossible if it is only declared, explained. It is necessary that moral concepts absorb both the norms of being from the most tender age and at the level of consciousness, and at the level of the subconscious, aesthetic personally valuable experience. And this is the specific channel of exposure to art, communication of a person with genuine art.

Speaking about the formation of the identity of Mary Nikiforovna, the heroine of the story "The Sandy Teacher", in the adolescent years, A. Blotonov so appreciates them: "The most indescribable" years in a person's life, "When the kidneys burst into a young breast and blooming femininity, consciousness and born the idea of \u200b\u200blife (allocated by me. - Etc.). It is strange that no one ever helps at this age to overcome the tormenting of his alarms; No one will support the subtle trunk that the wind is doubtful and shakes the earthquake of growth. Someday youth will not be defenseless. " During these years, "man is noise inside," writes the author of the story in 1927. Loving his heroine, sympathizing with her, the writer delicately builds her character, infecting the "fortress", courageousness, striking dedication without sacrifice. "Long evenings, whole epochs of empty days sat Maria Nikiforovna and thought that she was done in this village, doomed to extinction. It was clear: it is impossible to teach hungry and sick children. " The teacher understood that the inhabitants of the desert "will go anywhere for those who will help to overcome the sands," will teach "the art of turning the desert into living land." Not her was the case. But the young teacher could not be indifferent to the pain of others.

Alien pain, the trouble was worse, stronger than personal grief caused by the inability to do their job, loneliness, abandonment. The complicity and gave Maria Nikiforova that the "young malice", thanks to which she fearlessly grabbed with nomads, pulled out all the living around Koshutov, where the teacher worked. She convinced the peasants of everyone to do landing to one, and two years later, the sealing greenery salted. " The teacher was fulfilled not his work. But in front of it did not appear the question of modern young pragmatists: "What will I have with this?" Maria Nikiforovna naturally became happy when it was organized by another

it became cozy, satisfying, pleasant ... Understanding and taking as his destiny, the "hopeless fate of two peoples, sandwiched in the sands of the sands", Maria Nikiforovna agrees to work even more far away in the depths of the desert. Taking her generosity, "Zavokono" confusedly admits: "I am very happy, I feel sorry for somehow you and for some reason I am ashamed ..." So the quiet heroism of the life position, the dedication of the teacher. Her image causes respect and, not be afraid of a loud word, admiration and sympathy.

From today's nonsense pragmatism, the image of this image is perceived idyllically. But such an idyll "in our time is extremely useful. How good it would be that at least a particle of the egoism of our young rational girls would be able to in favor of such moral idyll. A young teacher from the story of Platonov reminded me of my own youth. I, like Maria Nikiforovna, did not feel offended by happiness. " Words taken in quotes belong to M.P.Prilezhava. I had a conversation about the hero of the children's, youthful book, about the image of the girl from the story "The Sandy Teacher", when the "Young Guard" publishing house was preparing for the release of the autobiographical story M.P. Pyrileva "Green Branch of May". The "idea of \u200b\u200blife" of a young heroine from the story "The Green Branch of May" is related to the "idea of \u200b\u200blife", which led the thoughts, actions of a sandy teacher. Such a rollback of writing positions, intonations is not accidental - this is one of the confirmations of its vitality.

Children's stories and fairy tales convince that A. Platonov's favorite hero is an ordinary "small" person. The writer explores his devotion to work, the state of the soul, mindset, treats the work as a higher manifestation of reason, as a source of education of the soul, like the power of the creation of human in man. The work is reasonable, estimated by the results. Labor as an act as a manifestation of life. The man in his socio and biogenesis itself, all that surrounds it, from what it is inseparable: earth, trees, flowers, sky, stars, wind, water grown by people of yields and the field itself, stone on it and a crack of drought - Everything in the stories, in the possessions of A. Platonov lives, acts and interacts with each other and with man. Not only physically. First of all, spiritually.

