Collections of Odoevsky with fairy tales titles. Vladimir Odoevsky: works by genre, their poetics

V.F. Odoevsky (1804-1869) - famous writer, musician, philosopher and teacher. "In excellence developed person", "a living encyclopedia" - this is how those who knew him spoke of him.

Publisher of the almanac "Mnemosyne" and the magazine "Moskovsky Vestnik", co-editor of Pushkin's "Sovremennik". As an assistant to the director of the public library in St. Petersburg, director of the Rumyantsev Museum (whose book depository became the basis of the Russian State Library - “Leninka”), he contributed to the development of the book business in Russia.

He was a writer, scientist, philosopher, music theorist, and into all these worlds of human thought he brought something of his own, original - magical and real at the same time.

In music, he heard the second language of humanity, which is destined to become equal in meaning to the language of words, understandable to all people, all nations, it will unite and make friends.

Even the word “philosophy” - dry and abstract, he and his friends will find a replacement - philosophy, here, in this sound, love is combined with wisdom.

For a long time, Odoevsky was a member of the Scientific Committee of the Ministry of State Property, was involved in organizing the educational process in various educational institutions- from educational homes, parish rural schools to the Mariinsky Institute of Noble Maidens. He wrote a series teaching aids for students, guides for teachers.

In 1834-1835, he published an unusual manual for educational homes where orphans stayed - “Children's Books for Sunday Children.” Pedagogical instructions for teachers, didactic materials, as well as stories and fairy tales for reading to children were placed here.

Odoevsky was one of the first in Russia to become interested in pedagogy as a science. He conceived a large essay on pedagogy entitled “Science before Science.” During the writer's lifetime, only a small part of it was published.

Odoevsky writes: “There are three ways to influence a child: rational persuasion, moral influence, aesthetic harmonization... for whom persuasion is inaccessible (a most difficult matter), he can be influenced by moral influence; the child will give in to you because you want it, out of love for you; If you haven’t achieved love from your child, try to develop it through aesthetic harmonization - music, paintings, poetry...”

While organizing orphanages and rural schools, V.F. Odoevsky discovered the poverty of literature for children. He writes an article “About children's books. About the reasons for a child’s lack of interest in books...", creates famous fairy tales and stories for children under the pseudonym “Grandfather Iriney”, publishes educational articles in the magazine “Rural Reading”, etc.

And how interesting is his life as a writer! Beloved and revered by his contemporaries, he was then forgotten for a long time, only now his books wake up after a hundred years of sleep, come to life, becoming every year more modern, more and more necessary.

“Children were my best teachers... For a fresh child’s mind, not spoiled by any scholasticism, there is no separate physics, chemistry, or anthropology...”

Odoevsky's works for children were influenced by his pedagogical views. Believing that a child can be “woke” and “unwoke,” he attached great importance to children’s literature that can awaken the mind and heart of a child. “Those who are not awake are more than asleep,” such children are not interested in anything, they do nothing. For example, Hoffmann's fairy tales can awaken them. In general, Odoevsky sees the task of literature in awakening the “unawakened” child’s mind, in promoting the spiritual growth of the child. At the same time, the writer sets the task of developing “graceful” feelings in the child’s soul.

He sought to set the child’s thoughts in motion, relying on children’s love of fiction and fantasy. His books skillfully combine real and fantastic events. Odoevsky's works are characterized by natural and scientific content, fascinating and dramatic storytelling, and conviction in the power of the human mind.

During Odoevsky’s lifetime, his books for children were published 6 times: “A Town in a Snuff Box” (1834, 1847), “Fairy Tales and Stories for the Children of Grandfather Iriney” (1838 and 1840), “Collection of Children’s Songs of Grandfather Iriney” (1847).

In terms of genre, his works are varied: fairy tales, short stories, essays, poems. Odoevsky also wrote several colorful plays for the puppet theater: “The Tsar Maiden”, “The Boy Pharisee”, “Sunday”, “The Carrier, or Cunning versus Cunning”. According to the recollections of friends, Odoevsky took great pleasure in coming up with stories and staging home performances with children. He was a passionate man, inexhaustible in invention and fun. Such people, according to Belinsky, are called “children’s holiday” in Russia. Odoevsky ideally combined the qualities necessary for a children's writer: “talent, a living soul, poetic imagination, knowledge of children.” This predetermined his success.

Having studied Odoevsky’s fairy tales and stories, we can highlight the following aspects of his works:

Informational. Fairy tales and stories (“Two Trees”, “The Worm”, “Town in a Snuff Box”) contain scientific information from various fields of knowledge: chemistry, botany, zoology, physics, mathematics, etc. Consequently, they are a means of mental development and education of children.

Materials for a storyteller, according to the writer, are “everywhere: on the street, in the air.” The material for his first fairy tale (“Town in a Snuffbox”) was a music box, a fairly common household item in the last century and at the same time arousing the curiosity of a child. It is no coincidence that the author-musician himself was interested in it, who, by the way, created musical instrument called "Se6astyanon".

Little Misha is enchanted appearance snuffboxes, on the lid of which are depicted a gate, a turret, golden houses, golden trees with silver leaves, a sun with diverging rays. But what occupies the boy more is the internal structure of the wonderful toy - the origin of music. The natural desire of an inquisitive boy to enter a toy town and see everything for himself is fulfilled in a dream. Accompanied by a companion, “a bell with a golden head and a steel skirt,” the author introduces young readers to the winding mechanism of a musical toy. The inquisitive stranger sees a lot of bell boys, they are constantly being tapped by the evil guys-hammers, who are supervised by a thick roller, turning from side to side on the sofa. And everyone is commanded by the graceful princess spring “in a golden tent with a pearl 6 chrome.” It is she who explains to Misha the coordinated operation of the musical mechanism. With surprise, Misha discovers the similarity of the principles of the music box with the laws of social structure: everything is interconnected and a violation in one link disables the entire system, disrupting the wonderful harmony. As soon as Misha pressed the spring, everything fell silent, the roller stopped, the hammers hit, the bells curled to the side, the sun hung down, the houses broke...” The town in the ta6akerka turns out to be a kind of micromodel of the world.

