Only Nastya, whom Zhachev recalled, belongs to far from the last role. The child is unintelligent, but already at the first meeting with Safronov he is clearly aware of his historical destiny. The main thing for her and the people are Lenin and Budyonny. When they were not in the world, and there were only bourgeois, then she did not want to be born, but appeared in the world only thanks to the activities of Lenin. That is, Nastya is a child born October Revolution 1917, which appeared immediately "with a revolutionary mind." How so, the reader may be surprised, because she has her own, real mother. There is, of course, a mother, but she is a "bourgeois woman", in the opinion of her daughter herself, an obsolete class. Rejection of the past means the loss of historical ties, cultural traditions and replacing them with their ideological parents, Marx and Lenin. People who deny the past cannot have a future.

The destructive attitude towards man on the part of the authorities concerned not only the bourgeois class, which is going down in history, but also the entire working people, including children. The image of the girl in the story is very peculiar: "Instead of toys, she has an iron crowbar, the girl sleeps in one coffin, and uses the second as a red corner." For the artistic aesthetics of Platonov, as before for F.M. Dostoevsky, a child is the highest human criterion on which the humanism of an individual and the state as a whole is verified.

Nastya is sincerely surprised at the coffins hidden by the peasants: "Why do they need coffins then? Only bourgeois should die, but not the poor!" The diggers could not give an intelligible answer to this naive question. Seeing one naked man among the men, she immediately thinks in bewilderment, "clothing is always taken away when people are not sorry ...". Not everyone could answer all these questions correctly and without fear, even among those who guessed the reasons. The answer is, in fact, simple. The new authorities are completely indifferent to whom to shoot and whom to starve. It is difficult now to name the exact millions who died during the period of collectivization in the famine (lean) years. And it was by no means the bourgeoisie who died.

Here Safronov explains to the "future joyful subject", as Nastya Zhachev calls it, the irreconcilability of class relations, that the communists and the activists who support them, according to the decisions of the party plenum, are obliged to liquidate the prosperous "no less than a class, so that the entire proletariat and the farm laborer class are orphaned by enemies!" After such comments, the girl not only asks, “Who will you stay with?”, but also tries to guess what was said herself: “This means killing all bad people, otherwise there are very few good ones.” Nastya thinks correctly, and so they decided to deal with the people in government circles. The fruits of the teachings of Chiklin and Safronov, as we see, did not go unnoticed. visiting daily Kindergarten, she grows up as a fully conscientious citizen of the new society. This opinion is confirmed by the firm, not childishly confident style of writing to Chiklin: "Liquidate the kulaks as a class. Long live Lenin, Kozlov and Safronov! Greetings to the poor collective farm, but no kulaks." So, "in the everyday life of great construction projects" a new young generation of Soviet people was born, ready to take any decisive steps in the name of a great idea. Andrei Platonov was alien to such optimism, he did not believe in the justice of power based on violence and deceit. Zhachev's last menacing words refer specifically to those who deceive the people, because of which children die: "I'll go now to say goodbye to Comrade Pashkin and kill him." However, the proletarian still fails to deal with this "class traitor". Oh, the Lions and Ilyich Pashkins turned out to be tenacious! The bacilli of their activity infected what seemed to be a staunch brigadier like Chiklin. As if comforting the dead Kozlov and Safronov, he vows to continue their work, to be the same as Safronov: "I will become wiser, I will begin to speak with a point of view, I will see your whole tendency, you may well not exist."

Nastya - a symbol of the future of socialism - is dying from a lack of spiritual kindness towards her and, oddly enough, "from understanding the world." Perhaps the second fact will be more significant, because she receives sufficient attention from the elders (after the death of her mother). Let us remember that she is dying, although on the last night Yelisei and Chiklin warmed her with their warmth. They well understood the significance of her life, were well aware of "so the world must be gentle and quiet so that she is alive.