The writer possessed a trembling soul of a child and philosophical scholar thinking. I knew how to surprise the life of a rotting stump, talking to him like alive, inspiring him. And seeing a gentle flower growing out of stone, start thinking

the events of being, about the infinity of the movement of matter, about the interdependence of all things not only on Earth, but also on the scale of space. For the external naivety and rusticity of his heroes - the depth of thought, burning the joy of discovery. It was this installation in the analysis of the writer's children's stories that is especially relevant and necessary for the introduction of a modern small rationalist to them: it is early to get tremendous diverse information, but emotionally overlap; He deftly uses playing machines, killing a bird from the gun, but does not know how to see her flight in the sky, he does not get used to the proud of her beautiful wings in childhood, does not always feel pity - the quality of the soul, especially valuable in our time of noticeable alienation of people from each other and from nature.

Children in the stories of A. Platonov are infinitely inquisitive. Little Antoshka ("July thunderstorm") wants to understand how she could be former himself when he was not. What are all these items with which he is so close to do without him? They probably missed him, expected him. The boy lives among them, "so that they are all glad." And Egor in the story "Iron Stoy" "did not like to sleep, he loved to live without a break, to see everything that lives without him, and regretted that at night it was necessary to close his eyes and the stars then burn some, without his participation." I want to participate in everything. To all be significantly noticeably involved. To understand everything. Everything is useful.

The hero of the story "Dry bread" sees that the land dries without rains. Bread disappears. He is shocked. The boy does not pronounce words. He just begins to break the land at the roots of bread sprouts. Funny? Not. The host grows. Thoughtful. You can rely on it. Although the boy often seems naive for modern rationally toed children: "Funny. He is stupid. Can one man break the field? Yes, without a tractor. I would not have done such a stupidity of doing such nonsense, "this was said to the modern erudite, the peer of the story hero, in a conversation about the studied work. The great strength and value of the stories of A. Platonov is that he encourages a modern child who can press the buttons of playing machines, at least to stop for a while, think about: what kind of lightning it is? And why and why the rainbow? How did it become multicolored? What flower rose from stone? Why did he grow out here? What does it eat?

"Unknown flower" is so called one of the amazing poetic stories. Listen to his soft,

caressing intonation: "Lived in the light of a small flower. No one knew that he was on earth. He grew up on the wasteland, cows and goats did not go there, and children from the pioneer camp never played there. On the wasteland, the grass did not grow, but alone the old gray stones and between them were dry dead clay. " So the story begins. Calmly, leisurely. The writer does not intrigue the reader. He invites to think about the search for a response to questions about life - about good, about beauty, about the fact that it is decorated with a person, and in the end, thanks to the concern of a person about everything alive - and the Earth. "Flowers and herbs were born in black goodies from seeds, and in stone and such seeds were dying," the writer reflects. And flower - alive. He also has his own laws of life: "The flower in the afternoon, the wind fastened, and the dew at night. He worked day and night to live and do not die. He raised his leaves big so that they could stop the wind and collect the dew. However, it was difficult to eat a flower from some dust, which fell out of the wind, and another to collect dew for them. But he needed life and overwhelmed his pain from hunger and fatigue. "

I overlooked the patience of pain ... help the child would hold your attention to the reader here and imagine, imagine how the flower "tolerate" "his pain from hunger and fatigue." No, not to then blame that he, our reader, does not know how to overcome his pain itself and in general he is "a silly flower". Draw attention to awaken imagination. To see the flower alive, trembling and beating for life. So that someday the leg itself stopped and did not confuse the flower, if suddenly he is on the way. So that the hand does not stretch by himself to rip the flower and throw. Think, the epics ... I remember the classes of children in Japan, called in the first glance strangely: admoniming beauty. Children go for a walk in nature. Silently admire Beauty: Flying cloud, rustling leaves in the wind, Sakura flower ... Stories of A. Blotonova - a unique lesson to love wildlife. Just need to help children read them slowly. To help detain your inner eyes at that moment when the flower collects Dew, imagine how his big leaves are trying to stop the wind ... because it begins the ability to feel part of nature, the willingness to be responsible for it.

A. Platonov introduces the reader into the most complex philosophical thoughts on the meaning of life, about its irreversibility, about the feasibility of everything in nature. It seems to think about the alternativeness of the position: Thirst for the life of a fragile flower and ease

his death from the careless, from a stupid man's hand ... The wasteland, where one unknown flower grew, in the year it became completely different: "He jumps now herbs and flowers, and birds and butterflies flew over him. Flowers were fragrant, the same as from that little flower-worker. " But we note the main thing: "Between two close stones, a new flower grew up - the same exactly as the old flower, only much better than him and even more beautiful. This flower grew out of the middle of the squeezed stones, he was alive and patient as his father, and even stronger his father, because he lived in stone. " That's the point: "Live and patient", "like his father, and even stronger than the Father ...".