Traveling through the fairy-tale town, Misha, and therefore the little reader, simultaneously discovers the laws of perspective in painting and the musical theory of counterpoint. And all this fits simply and naturally into the narrative.

The fairy tale also carries an educational charge. There is a latent thought that everything in the world is driven by labor; idleness seems attractive only from the outside. At the same time, morality is unobtrusive; it follows from action.

In “Town in a Snuff Box,” Odoevsky fully demonstrated the art of speaking with children about complex things in a language that is understandable, simple and convincing.

Odoevsky used similar artistic techniques in the fairy tale "Worm" , turning this time to the field of natural science. The fairy tale, in an entertaining, poetic form, introduces readers to the transformation of a worm larva into a pupa, then into a butterfly. About this fairy tale A. A. Kraevsky wrote the following: “Isn’t a mysterious idea, a deep allegory, dressed in the simplest, most charming, most understandable expression for children, evident in this whole story of the worm’s life? Here... is an example of how to make the most abstract, even metaphysical, truths accessible to children's understanding. A child, after reading this story, may not only want to study natural history, but will also take into his soul a great, fruitful thought that will never be forgotten, will give rise to many other sublime thoughts and will lay the foundation for moral improvement.”

Cultural. With the help of Odoevsky's fairy tales ("Moroz Ivanovich", "Silver Ruble", etc.), the child gets acquainted with the elements of folk life, traditions, and holidays. The basis of personal culture is being formed.

The most popular fairy tale is “Moroz Ivanovich”. Its plot echoes the folk tale “Morozko” and includes traditional fairy-tale motifs (an oven with pies, an apple tree with golden apples). When creating his work, Odoevsky supplemented it with details of everyday life, a description of the decoration of Moroz Ivanovich’s home, and described in detail the characters of the main characters - the girls Needlewoman and Lenivitsa. B literary fairy tale they are sisters, they live with a nanny, so the motive of unfair persecution on the part of the stepmother is absent, the moral side of the relationship is emphasized.

Odoevsky's tale is built on the opposition of labor
share and laziness, which is emphasized by the epigraph: “It’s free for us,
without labor, nothing is given - it’s not without reason that the proverb has been used since ancient times.”

The needlewoman, both in her home and when visiting Moroz Ivanovich, is hardworking, diligent, and kind-hearted, for which she was rewarded. The sloth, who only knew how to count flies, could neither fluff the snow feather bed, nor make food, nor mend her dress.

The writer softens the ending of the tale. Lenivitsa receives gifts from Moroz Ivanovich that melt before our eyes. As is the work, so is the reward. And the afterword is addressed to the reader: “And you, children, think, guess what is true here, what is not true; what is said really, what is said sideways; some as a joke, some as an instruction.”

A wise storyteller does not miss the opportunity, as the tale progresses, to tell children about how winter gives way to summer, how winter crops grow, why the water in a well is cold in summer, how to filter water using sand and coal so that it becomes “clean, like crystal,” to give a lot other useful information.

Personal. Odoevsky’s works (“Silver Ruble,” “Orphan,” “Poor Gnedko”) help a child think about the motives of his actions and understand his inner world.

The most modern sounding story is “Poor Gnedko” - about the fate of a cab driver’s horse, driven by its owner.

... Once upon a time, Gnedko was a cheerful foal, he lived in the village, his children Vanyusha and Dasha were friends with him. Then he was sold to the city. And so poor Gnedko lies on the pavement, “he cannot move, he has buried his head in the snow, he is breathing heavily and moving his eyes.” The author’s direct appeal sounds relevant: “My friends... It is a sin to torture animals... Whoever tortures animals is a bad person. He who tortures a horse or a dog is capable of torturing a person..."

Social.“The Indian Tale of the Four Deaf People,” “The Organ Grinder,” and “The Joiner” teach children the ability to build and regulate their relationships with peers and adults, which contributes to the sociologization of children.

Witty Indian fairy tale“About Four Deaf People” is interesting and meaningful. Four deaf people (a village shepherd, a watchman, a horseman and a Brahmin), forced to communicate, cannot hear each other. Each person interprets the behavior of the others in his own way, which results in a lot of absurdity and absurdity. The fairy tale warns against moral deafness. The writer addresses the readers: “Do a little, friends, don’t be deaf. We are given ears to listen. One clever man noticed that we have two ears and one tongue and that, therefore, we need to listen more than speak.”

The fairy tale “The Joiner” tells the story of the life of the famous French architect Andrei Roubaud, who went from poverty to national recognition, a path that could only have been possible for a boy who had amazing tenacity, magical curiosity, and extraordinary hard work.

Thus, we can talk about vital importance Odoevsky’s works in introducing young readers to universal human values ​​that are relevant for any era.