Nevertheless, Nastya died, and with her disappeared, according to the author's intention, and faith in a brighter future. No, it is impossible to build a happy common proletarian home on a slavish attitude to work and the humiliation of human dignity. When Voshchev comes to the brigade of diggers, instead of the healthy happiness of people satisfied with physical work, he notices on the faces of the sleeping people only mortal fatigue and longing. Their dull faces showed no semblance of thought. The idea of ​​public good has enslaved wholly personal feelings. However, Platonov does not simplify the problem. Downtrodden and impersonal people, turned into a mass, have their innermost. So, Chiklin and Prushinsky recall their love, warming their souls with warmth; Voshchev is trying to comprehend his purpose in life; Zhachev - to achieve justice; Kozlov - crawl into the leading cadres. Yet in a country where there is one main man, there is no place for others. There is a process of depersonalization. That is why Chiklin replies: "What face am I to you? I am nobody." Young Nastya also characterizes herself in the same way: "I am nobody." But the girl knows the leader of the world proletariat very well. Let us remember: just as pessimistically, with the death of a child, the novel "Chevengur" also ends. In such disbelief in the victory of socialist management, a certain position of the author is hidden. Platonov in his conclusions is far from the insane optimism of Pashkin, who liked to repeat in difficult times: "... all the same, happiness will come historically." No, there may not be such happiness, because you have to fight for it, bring it closer labor activity Finally, we need objective conditions for its implementation. Such conditions the writer, based on his life experience, did not see.

In the most general form, the events taking place in the "Pit" can be represented as the implementation of a grandiose plan for socialist construction. In the city, the construction of a “future immovable happiness” is connected with the construction of a single common proletarian house, “where the entire local proletariat class will enter the settlement.” In the countryside, the construction of socialism consists in the creation of collective farms and the “liquidation of the kulaks as a class.” The “pitch”, thus, captures both the most important areas of social transformations of the late 1920s and early 1930s. industrialization and collectivization.

The plot of the story can be conveyed in several sentences. The worker Voshchev, after being fired from the factory, ends up in a team of diggers preparing a foundation pit for the foundation of a common proletarian house "... a single building where the entire local class of the proletariat will enter the settlement ...". The foreman of the diggers Chiklin finds and brings to the barracks where the workers live, the orphan girl Nastya. Two work teams, at the direction of the leadership, are sent to the village - to help the local activists in carrying out collectivization. There they die at the hands of unknown kulaks. Arriving in the village, Chiklin and his comrades bring the “liquidation of the kulaks” to the end, rafting into the sea all the wealthy peasants of the village. After that, the workers return to the city, to the foundation pit. Nastya, who fell ill, dies that same night, and one of the walls of the pit becomes her grave.

In Plato's narrative, the “mandatory program” of the collectivization plot is initially placed in a completely different context. The “pit” opens with a view of the road: “Voshchev ... went outside in order to better understand his future in the air. But the air was empty, the motionless trees carefully kept the heat in their leaves, and the dust lay dull on the road…” Platonov’s hero is a wanderer who goes in search of truth and the meaning of universal existence. The pathos of the active transformation of the world gives way to the unhurried, with numerous stops, movement of the “thinking” Platonic hero.

The road leads Voshchev first to the foundation pit, where he lingers for a while and turns from a wanderer into a digger. Then "Voshchev went into one open road”- where she led, the reader remains unknown. The road again leads Voshchev to the foundation pit, and then, together with the diggers, the hero sets off for the village. The pit again becomes the final point of his journey.

The hero's route constantly gets lost, and he again and again returns to the foundation pit. Importance in the composition of the story, he receives a montage of completely heterogeneous episodes: the activist teaches village women political literacy, the hammer-bear shows Chiklin and Voshchev the village fists, the horses prepare their own straw, the fists say goodbye to each other before setting off on a raft to the sea.

Along with the failed journey of the hero, Platonov introduces the failed plot of construction into the story - the common proletarian house becomes a grandiose mirage, designed to replace reality. The construction project was initially utopian: its author "carefully worked on the fictitious parts of the general proletarian house." The project of a giant house for its builders was a grave. Keyword"Pit" - liquidation - is the key in the story, it has several synonyms: "elimination"; "destruction"; "death". “... Chiklin grabbed the peasant across and carried him outside, where he threw him into the snow.

Liquidated? he said from the snow. “Look, I’m not here today, and you won’t be tomorrow. So it will turn out that one of your main people will come to socialism! The motive for the destruction of people and nature for the sake of building an "eternal home" is constantly heard in the work. “Having eliminated the kulaks in the distance,” Zhachev did not calm down, it became even more difficult for him, although it is not known why. He watched for a long time “how the raft systematically sailed away along the snowy flowing river, how the evening wind stirred the dark, dead water, pouring among the cooled lands into its distant abyss, and he felt bored, sad in his chest. After all, socialism does not need a layer of sad freaks, and it will soon also be liquidated into a distant silence.