The idea of \u200b\u200bcontinuity of being. Changes in life forms at its infinity. The writer of a small reader leads to it, believing that he will understand everything. It can not not understand if his thought is folded. If the imagination is free. If the reader sees the picture for the word, and in it - the breath of life.

Children themselves are the heroes of A. Blotonov are neutral from the ground, from the environment in which they live. This is their strength. Amazing stability. Their curiosity, their thought is not constrained. Thought and feeling live in motion to truth. It is difficult, however, it happens the boy if he lives in a village, where everyone is busy with his work and no one to answer all endless children's "why" and "why". For example, Afonya in the story "Flower on Earth" does not give the old grandfather to sleep. , understand how it begins, why not ends. He needs to find an answer to a variety of questions, and they are all about the meaning of life. General human life, but not only for children.

"Wake up, grandfather, tell me about everything," asks Afonya. The grandfather woke up with difficulty, went with his grandson in the field. Stopped near the flower to turn his grandson's attention. "I know it myself," said Afonya longly. - And I need that most importantly happens, you tell me about everything! And this flower grows, it is not all!

Grandfather Tit wondered and stood on his grandson.

Here the most important thing is to you! .. You see - the sand is dead, he is a stone crumb and no longer, and the stone does not live and do not breathe, he is dead dust. Understood now?

No, grandfather Tit, "said Afonya," there is no understandable here.

And the flower, you see, kinking such, and he is alive, and he made his body from dead dust. It became, he turns dead in a living body to a living body, and it smells from him the very pure spirit. Here you have the most important thing on white light, so there is everything comes from. This flower is the most holy worker, his life works out of death ...

And the grass and rye also do the main thing? - asked Afonya.

The same, "said Grandpa Tit."

I quote A.Platonov to make pleasure to feel the intonation of the dialogue of the heroes, the wise old man and a no less wise preschooler; To hear the voice of each of them and thus feel: the writer with children leads essentially a philosophical conversation about the most important thing about life, about its origins. The writer convinces little reader that "make life", promote life and is the main purpose of all living and, of course, every person. So formed from childhood a tendency to understand life in different forms of manifestation, to understanding the integrity and interdependence of all living things. Thanks to this comprehension of the meaning of all things, the consciousness of responsibility for life on earth is born, because each of us is her particle, her daughter or son and her savings.

The reading of the stories A. Platonova with the installation on the solution of modern tasks of education is very fruitful. Nowadays it is extremely important to encourage children to a holistic idea of \u200b\u200blife, to understanding and biological, and historical, and social interdependencies. It is especially valuable to help modern children to feel their proximity to the village boys from A. Platonov's stories and because Platonov's feeling of human involvement in nature, its dependence on land in our time is almost lost and those who else knows how to admire a beautiful sunset, but not long ago Ranged on the ground barefoot, has no experience contribute to the life of plants, animals, animals with their own hands.

Those who knew A. Platonov personally remembering him, they say that he was externally like something like a master. On a working person. This is also in the photos. And eyes? Full sadness and heat. Concerns and gullibility. Soft, good face. And some special attraction force in the view. "Sees through," they speak the people about such eyes. The writer and humane is extremely therefore: I saw all through and foresee, alas, a lot, the hard, destructive. Opening the writer to children, it would be nice, however, pay attention to the special power of the charm of his personality. In the previously mentioned article by V. Polatorsk, read:

"He was soft and easy to handle, could see his word for everyone - be it a soldier, general, old woman peasant or child. He spoke deaf, low voice, calmly and smoothly. But sometimes there was a cut, barbed, always absolutely intolerant to false and praises

. Chain, a sharp view of his thoroughly saw the interlocutor. Especially sincerely knew platoes to talk with soldiers-workers of war. I remember his conversation with sappers, who guided the crossing on the Mountain River. I was struck by the then deep professional knowledge of the writer of the business that these soldiers were busy. Yes, probably not only me, and the soldiers who have seen in the military correspondent of his work man.