V.F. Odoevsky (1803-1869) was one of the leaders of the thoughts of his time. Philosopher, storyteller, author of mystical tales and short stories, talented musician. We especially emphasize that Odoevsky is the founder of rural primary school in Russia. Odoevsky entered children's literature as the creator of the magnificent “Tales of Grandfather Iriney” (Grandfather Iriney is the writer’s “children’s” pseudonym), which earned wide popularity among young readers. Odoevsky's contribution to children's literature is significant. His works for children, which comprise two collections: "Children's Tales of Grandfather Irenaeus" (1840) and "Children's songs of Grandfather Irenaeus" (1847) - Belinsky highly appreciated. The critic wrote that such a teacher as Russian children have in the person of Grandfather Irenaeus could be the envy of children of all nations. Odoevsky dealt very seriously with issues of raising children. He sought to create his own theory here, based on a “pedagogical idea” with a humanistic tendency. The writer outlined his thoughts on this matter in the great work “Science Before Sciences,” which he created long years. Following Belinsky, the writer called for the development of a moral person as a result of raising a child, and what children are taught should have a connection with real life. In 1833 it was published "Motley fairy tales with a red word." In them, the narrator Irinei Modestovich Gomozeyka (with this pseudonym Odoevsky signed this work) presented readers with one or another moral teaching in an allegorical form. The figure of the Gomoseyka is complex and multifaceted. On the one hand, he calls for a romantic vision of the world and constantly talks about human virtues, about understanding the root causes of the world - in a word, about lofty matters. And at the same time he reproaches his contemporaries for their lack of imagination. Standing apart in “Motley Tales” is “Igosha”, perhaps the most poetic and most fantastic work in the book. This is connected with the figure of the hero-boy - the story is told on his behalf. He made friends with a mysterious creature, a brownie, which, according to popular belief, every unbaptized baby becomes. Probably, such a plan was associated with Odoevsky’s conviction that the world of children’s fantastic ideas and folk beliefs contain special poetic wisdom and hidden knowledge that a person has not yet consciously mastered. Odoevsky's appeal to children's literature is closely connected with his penchant for enlightenment, but he also had a natural talent as a children's writer. Already in the early 30s, his stories and fairy tales appeared in the Children's Library magazine. In 1833, Odoevsky undertook the publication of the almanac “Children’s Book for Sunday Days,” where his thoughts on education are heard: he places here not only works of art, but also a large educational section, which includes popular science articles and descriptions of various experiments, crafts, and games. "Town in a snuffbox" (1834) - the first perfect example of an artistic and educational fairy tale for children. In it, scientific material (essentially teaching mechanics, optics and other sciences) was presented in such an entertaining and close to child psychology form that it caused an enthusiastic response from the critics of the time. Belinsky said: the plot “is so cleverly adapted to children’s imagination, the story is so fascinating, and the language is so correct... children will understand the life of a machine as some kind of living individual person.” It all starts with the boy Misha receiving a musical box as a gift from his father. The boy is amazed by its beauty: on the lid of the box there are turrets, houses, the windows of which shine when the sun rises and cheerful music is heard. Children always rejoice when they perceive beauty; it gives them lively enthusiasm and a desire to create. Aesthetic experience causes active imagination, encouraging creativity. Misha, having fallen asleep, creates a whole world in his sleep - all from objects familiar to him, but in purely fantastic combinations. The roller, wheels, hammers, bells that make up the mechanism of the music box turn out to be residents of a small beautiful town. The roles of the characters and their actions depend on the impression they made on the boy. The roller is thick, in a robe; he is lying on the sofa; This is the boss-overseer, the commander of the hammer men. Those, having received the command, beat the poor bell boys with a golden head and steel skirts. But there is also power over the roller: it is a princess-spring. She, like a snake, curls up and then unfurls - “and constantly pushes the warden in the side.” The awakened Misha already understands how the music box works, and he really perceives the machine “as some kind of living individual person.”

Learning from concrete experience, the connection of learning with reality is one of Odoevsky’s pedagogical principles, and it is embodied in this work. Even in fantasy world With vivid details, the author guides Misha through a dream - a very real state of a child. He used the same principle as the basis for many other fairy tales and stories, skillfully combining real events with fantasy 1. Fairy tale "Worm" (1838) draws the child's attention to the wonderful diversity of the natural world and the continuity of the life cycle; In an accessible story for children about the life and death of a little worm, the writer touches on a deep philosophical topic. A very real hero is the French architect Roubaud in the story "Carpenter" (1838) - reaches the heights of mastery; this is how the author strives to evoke in the young reader “a noble thirst for knowledge, an irresistible desire to learn.” And in the story "Poor Gnedko" (1838) another educational task is to awaken a love for animals in the child’s heart; enclosing a humane thought within the framework of a story about the fate of an exhausted horse, which was once a cheerful foal, the writer directly addresses the children: “Whoever tortures a horse or a dog is able to torture a person.” The work of V.F. Odoevsky is still highly valued by both adults and children. Creativity is diverse, deeply philosophical and moral.

Fairy Tale Pogorelsky "Black Chicken, or Underground inhabitants"(features of the genre, originality of fiction, psychologism, role of the author-narrator)

The epithet “first” is often combined with the name of Anthony Pogorelsky. He is the author of the first fantasy story in Russian literature, one of the first “family” novels, and the first fairy tale for children, “The Black Hen, or the Underground Inhabitants.” The fairy tale was published in 1828 and brought the author long-lasting fame as an outstanding children's writer, although it was his only creation for young readers. Last years Perovsky spent his life on his small Little Russian estate Pogoreltsy (hence his pseudonym), devoting himself to literary activity and raising his nephew Alyosha - later the famous writer A.K. Tolstoy. He was told the story of the Black Hen, which formed the basis of the fairy tale. Obviously, precisely because at first it was a living story for a small listener, the verbal fabric of the story is so light, the intonations in it are so soft, the thoughts are clear and the descriptions are detailed. Apparently, the author tried to convey to the boy the impressions of his own childhood, his memories of the St. Petersburg boarding school, from which he fled, injuring his leg, which is why he limped all his life. In “The Black Hen...” there are also traces of German romantic literature, in particular legends about gnomes. But the main thing in the story remains attention to the formation of the child’s character, to psychological characteristics childhood, the child’s gradual familiarization with the perception of facts and reasoning on abstract topics. Here Pogorelsky showed himself as a writer of a realistic direction. The hero of the story, the boy Alyosha, is a psychologically convincing, living image of a child. The experiences of a little man living in a boarding school, missing his parents, his fantasies, relationships with teachers, love for animals - all this is reflected in the story, recreated with the talent of a truly children's writer, whose skill was also manifested in the organic merging of the fantastic and the real. The description of Alyosha's life in the boarding school does not sin at all against the laws of the real world. The days of study passed “quickly and pleasantly” for him. But when Saturday came and all his comrades hurried home to their relatives, then the boy, remaining in the empty rooms, began to bitterly feel his loneliness. After all, any child who is fond of reading and endowed with a rich imagination, remaining alone for a long time, begins to dream, imagine himself as a character in various stories drawn from books, and fantasize. And Alyosha’s “young imagination wandered through knightly castles, through terrible ruins or through dark dense forests" Pogorelsky was one of the first in Russian literature to subordinate the pedagogical task to artistic fiction. Using Alyosha as an example, he convincingly showed what is good and what is bad. It’s bad to be lazy, to be arrogant in front of your comrades, to be frivolous and talkative (after all, because of this, in underground kingdom and an accident happened). AND good features are also clearly defined in Alyosha’s actions. The author also shows the self-worth of childhood, the richness of the child’s mental world, his independence in determining good and evil, the direction creativity. Since the publication of “The Black Hen...”, one of the leading ideas in Russian literature has become the main idea Pogorelsky: a child easily moves from the world of dreams and naive fantasies into the world complex feelings and responsibility for one’s deeds and actions. After this story, the possibility of the existence of two narrative plans: children's and adult's became established in children's literature. In Pogorelsky, this is manifested in the manner of the story, very close to the live conversation between the teacher and the child. The narrator's speech is reasonable, sympathetic, with shades of gentle humor and sentimentality, appropriate for an adult's memories of his childhood. The world of an adult is revealed in his reasoning with philosophical and psychological overtones, in historical digressions (for example, in a story about what St. Petersburg used to be) and, finally, in an effort to convey to the listener-reader the flavor of a bygone era: “Alyosha was called upstairs, They put on him a shirt with a round collar and cambric cuffs with small folds, white trousers and a wide blue silk sash,” Pogorelsky describes children’s clothing of the 18th century. - His long brown hair, hanging almost to his waist, was moved forward on both sides of his chest - this is how children were dressed up then - then they were taught how he should shuffle his foot when the director enters the office, and what he should answer if they do Any questions for him." Another important merit of Pogorelsky: with his story “The Black Hen, or Underground Inhabitants,” he actually began the formation of the language of Russian children's prose. His work is written in the same language that was constantly heard in cultured families of that time - without bookish and outdated words that are difficult for children. In the last phrase there is clearly an imitation of a child’s story, and there are many such phrases in the story: the writer deliberately turns to childish intonation. Artistic merits and the pedagogical orientation of Pogorelsky’s story made it an outstanding work literature of the 19th century century. It reveals the history of Russian children's fiction, the history of autobiographical prose about childhood.