The kulaks looked from the raft in one direction - at Zhachev; “People wanted to forever notice their homeland and the last, happy person on it,” they wanted to see the building of human happiness, the construction of which was paid for with the tears of a child. The very idea of ​​the House is defined by Platonov already on the first pages of the story: “This is how graves are dug, not at home,” says the foreman of the diggers to one of the workers.

The semantic result of the construction of a “future motionless happiness” is the death of a child in the present and the loss of hope for finding the “meaning of life and truth of universal origin”, in search of which Voshchev sets off on the road. Voshchev stood in perplexity over this calmed child; he no longer knew where communism would be in the world now, if it was not there in the first place. childish feeling and in a convinced impression? Why does he now need the meaning of life and the truth of universal origin, if there is no small, faithful person in whom the truth would become joy and movement? “I don’t believe in anything now!” - the logical conclusion of the construction of the century.

The system of characters in the story "The Pit"

Voshchev was the first to appear on the pages of The Pit. The hero's surname immediately attracts the reader's attention: grammatically, this is a typical Russian surname ending in -ev. The phonetic connection of the surname Voshchev with the words “in general” (in the colloquial version - “finally”) and “in vain” is most obvious. Both “meanings” of the hero’s last name are realized in the story: he is looking for the meaning of common existence (“I am not afraid of my life, it is not a mystery to me”) - but his personal search for truth, as well as common efforts to achieve the ideal, remain futile, in vain. The name thus sets the vector of meaning; it kind of guides the reader, but at the same time “absorbs” the meanings of the context, being filled with new shades of meaning.

The meaning of the name in Platonov's poetics is especially important because it is almost the only source of information about the hero. In Platonov's prose there is practically no portrait characteristics, his heroes live in a world devoid of interiors and material details. External ingenuity is reduced to zero, and the place of the portrait is occupied by approximately the following descriptions: Kozlov had a “cloudy monotonous face” and “damp eyes”, Chiklin had a “little stony head”, the pioneer women remained on the faces of the “difficulty of infirmity early life, the paucity of the body and the beauty of expression, ”the peasant who had come running from the village had the eyes of a farmer, yellow color". Chiklin and Prushevsky remember Nastya's mother, whom they once knew, but not by facial features, but by the feeling of a kiss, which is carefully stored in their memory.

The names of the characters in Platonov's prose attract attention with their unusualness and even deliberate artificiality, "made". Zhachev, Chiklin, Voshchev - all these names are built according to the scheme typical for Russian names, but do not have a "direct" lexical meaning. At the same time, Kozlov, Safronov and Medvedev (that was the name of the hammer-bear) have quite familiar and very common surnames, the meaning of which is not perceived as a characteristic of the hero.

Special mention should be made of the fact that not all the characters of the "Pit" are endowed with names. The activist, the priest, the chairman of the village council, the "middling old man", simply "prosperous" are named only by their social status. However, in the context of The Foundation Pit, the absence of a name is no less significant information for characterizing the hero than the literal meaning or origin of the name.

Traditional Russian surnames - Kozlov, Safronov, Medvedev, as it may seem, are inferior in their semantic volume to the surname Voshchev. Only the plot etymology of the name Medvedev is obvious: Medvedev is the bear. An absolutely realistic surname belongs, however, to a character that is not at all traditional for realistic poetics - a hammer-bear with a class instinct.

However, between a proper name (Medvedev) and a common noun (bear) there are several intermediate links: Misha (“Mish” - in an appeal to a bear by a village boy and a blacksmith), Mishka, Mikhail. The “human” diminutive forms in the address to the bear emphasize the everydayness of fantasy - the proletarian hammer-fighter Misha, together with the people, dispossesses prosperous peasants on the General Line collective farm. Human features are especially pronounced in the appeal to the bear Nastya - "Medvedev Mishka". It is in Nastya's perception that the bear finally "turns" into a man: "Only Nastya looked after him and felt sorry for this old, burned man." After the death of Nastya, Mishka again becomes only a bear: "... collective farmers ... carried a rubble stone in their hands, and the bear dragged this stone on foot and opened its mouth from the effort."

In contrast to these surnames, the activist in the village does not have a name at all. An activist is an active nature, he is the initiator and main participant in the dispossession of "prosperous dishonor" in

collective farm named after the General Line. The common noun stuck to the activist so firmly that it began to act as a name. The socio-political function ousted living features in a person, filled him entirely and abolished the need for an individual name.