When it happened to stop for the night in the peasant hut, Platonic was penetrated by the masters of the owners: it would be easily disturbed by the woodlovers, it will not get into the courtyard in the courtyard, it will take off the water from the well ... those of the readers who want to imagine the Chronicle of War, will not be able to imagine This is done. Platonova attracted not a description of hostilities, but the philosophical essence of them, the root depths of those actions that determined the actions and actions of people in the war ".

It is the root sources of humanity. Roaling man and nature. Understanding and proximity of people and everything alive on earth. These are dominant plants of creativity A. Platonov.

In the story "Sergeant Shadrin" (history of the Russian young man of our time) We read: "Shadrin knew what the power of the feat was. Red Armyman understands the meaning of his business, and the matter does it nourish his heart with patience and joy, superimating fear. Debt and honor when they act like living feelings, like the wind, and a person is like a petal, who is fascinated by this wind, because the debt and honor is love for their people, and she is stronger than self-pity. " Surprisingly, it is beautifully the likelihood of a person and a petal fascinated by the wind. Identifying personal debt, honor with love for people, which is always "stronger pity for yourself." The writer sees and approves as the highest moral ideal of the ability to make a soul of dedication: a person who can give his feelings, his forces to people, the creation of life, is beautiful. Given the power of the soul and the joy of being - the joy of creation. Sergeant Shadrin - a member of many deadly battles. Not once was injured, treated in hospitals. Through the battles in the battles of a thousand versts in native land, he understood: war for him is sacred, because her goal is to leave his homeland again and to change her fate - from death to life. "

The ideal of the creativity of a talented writer is in this: constantly work to change the fate of the Fatherland from

"Platonov Andrei. There is no death. - M.: OV. Writer, 1970. - p.5.

ti to life. It is important that the readiness for this creative work is formed in childhood. According to Platonov, "Sacred by a soldier, as a sacred mother." Such a reverent attitude towards mother, home, to work in the name of life - the main pathos and stories for children.

Also think again

1. In the story "Flower on Earth", grandfather explains the grandchild that the flower growing on the sand "works". How do you understand this idea of \u200b\u200bthe old man? How can it be explained to the children of her meaning, relying on the works of A. Blotonov?

2. Is it possible, in your opinion, say that the heroine of the story "Sandy teacher" Maria Nikiforovna took place as a person?

3. The chapter shows the approval of A. Blotonov: "The song is more expensive than things, she brings a person to a person." How do you explain to children the meaning of this saying, using stories, fairy tales A.Platonova, M. Pryshvin and other writers close to you?

Andrei Platonov: Memories of contemporaries: materials for biography. - M.: Modern Writer, 1994.

Malygin N.M. The artistic world of Andrei Platonova: Tutorial. - M., 1995.

Losev V.V. Andrei Platonov. "Caught man." "Kotlovan" // Russian literature. XX century: reference materials: book for high school students. - M.: Education, JSC "Tutorial", 1995. - C.273-286.

Polozov TD The incredit value of childhood // Polo-Zova T., T.A. All the best in me I owe books. - M.: Enlightenment, 1990. - P.62-71.

TRADITIONS AND INNOVATION In the literary process - two dialectically interrelated parties of the literary process. Traditions (from lat. Traditio - Transmission) - An ideological and artistic experience, transmitted to subsequent epochs and generations, digestified in the best works of folklore and literature, enshrined in the artistic tastes of the people, aware of and a generalized aesthetic thought, on the science of literature. Innovation (from Lat. Novator is an update) - update and enrichment of both the content and forms of literature with new artistic achievements and discoveries: new heroes, progressive ideas, a new creative method, new artistic techniques and means. Innovation based on traditions, develops them and at the same time forms new; It becomes itself traditionswhich in turn serve as a starting point innovation. In such cooperation, creativity and innovation - the dialectic of the progressive development of literature and art.

Reform of the Russian verse, produced by V.V. Mayakovsky, was the necessary consequence of the novelty of reality, which became the subject of Soviet poetry.

The mystery of the Russian soul is hidden in national poetry. "In the lyrics of our poets, I wrote N.V. Gogol, - there is something that does not have other nations in the poets, which is something close to biblical." The Supreme Source of Lurism is God, but they come to him "alone consciously, others unconsciously, because the Russian soul is due to their Russian nature, it is already heard this is somehow himself, it is unknown why".