Romantic tales Zhukovsky. Zhukovsky's fairy tale "Ivan Tsarevich and Gray wolf"and the Russian folk tale of the same name.

In addition to the beautiful and terrible, Zhukovsky also cared about the funny - good humor, gentle irony, and completely did not notice what is boring, ordinary, unaesthetic in life. But above all pathos was “a good feeling” for him. In the world of Zhukovsky's ballads and fairy tales there is always a mystery - beautiful or terrible; The soul of the hero (and the reader) is captured by this secret, experiencing feelings hitherto unfamiliar to it. Ballads almost always end tragically - in contrast to fairy tales, which require the hero's victory over the forces of evil. The poet believed that a fairy tale “should be a purely fairy tale, without any other purpose than a pleasant, immaculate exercise in fantasy.” He freely altered the plots, introduced into them elements of the romantic style - motifs of the knightly Middle Ages, Russian antiquity, folk beliefs and customs, but always ennobling them in accordance with the concepts of salon and court etiquette.

The reading circle for younger children included “The Three Belts” - the only fairy tale in prose (1808), “Puss in Boots” (1845, a poetic translation of the fairy tale by Charles Perrault), “The Sleeping Princess”, based on the Brothers Grimm fairy tale “The Briar Princess” " and Perrault "The Sleeping Beauty in the Forest", "The Tale of Ivan Tsarevich and the Gray Wolf" (1845). Having read both works, we draw our attention to the fact that Zhukovsky took the plot of a Russian folk tale. Therefore, in both works we see common heroes: this is Ivan Tsarevich, and the Gray Wolf, and Elena the Beautiful. The commonality lies in the development of the plot. The tales begin with the fact that the kings (in one case it is Tsar Berendey, in the other Tsar Demyan Danilovich) begin to steal golden apples. The culprit turns out to be the firebird. It was the youngest son of the kings, Ivan, who was able to discover the apple thief. Next we see a discrepancy in the texts. If in the Russian folk tale Berendey called his three sons and sent them in search of the firebird, then in Zhukovsky’s fairy tale the youngest son Ivan had to stay with his father: “You’re still young, wait; yours

The time will come; now you got me

Do not leave; I'm old, I won't last long

To live in the world; what if I'm alone

If I die, then to whom I will leave my people and kingdom...” Here we see author's attitude to what is happening, you will agree that it is the duty of children to care for their parents in old age. The prince turned out to be stubborn, but he did not leave without permission. Asked for parental blessing. Stubbornness also manifests itself in those moments when he does not follow the advice of the wolf (he should have left the cage of the firebird, the bridle of the golden-maned horse), and this is also the same moment in fairy tales.

The meeting with the Gray Wolf occurs in different ways: “How much time has passed, Ivan Tsarevich woke up, he sees that the horse is gone. I went to look for him, walked and walked and found my horse - only gnawed bones.

Ivan Tsarevich became sad: where to go so far without a horse?

“Well,” he thinks, “he’s taken it - there’s nothing to do.”

And he went on foot.

He walked and walked, tired to death.

He sat down on the soft grass and sat sadly.

Out of nowhere, a gray wolf runs towards him:

Why, Ivan Tsarevich, are you sitting there looking sad and hanging your head? 

-

How can I not be sad, gray wolf? I was left without a good horse. 

-

It was I, Ivan Tsarevich, who ate your horse... I feel sorry for you! Tell me why you went into the distance, where are you going?” (Russian folktale)

"Ivan Tsarevich,

Hanging his head, he walked quietly

On foot; but he did not walk long; in front of him

The Gray Wolf still appeared

“I’m sorry, Ivan Tsarevich, my dear,

What is your good horse?

It stuck, but you yourself, of course, saw it,

What is written on the pillar; that

This is how it should be; however you

Forget your sadness for me too

Sit down; I trust you faithfully

I will serve from now on. Well, tell me

Where are you going now and why?” (Zhukovsky's fairy tale).

But in both tales, the wolf offers his help.

The plot of the Russian folk tale is repeated in those moments when the Gray Wolf helps Ivan the prince get the golden-maned horse, the firebird and Helen the Beautiful, helped him return home, and also brings him back to life after his brothers kill Ivan out of envy. Further into his story V.A. Zhukovsky includes plots from other fairy tales.

1. The image of Koshchei the Immortal, whose death, as it should be, is in the egg, the egg in the duck, the duck in the hare. A pike retrieves an egg from the bottom of the sea. Here we draw an analogy with the fairy tale about the frog princess.

2. The image of Baba Yaga, who was supposed to feed, drink and put him to sleep, and then help Ivan Tsarevich. Baba Yaga is found in many Russian folk tales: “Morozko”, “Mar Morevna”, etc.