No less significant in the story is the image of Ivan Semenovich Krestinin. The episode with his participation takes several lines, and the name of the character turns out to be more significant. The “old plowman” Ivan Krestinin is a peasant in general (the connection with the word “peasant” is obvious in the surname), a Russian person (Ivan is a common noun for Russian people), a Christian (the same root words are “baptize”, “baptism”). His fate in the story is a generalized expression tragic fate Russian peasant in the era of collectivization: "The old plowman Ivan Semenovich Krestinin kissed the young trees in his garden and crushed them away from the soil with the roots, and his woman lamented over the bare branches."

The name of Nastya, also in the context of the story is filled deep meaning. From Greek, the name Anastasia is translated as "resurrected" - the idea of ​​​​the future resurrection of the dead permeates all the actions of the heroes of the "Pit". Voshchev collects in his bag "all sorts of objects of misfortune and irresponsibility" in order to return to them in the future that meaning of universal existence, which they were never given to know. “Utilities” for Voshchev are by no means garbage - when he explains to Nastya that the bear will also go into salvage, he means the future spiritualization of dilapidated matter: “I save dust and that, but here is a poor creature!”

However, it is with the death of Nastya - "resurrected" - that completes the story. Nastya really once came back to life - Chiklin finds the girl in the room where her mother is dying; walling up this room, Chiklin turned the room into a crypt for the deceased. The tragic dissonance of Nastya's name and fate is the logical outcome of the "common cause" of the builders of the mirage. The house was not only not built - it became unnecessary, because after the death of Nastya, "the future happy person", there is no one to live in it. “Voshchev stood in perplexity over this calmed child, he no longer knew where communism would now be in the world, if it was not there at first in a childish feeling and a convinced impression?” It is no coincidence that the combination of the names of Voshchev and Nastya at the end of the story: hopes for the resurrection of meaning (truth) and life turned out to be futile, just as hopes for universal happiness in a utopian world are futile.

Nastya is a little girl left an orphan, everyone's favorite. Her mother, the daughter of a tiler, dies at her father's factory, which has long since ceased to function and is dilapidated. Chiklin takes Nastya with him to the barracks. All workers take care of the girl, she becomes their meaning of life, a symbol of a bright, clean and happy future.

The meaning of her name - "resurrected" has in the work great importance. But such a definition conflicts with the fate of the girl. From the very beginning it has been associated with death. Chiklin finds hidden peasant coffins and takes two from there: one - under the girl's bed, the second - for the game.

Zhachev brings Nastya to the village, the girl there catches a cold and dies. Chiklin tries his best to cure her, collects all the warm clothes, wraps up the girl, but in vain, she cannot be saved.

Nastya in the story appears as a symbol of the symbolism under construction and she dies from a lack of kindness and warmth, from an understanding of the cruelty of the world around her. The second reason becomes more significant and comes to the fore, since in the barracks the orphan girl receives a lot of attention from the workers. Before her death, Chiklin and Elisha warm her, these heroes realize the significance of the girl's life and understand that in order for her to live, the world around must be quiet and supportive.

But Nastya died, and faith and hope died with her. This girl became a harbinger of a happy future, and with her death there is no longer even an opportunity to achieve this. The diggers will never see happiness. Voshchev, who manages the collective farm instead of the Activist, is trying to lead people along and develop the pit in order to increase its volume. But Nastya dies, and he loses his strength and ability to live on and work according to the plan.

The life of this girl inspired faith in all the heroes, her death changed the fate of each of them.

Nastya's funeral becomes that terrible event, after which emptiness comes. Dreams and hopes are lost. And, irrevocably. And no matter how hard it is to realize, but you need to accept.

Platonov doubts that it is possible to build socialism. And he does not believe that it is ever possible to achieve happiness for all people without exception. This is an ephemeral future, unattainable, for which the lives of so many innocent people are not worth wasting. The writer demonstrates to us that the life of an individual is also worth a lot, and one cannot cripple it so easily, albeit for the sake of a great goal.

To achieve everything planned, not only labor is necessary, but also conditions, and the writer, unfortunately, did not see them.

The protagonist of the story, Voshchev, embodies the image of a seeker of happiness, traditional for Russian literature. At the beginning of the story, he leaves to roam the world in search of the meaning of life. He wants to know whether he, the only one, and not a faceless mass is needed for the construction of universal happiness. But at the same time, he does not protest against the inhumanity of the idea, he participates in collectivization. His desire to be a person is an involuntary challenge to the communist state, and his cruelty is a reflection of the inhuman atmosphere of the era.

