The research, based on A. Platonov’s novels «Happy Moscow»,
«Chevengur», «The Foundation Pit», and an early short story «The Thirst of the
Poor», demonstrates the peculiarity of Platonov’s creative treatment of an «alien
» text. Analyzing the character system of the above mentioned works in
comparison with the novel «Demons» and the short story «The Dream of a Ridiculous
Man» the article reveals the trace of Dostoyevsky’s poetics in the images
of «funny» characters created by Platonov. Meanwhile, Platonov’s images
are deeply original while the allusion of the pretext is present just on the level of
motif and certain plot details. This absence of the direct resemblance to the pretext
is the specific feature of intertextuality in Platonov’s works. As a rule,
Platonov diligently conceals the traces of somebody else’s text in the «density»
of his own writing. Because of this, attributing the presence of an «alien» word
in the structure of Platonov’s works often becomes possible only with the help
of micropoetical analysis through hardly perceptible features. Within this approach
the tiniest, even peripheral details turn out to be the key to the intertextual
dialogue and its hidden meanings. For example, «Liza’s plot» by Dostoyevsky
becomes recognizable in «Happy Moscow» just through the most delicate
«pieces of evidence» concealed in Platonov’s absolutely original narrative,
whose outward appearance seems to be related to «Demon» by no means. Besides, the article supposes that the speech poetics of Captain Lebyadkin’s image
influenced the incoherent speech of Platonov\s «funny» characters in «Chevengur
» and «The Foundation Pit». In «Happy Moscow» the parody modality of
not at all funny characters appears at the expense of indirect hints to their
intertextual reference to this «funny» character. In the case of Platonov’s short
story «The Thirst of the Poor» the research of the main character’s image, his
ironical attitude to himself as to «the poor» as well as the analysis of the plot
type gives the reason to see the influence of «The Dream of a Ridiculous Man»
by Dostoyevsky. For Platonov this work became the starting point which
opened the possibility for his artistic reflection on the topical problems of the
revolutionary era. The article concludes that Platonov’s «funny» characters are
right the ones who the writer is in sympathy with nevertheless speaking of them
ironically. Although, there are no characters in Platonov\s works who would not
arouse sympathy to some extent. This writer’s position does not only differ from
Dostoyevsky’s position but is absolutely unique in both Russian and world literature.
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