3. We see the image of Leshy in the fairy tales “Morozko” and “Vasilisa the Wise”.

4. The heroic horse is found in the fairy tale “Vasilisa the Wise”.

5. Magical objects, such as a self-assembled tablecloth, a bludgeon brawler, a self-assembled gusli, a self-assembled tablecloth are found in such fairy tales as “The Samogudy Gusli”, “The King’s Son and His Uncle”, “The Enchanted Princess”. 6. We meet a snake with six heads in the fairy tale about Ivan, the peasant son. fairy tale and the exact expression of its features.

Pushkin acted not only as an unsurpassed master of interpretation folklore works, but also as one of their first collectors and theorists. Pushkin approached folk poetry both as a poet, and as a scholar-researcher, and as a critic; he clearly imagined historical meaning folk poetry, its role in the creation of national literature. For Pushkin, the problem of nationality was at the center of his thoughts; he dwelled on this issue several times and on various occasions. This is the famous note “On Nationality in Literature” (1825), in which the poet speaks out against “pseudo-nationality” and emphasizes that nationality is manifested not in the external signs of everyday life, not in the use of Russian expressions, but in the psychology of the people. Nationality, in his opinion, is determined not by themes, not by plots, but by ideological content; a national writer should not limit himself to narrow national subjects, but should rely on the broad experience of world culture. He confirmed this idea with examples from world literature, pointing out that Shakespeare and Calderon “every minute” transported their readers “to all parts of the world,” while at the same time preserving “the virtues of a great nation” in their works. In Pushkin’s understanding, nationality “is a way of thinking and feeling, there is a darkness of customs, beliefs and habits that belong exclusively to some people.”

Pushkin's collecting activity was extremely intense. By the mid-1930s he had amassed a small but quite varied collection of recordings. He recorded a song about Arakcheev (“You, Rakcheev, sir, have ruined all of Russia”), as well as folk ballads, soldiers’ and family songs, mainly wedding ones. Pushkin planned to publish a collection folk songs, but his plan was not destined to come true; He handed over his entire collection of songs to P.V. Kireevsky.

Pushkin is especially interested in Cossack songs; in Mikhailovskoye, the poet records songs about Stepan Razin. In 1833 he traveled to the Orenburg province to study Pugachev uprising, where he also recorded several songs about Pugachev.

In 1836, Pushkin, at the request of the French writer Levi-Weimar, made a number of translations of Russian folk songs into French. In total, he translated eleven songs, seven of them “robber” songs, including two songs about Razin and the song “Don’t make noise, mother green oak forest,” which in “The Captain’s Daughter” he calls “Pugachev’s favorite song.”

Pushkin valued the language of folk art very highly. The simplicity of the language of the folk tale, the accuracy and expressiveness of the structure of the phrase in proverbs was noted by him as the perfect form of poetic speech: “What kind of gold are Russian proverbs, but they are not given into the hands, no!” Pushkin's collecting activity is explained not only by the desire to preserve a song or fairy tale, but by the desire to master living folk speech. Researchers note that, although Pushkin did not write special studies in this area, he played a big role in establishing the significance of folklore for the life of the people. Folklore for Pushkin was the self-expression of the people and a form of national self-awareness. The poet did not have a blind idealization of folk art; he noted in it the features of conservatism and the manifestation of all kinds of prejudices.

Pushkin uses in his artistic creativity folklore motives and images, for example, the poem “The Robber Brothers” is built on the motives and material of “robber” songs. The poem “Prisoner” is also inspired by the motives of these songs and reproduces their themes and images. Folk tales captivated and enchanted Pushkin with their artistic charm, their figurative language, rich fantasy, and realistic spirit; in fairy tales the poet saw a kind of synthesis of all the elements of folklore. When creating his fairy tales, Pushkin uses different sources: these are plots from Russian folk tales, these are plots from popular literature, these are plots taken from world folklore (“The Tale of the Golden Cockerel”). Folklore images in Pushkin's fairy tales they are either taken from folklore, or reinterpreted by the poet, or invented by him himself. Pushkin's statements on folklore issues, his plans for collecting work and understanding of the tasks of study were not only facts of his personal biography, but had an undoubted influence on the further development of the science of Russian literature.

In the 30-40s, folklore collections continued to be published: “Russian Folk Tales” by I.P. Sakharov; "Russians folk songs» P.V.Kireevsky; “Russian Proverbs” by I.M. Snegirev and others. During these years, the science of folklore was finally taking shape in Russia; two opposing camps were clearly outlined in it. In a certain sense, the Slavophiles (Kireevsky brothers, K.S. Aksakov, A.S. Khomyakov, etc.) and supporters of the theory of “official nationality” (I.M. Snegirev, I.P. Sakharov, A. V. Tereshchenko). Slavophile folkloristics is characterized by the idealization of ancient Russian life with all its conservative sides, the assertion that Russian traditional folklore is fundamentally religious. That is why P.V. Kireevsky published only spiritual poems from his song collection, which, in his opinion, was the most valuable. Supporters of the “official nationality”, through a tendentious selection of folklore material, sought to prove that the Russian people are characterized by such qualities as love of kings, religiosity and obedience. Another camp in the Russian science of folklore in the 30-40s of the 19th century was represented by the emerging revolutionary-democratic folklore studies.

Pushkin's fairy tales with a folk poetic style basis. Issues. The role of fiction. Plot and compositional features. Peculiar developments of characters in comparison with folk ones. The role of the author's voice. Originality of descriptions. Rhythmic originality.

Fairy tales with a folk poetic style basis: “The Tale of the Bear”, “The Tale of the Priest and his worker Balda” and “The Tale of the Fisherman and the Fish”.