In Russian classic poetry, the theme of village Russia has always been one of the main (just mentioning at least the KhrestStaya Pushkin "village"). And this is not just a "landscape" lyrics. In the elements of the Russian soul, always "the arrangement of the myth - the myth of the earth, soil, space" was visible. S. Frank In his article "Wise Covenants" expressed the following thought: "Taking advantage of the later term, we can say that Pushkin was a convinced firm and had a certain" soil philosophy ", he best expressed her in the famous poem of 1830:

Two feelings are wildly close to us -

The heart acquires food -

Love for native ashes,

Love for the deputy coffins.

Such rootedness in native soil, leading to the flourishing of spiritual life, thereby expanding the human spirit and makes it susceptible to all universal. "

A special place in Russian poetry is occupied by N. Nekrasov. It was he "revealed the first example of the poet living in the city, and suffering from the village." "Nekrasov because I am expensive - I wrote Polonsky, - that he, so to speak, our home poet, our firm; he brought us a great benefit that, treating our folk soil and clearing it, makes it possible to grow on it with time Not only Russian, but also universal poetry. "

The end of the XIX is the beginning of the twentieth centuries - the time of the genuine lift of the "peasant line" in Russian lyrics. During these years, Leonid Trifolav, Ivan Surikov (the author of the famous "Ryabina" and no less famous "childhood" ("Here is my village") and the poets of his circle ("Surikovtsy"): Savva Derunov, Dmitry Zharov, Alexey Razhenov, Matvey Kozyrev Ivan Rodionov. Ivan Osokin, Nictopolyon Svyatsky, Maxim Leonov, Spiridon Yezhin, were adjacent. In the 20s, the poets were widely known "Novokrestest" poets: Nikolai Klyuyev, Sergey Yesenin, Sergey Klychkov, Peter Oreshin, Alexander Shiryaevets, Mikhail Artamonov, Pavel Radimov, Vasily Nadkin and others. The subject and spirit of creativity were close to Ivan Molchanov, Dmitry Gorbunov, Early Alexander Zharov, Poet and Artist Efim Consikov, Pavel Druzhinin, Ivan Doronin, Vasily Yeroshenko. The latter is more famous in Japan, where The three-volume assembly of its writings. The fact is that he wrote not only in Russian, but also in Japanese, he traveled a lot, studied the popular culture of many countries, was familiar with Lou Blue and Rabindanat Tagore.

Among the Russian poets who promised to do so much, but did not have to find their own poetic path, one of the most penetrated lyrics was Sergey Chukhin. He began in the second half of the 60s, during the heyday of "quiet poetry". Silence is the most important word in his lyrics: "To stay anywhere ... Such a quiet!", "And soul from the cold stored with this snow, this silence." It turns out that not only now the silence of the "stagnant" time is perceived as the "golden age" of the newest Russian history:

Will not find in the village of man,

That today is overcast, angry.

As the beginning of the golden century,

The golden day is so worth it.

Feta, Tyutchev, Polonsky's names - also "iconic" for "quiet" lyrics:
Night night here above the field,

And the stars of August fly,

And Fet is swoping,

And the man peace is glad.

Now it becomes clear that in "quiet" lyrics prevailed not an email silence, but an unclear premonition, the feeling of the clutter before the storm:
And strange feeling is

Pursuits the soul like nonsense:

Among silence and peace

Just now rest and no.

To tradition, which is inseparably connected "with the verbal art of the people, with his richest song, a fabulous, challenged culture that has a thousand-year history," also the work of Nikolai Rakjkin. According to the poet, he came "from the depths of rustic Russia, from the great folk depths ..." in the poetic collections of the 60s ("Crossroads" (1962), "Krasnopol" (1962), "Songs of the Great Raints" (1965) , "Silver ponds" (1966), "Futel Gagara" (1967), "The nest of my fathers" (1967), "Favorite Lyrics" (1970)) Rodkin challenged the happiness of peasant labor, poeticized the life of the modern village, using genre reserves Folk Creativity: Songs ("Song of the Bread", "Song of the Merry Freezing", "That night", "flew by Gagara", "Song", "only a dawn-charge ...", "farewell"), chastushki ( "Merry Pribea", "Novogrena", "I call you my ..."), epics ("Healing Muromets", "Return of Razin"), carols ("Kalyada-Malada ..."), as well as Duma, legends , were. Ragjkin introduced into his poems ("Letter", "Snow and Evening ...", "Awakening") Fabulous images, not forgetting about the song of literary origin - such a basis have his poem "Hymn", "Kamyshs, Kamyshs, Kamyshs. .. "," Song of the winter focus "," I will never get tired ... ". It is sometimes heard in his poetry Koltsovsky and Nekrasovsky motifs (poems "Rye", "Caps"), Ryninkovsky Rhythm ("Forest Podleki ..."), and then the syllable "Vasily Terkina" ("All fixed in proper taste ... ").

