Yevgeny Zamyatin's prose is usually called new prose, or ornamental prose. Such prose is characterized by features inherent in the new synthetic art. Among them are a departure from realism, a rapidly developing fantastic plot, a thickening of symbolism and colors, highlighting only the general, synthetic feature of each phenomenon, and not a detailed description of it; a concentrated, compressed language, a choice of words with "the maximum coefficient of the resulting action", in the words of E. I. Zamyatin. Repetition and the cross-cutting verbal themes and leitmotivs that arise on its basis compensate for the shortcomings in the development of the plot and are the framework on which the narrative fabric of the work is contained. The constructive element of a new prose work of art is implication, implication as a way of logical plot construction. The artistic prose of Evgeny Zamyatin is represented by certain metaphorical series. They are necessary for the writer to create an artistic image as a game substitute for a real number, this is a metaphor without similarity (Shklovsky V. B. Five people of acquaintances. Tiflis, 1927, p. 49). The image is canonized and passes from one part of the novel to another, like a quote. The technique, largely borrowed from Andrey Bely, becomes the hallmark of Evgeny Zamyatin's style. Metaphorical series are loaded with ideological and aesthetic content. The world of the novel" We " is a world built of numbers and straight lines, cubes and rows, glass houses, uniforms, schedules and coupons. Each person is assigned his own number, he lives according to the plan, where everything is calculated in minutes. Work, walks, a private hour, love on coupons, and a Benefactor-leader and god in one person. The work is constructed on the basis of expanded implied values, impli -- page 20 rolled fields, where one attribute implies another, and the whole work resembles an expanded metaphor. This is a world of "numbers", not personalities, a hug ... Read more