Pushkin was interested, first of all, in folklore itself, striving to understand not only the individual features of its poetics, but to grasp its poetic integrity. Folklore for Pushkin was not a means, but a goal. Studying art form, the poet wanted to understand its semantic content, to get to its original, ancient mythological content, often “cleaned” the folklore texts themselves from the layers of time, reconstructed them. In his fairy tales, he tried, first of all, to preserve the people's view of things. This resulted in careful handling of folklore sources of fairy tales. But the poet did not limit his task to this. He needed a fairy tale to express his own thoughts about society and man, but in such a way that they would organically “grow” through the folk meaning of fairy tales, complement, develop and deepen it. Pushkin took on board the natural wisdom of the people and with his thought elevated it to the rank of deep dialectical philosophical view on man's earthly existence. Thus, the people’s point of view, guessed and carefully preserved by Pushkin, constitutes the first semantic “floor” of the text, and the author’s point of view is its second, highest “floor” Fairy tale by A.S. Pushkin's "The Tale of the Fisherman and the Fish" is one of Pushkin's most complex and mysterious texts. At the fairy tale mythological origins. This tale is the most epic of all, the most monumental and in its appearance very close to folklore. This is a story-parable in verse, created according to the laws of the magic genre, it is a fairy tale built on the basis of an everyday tale (an everyday description from the life of ordinary peasants). The fairy tale begins with the initial situation, where family members are listed: “An old man lived with his old woman / By the very blue sea / The old man was catching fish with a net, / The old woman was spinning her yarn.”

In Boldin, Pushkin According to the classification of V.Ya. Proppa, discussed above, is Pushkin's gold fish belongs to a special variety fairy-tale heroes- “magical helpers” who fulfill the wishes of the heroes. In the fairy tale "Sivko-Burko" the hero who manages to take a horse into his service receives a reward. In the fairy tale “About the Fisherman and the Fish” this does not happen; everything returns to the beginning. If we compare it with a folk tale, then its beginning corresponds to a plot from folklore: luck smiled on the poor man, some magic, a fairy-tale action happened. The hero gets a magical remedy at his disposal. And the old man acts in the spirit of positive fairy-tale characters: “He released the gold fish / And said a kind word to her...”.

The capture and sparing of the animal is brought to the beginning in this tale. The plot begins. However, from this moment on, the plot role of the old man changes and becomes secondary. Now he is just a link between the grateful fish and the greedy old woman. The position of a fairy-tale hero, as is known, is determined by his function. Serving the evil and greedy heroine changes his position in the fairy tale. The motive of a grateful animal is replaced by the motive of punishment for unjustified, excessive desires, which is more typical of a parable or fable than a fairy tale. By taking the side of the negative heroine, the old man loses his self-worth; his role in the fairy tale does not coincide with the originally assigned one. And although the old woman’s desires are assessed in the mouth of the old man (she’s gone crazy, she’s a grumpy woman, she’s a damned woman), he nevertheless does not try to resist her will. The hero himself does nothing, the magical assistant (fish) does everything. He begins to serve the evil and greedy heroine, who always lacks something, and this changes his position. By taking the side of the negative heroine, the old man loses his self-worth, he becomes only an executor of someone else's will.

According to Propp’s already indicated classification, he can now be called a “suffering hero,” a mediator. The old woman can be classified as a false hero who strives for publicity, power, and wealth. The old woman with an order sends the old man to the fish, accompanying her words with threats: “You fool, you simpleton!” The old woman scolds even more loudly / She scolds her husband in the world / She hit her husband on the cheek / “If you don’t go, they’ll lead you willy-nilly.”

Why doesn't the old man contradict the old woman? After all, he calls her “grumpy woman”, “more old old woman went crazy," "damned woman." The distance between the old man and the old woman increases, although not immediately. While the old woman asks for a new trough, we see an everyday scene. But then the old man seems to forget that this is his wife. Class relations take precedence over family, human ones. He is afraid of his wife, and not of the noble noblewoman. Why did Rybka stop fulfilling the old woman’s wishes? After all, in the fairy tale “Sivka-Burka”, Pushkin’s desires are not limited. Only she is punished for greed.

There is a very important detail in the fairy tale: the old woman was left with nothing after she forced the old man to tell the fish that she wanted to be the mistress of the sea, and the goldfish itself should serve her on errands. This is not just the reaction of a fish - it is the response of a goddess, whose place the old woman wanted to take, moreover, turning the goddess into her servant.

Having become the “mistress of the sea,” the old woman encroaches on the freedom of the fish. This tale is about oppression. Pushkin’s contemporaries also said that this was one of the first manifestos in Russia against the new cruel system. Pushkin, before others, saw the trouble that was approaching Russia along with the terrible tread of the “Iron Age” - this is emerging capitalism, exorbitant greed.

Unlike other fairy tales, the structure of which is elegant and delicate, the movement here is generalized. Every trip of the old man to the sea is not just a “function” - it is an act in which a huge misfortune, a general drama, is visible. The composition of the fairy tale is a vicious circle:

"Have mercy, lady fish..."

"...The old man returned to the old woman..."

"Get back, you fool, you're going to the fish..."

"...The old man went to blue sea…"

“Have mercy, lady fish,” etc. .

A circle from which there seems to be no way out. The whole fairy tale is based on the energy of repetition - one of the most common artistic techniques of Russian folk art. The principle of repetition merges in Pushkin with the traditional method of accretion in folk art. On earth - from the trough to the royal rank. At sea - from blue vastness to black storm. The sea is becoming more and more restless, but the goldfish itself, greeting the old man with unfailing cordiality, reassures:

“Don’t be sad, go with God. / So be it: you’ll have a hut.”

“Don’t be sad, go with God! / Good! The old woman will be a queen!” .

There is another character in this tale - the sea. The sea acts as a full-fledged hero of the fairy tale. It responds most directly to all fairy-tale events. We can see how it changes throughout the text. When the old man went to ask for a new trough, he noticed that the sea was “slightly rough.” The second time I went to ask for a hut - “the blue sea became clouded,” but it did not change its beauty, it remained blue. The sea greeted the old man with turbulence for the third time. When the old man went to ask for royal dignity for the old woman, “the blue sea turned black.” The last time the old man saw a black storm at sea:

“And so the angry waves swelled, / So they walk, and so howl and howl.”

The calm blue sea has turned into a formidable element from which no one will be spared. And the higher the old woman rises, the more menacing the sea, and the more inevitable the restoration of justice. The false hero is punished. This fairy tale does not have the usual happy ending, as in the folk tale "Sivko-Burko", which ends with victory and joy: "They celebrated the princess's wedding with Ivanushka and made a feast for the whole world."