Researchers drew attention to the peculiarities of Voshchev's surname. In this surname of the hero, many different meanings flicker: “wax”, “waxed”, that is, a person sensitive to the influences of life, absorbing everything, obeying the currents. But “Voshchev” is also “in vain”, that is, in vain, in vain (a hint of his longing, the will to search for complex truth). His surname determines his spiritual path - from the hope of finding universal truth to the realization of the insignificance of common efforts in achieving the ideal and personal existence.

Of all the characters, doubts overcome only Voshchev and the engineer Prushevsky. The engineer feels anguish because his existence seems meaningless to him; he lives in memories of his beloved woman and does not find a place for himself in the present. Prushevsky sees the only way to overcome longing in joining the team, in engaging in useful work. So he hopes to get rid of his own problems.

The image of Nastya symbolizes the society of the future in the story. She herself connects her life with communism: “The main one is Lenin, and the second is Budyonny. When they were gone, and only bourgeois lived, I was not born, because I did not want to. And as Lenin became, so I became!

Nastya became the favorite of the builders of the pit. Chiklin and Zhachev reached out to her, she replaced the meaning of life for them, they had a purpose of existence. And when the emptiness in the souls of people is filled with love for the child, the denouement of the story comes. Nastya is dying of a cold. With her death, Platonov emphasizes the meaninglessness of everything that happens, along with the death of the girl, the future of the builders dies.

In the story, some images of workers are outlined with separate strokes. One of them, Zhachev, is a legless cripple, an invalid from the First World War, moving on a cart. He is angry and aggressive. On behalf of Chiklin, Zhachev "liquidates the kulaks into the distance" - he sends them along the river on a raft. Zhachev is absolutely sure that a new society must be built for children. When Nastya dies, Zhachev tells Chiklin that he no longer believes in communism: “... I am a freak of imperialism, and communism is a childish thing, that's why I loved Nastya .... I’m going to say goodbye to Comrade Pashkin and kill him.” Zhachev crawls into the city. He was never seen again in the pit.

An elderly worker, Nikita Chiklin, lives on with memories of failed love. Once he loved the daughter of the owner of the tile factory, where he worked in his youth. Nastya, being the daughter ex-lover Chiklin, causes particular pain in his heart. It is Chiklin who gets the heavy burden of chiselling a grave for the girl in the "eternal stone". There was only one job left in the life of a digger. material from the site

The figures of the official-bureaucrat, the chairman of the regional trade union council Pashkin are barely indicated by Platonov; artisans Safonov and Kozlov, who turned into a trade union activist.

Workers in the story are opposed collective image peasant. They differ from earthworkers in that they are concerned not with the future welfare of the world, but with their own welfare. Peasants are depicted as unhappy people. The most they can count on is their own coffin, made exactly to size.

In the part that is devoted to the organization of the collective farm, the key is the image of the hammer-bear. The bear is a fanatic, he works not for the result, but for the very process of labor. Everything that he made in the village forge is not suitable for the collective farm. The bear is a symbol of fruitless, meaningless labor.

Didn't find what you were looking for? Use the search

On this page, material on the topics:

• andrey platonov pit analysis
• platonic pit images of animals
• system of images in the story Platonic pit
• images of nature in the story of Platonic pit
• pit mandelshtamp summary

Nastya is one of the main characters in Andrey Platonov's story "The Pit". This is an orphan whose mother was the daughter of the owner of a tile and tile factory and, accordingly, a "bourgeois woman", but then died, leaving the girl alone.

The child is taken in by Chiklin, the foreman of the artel of artisans digging a foundation pit. He knew Nastya's mother in his youth. The girl is brought up as a hero in a revolutionary spirit and has a "revolutionary mind".

Nastya actually renounces her past and her “bourgeois” mother and says that she was specially born only when Lenin and Budyonny came to power. The girl is a true child of the revolution, and she symbolizes everything for which the heroes of the story live and work.

In the barracks, Nastya sleeps in a wooden coffin (instead of a bed), and in another similar coffin she keeps her toys. Thus, the very life of the girl is already connected with death.

So Platonov shows the initial failure of revolutionary ideas. That is why, when Nastya dies at the end of the work, the future that the representatives of the proletariat hoped to build dies with her.