The best poems of Ragjquin are dedicated to the Russian North ("Pijma", "Koryazhma", "Steamboat on Viedelide", etc.). In 1941, he was evacuated in Kotlas. "There," wrote the poet, "I first opened my eyes to Russia and the Russian poetry, for I saw all this in some particular," interior "vision ... and I started writing poetry that I was fascinated." Morner language of these poetic creatures. Ragjquin reaches in its "northern" cycle of almost complete merger with the world of nature:

Yes will be sweet other

Great Melody Trigger!

The uniqueness of the literary situation of the end of the 70s was that it did not have leaders. There were leaders, those who walked ahead, but the places released after Pasternak, Akhmatova, Tvardovsky, were left not occupied and was not visible, who could take them.

In the late 70s, qualitative changes occurred in poetry, associated not so much with the change of poetic generations, as with the active orientation of young on new forms of verse and methods of an artistic image. The fact that in the 60s only timidly leaned in the work of the "estracks" is a complicated associativity, a formal experiment, symbiosis of different style trends, - in the late 70s - early 80s stated itself as a leading direction and everywhere displeasted its living space. Moreover, there were two different directions, like those that determined the direction of the development of young poetry in the early 60s. It was the traditional direction (N. Dmitriev, Kasmein, V. Lapshin, T. Rebur, I. Snowdow, T. District, etc.), focusing on the continuation of classical traditions, and "metaphorical", or "polystalistic", oriented on the formal experiment (A. Eremenko, A. Pareshikov, N. Iskrenko, Yu. Arabov, D. Prichi, etc.).

In the second half of the 80s, spiritual poetry began to revive. Now, it seems, already all the poets are "together appear to the Lord, the benefit of such a long ban was made." Justice to say that the Russian poets long before 1988 turned to the Bible (A. Tarkovsky, I. Brodsky, D. Samoilov, O. Chukhontsev, A. Flowers, Yu. Kublanovsky, I. Lisnyanskaya, V. Sokolov, N. Rolkkin, Y. Kuznetsov, to some extent - N. Rubtsov). S. Averintsev in this row occupies a special place.

Spiritual poetry is an unusually complex and delicate area of \u200b\u200bRussian literature. The three main obstacles to entering it should be overcome:

1) philological (the problem of the compound of the church and literary language, especially in semantic terms);

2) religious (renewability problem);

3) Personal (the problem of spiritual growth, the degree of comprehension of God).

"That's why, - A. Arkhangelsky writes, - professionals retreat before the greatness and mistakes of the task ... And the amateurs are not afraid of anything - for they do not feel, they do not hear the terrible silence of their words."

There is, fortunately, we have poets who know how to talk about high without naive delight and without annoying for the reader of porch. Takov V. Blessed, according to S. Chuprinin, Lirik "genuine tragic", as well as N. Rachkov, O. Okhappin, O. Grechko, M. Dyukova, N. Kartasheva, N. Kozhevnikova, E. Kryukova, L. Nikonova , S. Kekova, O. Nikolaeva, N. Peretelyshev and many others.
A group of Orthodox poets, sincerely and deeply believers and understand that "spiritual verse in its religious content is outside the current detail of reality," came to our poetry in the late 1980s (most of them were not by the time and forty years). This is A. Belyaev, A. Vasilyev, E. Danilov (Konstantin Bogolyubsky), M. Dyakonova, V. Emelin, Zobin, oh. Roman, N. Schetinin and others. Their poetry is really solely spiritual. Faith they put the above art.