In the finale, Pushkin returns everything to normal:

“Look: again there is a dugout in front of him; / His old woman is sitting on the threshold, / And in front of her is a broken trough.”

This tale is a unique, purely Pushkin version of a tale widespread in poetry. different nations tales of an old woman punished for her desire for wealth and power. In Russian fairy tales based on this plot, an old man and an old woman live in the forest, and the old woman’s wishes are fulfilled either by a wonderful tree, or a bird, or a saint, etc. Pushkin used the corresponding German fairy tale, where the action takes place on the seashore, the old man is a fisherman, and the role of the fulfiller of all desires is the flounder fish. Pushkin replaced this unpoetic image with a goldfish, a folk symbol of wealth, abundance, and good luck.

Another change made by Pushkin to the plot gives the tale a completely new ideological meaning. In all folk versions, the idea of ​​a fairy tale is reactionary. It reflects the downtroddenness and humility of the people. The tale condemns the desire to rise above one's wretched condition. The old woman wants to get a dugout instead new house, then become a lady from a peasant woman (and the old man becomes a master), then a queen (and the old man becomes a king) and, finally, God himself. For this, they are both punished: in some versions they are turned into bears (or pigs), in others they are returned to their former poverty. The meaning of the fairy tale in its folk versions is “every cricket know its nest.”

IN Pushkin's fairy tale the fate of the old man is separated from the fate of the old woman; he remains a simple peasant fisherman, and the higher the old woman climbs the “social ladder,” the heavier the oppression experienced by the old man becomes. Pushkin’s old woman is punished not because she wants to live as a lady or queen, but because, having become a lady, she beats and “drags” her servants by the chuprun, and sends her peasant husband to serve in the stable; Having become a queen, she is surrounded by formidable guards, who almost chopped up her old man with axes; she wants to be the mistress of the sea so that the goldfish will serve her and be on her errands.

Having examined the features of Pushkin’s poetic fairy tales and the originality of “Tales of the Fisherman and the Fish,” we can draw the following conclusions:

The most important feature of Pushkin’s fairy tales, which distinguishes them from the fairy tales of the first third of the 19th century: they are united in a cycle, permeated with diverse internal relationships, each subsequent text complements the previous one with the formulation and solution of problems. And although each individual fairy tale has its own complete plot, it nevertheless represents only a part of the universal poetic whole and therefore becomes finally understandable precisely in the context of the entire cycle. Pushkin is the only writer of the first third of the 19th century who managed to create a coherent, internally logical cycle of literary fairy tales.

Pushkin's fairy tales are interesting, first of all, because they reveal not only individual features of folklore poetics, but its entire poetic integrity. Folklore for Pushkin is not a means, but a goal. In his fairy tales, he tried, first of all, to preserve the people's view of things and only then express his own thoughts, own view for life.

All Pushkin's fairy tales are built on the basis of two stable, repeating, archetypal situations. Depending on this, the texts can be divided into three groups: the tales of Balda and the Fisherman and the Fish are based on the situation of a person using another creature (human) for selfish purposes, exploiting his physical and spiritual powers, characteristic of everyday fairy tales; the tales of Tsar Saltan and the dead princess are based on the situation of exile true hero, his search and return, which is typical for fairy tales.

. “The Tale of the Fisherman and the Fish” is a unique, purely Pushkinian version of the tale about an old woman punished for her desire for wealth and power, widespread in the poetry of different nations. This tale, adapted from a German folk tale by Br. Grimm, refers to a special type of fairy tales, with the participation of fairy-tale heroes - “magical helpers”. If we compare it with a folk tale, then its beginning corresponds to a plot from folklore: luck smiled on the poor man, some magic, a fairy-tale action happened. The hero gets a magical remedy at his disposal. And the old man acts in the spirit of positive fairy-tale heroes. However, in Pushkin's fairy tale, the fate of the old man is separated from the fate of the old woman; he remains a simple peasant fisherman, and the higher the old woman climbs the “social ladder,” the heavier the oppression experienced by the old man becomes. Pushkin’s old woman is punished not because she wants to live as a lady or queen, but because, having become a lady, she beats and “drags” her servants by the chuprun, and sends her peasant husband to serve in the stable; Having become a queen, she is surrounded by formidable guards, who almost chopped up her old man with axes; she wants to be the mistress of the sea so that the goldfish will serve her and be on her errands. This gives Pushkin's fairy tale a deep progressive meaning.

Next to my room there was another one in which no one lived. In this last one there was a box with soil prepared for flowers on the window. The ground was covered with fragments of plaster that had fallen from the top of the wall. The window was at midday and well protected from the wind; at some distance there was a barn; in a word, this place provided all possible conveniences for ants.

Indeed, when I decided to plant a tulip bulb in this box, I found three ant nests in the box. Here the ants had such a free life, they ran so happily along the walls of the box; It seemed to me that it would be too cruel for a flower to disturb the peace of these smart insects; I looked for another place for my bulb, and chose the box with ants as the subject of my observations. These observations gave me so much pleasure that all the flowers in the world could never have given me.

First of all, I tried to provide my guests with all possible comforts, and for this I removed from the box everything that could interfere or harm them. Several times a day I came to look at their work, and often at night, in the moonlight: my guests worked incessantly. When all the other animals were sleeping, they did not stop running from top to bottom and from top to bottom - one would think that rest did not exist for them.

Look, look, my friends, what an angry cab driver, how he beats the horse!.. In fact, it runs very poorly... Why is this? Oh, poor Gnedko, he’s limping...

Cabbie, cabbie! Shame on you: you will completely ruin your horse; you will kill her to death...

“What do you need,” the driver answers. - It’s either me or her to die! Today is a holiday.

That’s what it’s like to celebrate, my dear: you were out for a walk and didn’t even notice that the horse had lost its shoes: that’s why it slipped, tripped and hurt its leg. What's so special about her not being able to run? She, poor thing, if she takes a step, it hurts: you can’t run here. And you know that you will have to pay for her treatment, for horseshoes, and even the owner will scold you. So you want to get money at any cost, to bring it in, as you say; Now, fortunately, it’s a holiday, there’s a lot of riding, they pay dearly... But what’s the poor horse’s fault? It's your fault, stupid boy: why didn't you look after her, why didn't you see her when she lost her horseshoe?

Papa put the snuff box on the table.

Come here, Misha, look,” he said.

Misha was an obedient boy, he immediately left his toys and went up to daddy. Yes, there was something to see! What a wonderful snuff box! Mottled, from a turtle. What's on the lid? Gates, turrets, a house, another, a third, a fourth, and it’s impossible to count, and all are small and small, and all are golden; and the trees are also golden, and the leaves on them are silver; and behind the trees the sun rises, and from it pink rays spread throughout the sky.

One village landowner had two twin sons, that is, who were born at the same time. At their birth, their father planted two apple trees. The children have grown up and the trees have grown up. When the children were in their third year, the father said to them: “Here is a tree for you, Petrusha, and here is a tree for you, Misha. If you take good care of them, they will bear apples, and those apples are yours.”

This was at the beginning of spring, when there was still snow in the ditches, the grass was not yet green and there was not a single leaf on the trees.

The children were very happy with this gift and ran every morning to see if apples had grown on their trees. But not only were there no apples, but there were no leaves on them either. The children were very annoyed that their trees were so lazy or stingy that it was impossible to get not only an apple from them, but not even a single leaf. Misha even became so angry with his tree that he stopped visiting it; ran and played along the alleys on the other side of the garden, but didn’t even look at his tree.

Petrusha did the wrong thing. He did not let a day pass without looking at his tree, and soon noticed a great change in it.

Since the winter, some lumps remained on the branches, and more than once, looking at them, Petrusha thought, what are these lumps for? Should we cut them off, then all the twigs would be smooth? However, he did not dare to cut them, but asked the gardener about it.

A learned, pious man lived on Mount Athos. From a young age he learned various sciences and knew the healing power of herbs and roots. He often walked through the huts of poor people, treated the sick, and consoled the dying. And he received love and honor from everyone.

One day that country was visited by a terrible infection - the pestilence. People got sick and many died; there were sick people in all the huts, and from everywhere they sent for a kind and learned doctor so that he would come to console and help the suffering.

The kind doctor visited the sick tirelessly and distributed medicine. Sometimes, when he could catch the disease in time, he cured it; but more often, careless people sent for a doctor when the patient was already at his last breath, when no medicine could help, and foolish people reproached and scolded the good doctor, as if he was to blame for their carelessness.

We don’t get anything for free, without labor, -

It’s not for nothing that the proverb has been around since ancient times.

Two girls lived in the same house: the Needlewoman and Lenivitsa, and with them a nanny. The needlewoman was a smart girl, she got up early, dressed herself without a nanny, and when she got out of bed, she got down to work: she lit the stove, kneaded bread, chalked the hut, fed the rooster, and then went to the well for water. Meanwhile, Sloth was lying in bed; They've been ringing for mass for a long time now, and she's still stretching: she's rolling from side to side; If he gets bored of lying down, he’ll say, half asleep: “Nanny, put on my stockings, nanny, tie my shoes”; and then he says: “Nanny, is there a bun?” He gets up, jumps, and sits down at the window to count the flies how many have arrived and how many have flown away. Just as Lenivitsa counts everyone, she doesn’t know what to take up or what to do; She would like to go to bed - but she doesn’t want to sleep; She would like to eat, but she doesn’t feel like eating; She should count flies at the window - and even then she’s tired; the miserable woman sits and cries and complains to everyone that she is bored, as if it were others’ fault.

Meanwhile, the Needlewoman returns, strains the water, pours it into jugs; and what a trick: if the water is unclean, he will roll up a sheet of paper, put coals and coarse sand in it, insert that paper into a jug and pour water into it, and the water, you know, passes through the sand and through the coals and drips into the jug clean , like crystal; and then the Needlewoman will start knitting stockings or cutting scarves, or even sewing and cutting shirts, and even start singing a handicraft song; and she was never bored, because she had no time to be bored: now doing this, now doing that, then, you see, it’s evening - the day has passed.

Dedicated to the little Countesses Catherine and Alexandra Kossokovsky

Take a map of Asia, count down parallel lines from the Equator to the North or Arctic Pole (i.e. in latitude) starting from the 8th degree to the 35th and from the Paris meridian along the Equator (or in longitude) starting from the 65th to 90th; between the lines drawn on the map at these degrees, you will find in the hot pole under the Tropic of Cancer a pointed strip protruding into the Indian Sea: this land is called India, or Hindustan, and they also call it Eastern or Greater India, which cannot be confused with that land, which is located on the opposite side of the hemisphere and is called Western, or Little India. The island of Ceylon also belongs to Eastern India, on which, as you probably know, there are many pearl shells. In this land live Indians who are divided into different tribes, just as we Russians have tribes of Great Russians, Little Russians, Poles, etc. From this land they bring to Europe various things that you use every day: cotton paper, from which they make cotton wool, which is used to line your warm hoods; notice that cotton paper grows on a tree; the black balls that sometimes come across in cotton wool are nothing more than the seeds of this plant, Saragin millet, from which porridge is cooked and with which water is infused for you when you are unwell; sugar with which you eat tea; saltpeter, from which tinder ignites when fire is struck from flint with a steel plate; pepper, these round balls that are ground into powder, are very bitter and which your mother does not give you, because pepper is unhealthy for children; sandalwood, which is used to dye various materials red; indigo, which is used to dye blue, cinnamon, which smells so good: this is the bark from a tree; silk, from which taffeta, satin, and blondes are made; insects called cochineal, from which an excellent purple dye is made: gems, which you see in your mother’s earrings, the tiger skin that lies in your living room instead of a carpet. All these things are imported from India. This country, as you can see, is very rich, but it is very hot. Most of India is owned by English merchants, or the so-called East India Company. She sells all these items that we mentioned above, because the residents themselves are very lazy: most of of them believe in a deity which is known as Trimurti and is divided into three gods: Brahma, Vishnu and Shivana. Brahma is the most important of the gods, and therefore the priests are called Brahmins. For these deities they built temples of very strange but beautiful architecture, which are called pagodas and which you probably saw in pictures, but if you haven’t, then look. - Indians are very fond of fairy tales, stories and stories of all kinds. on their ancient language, in Sanskrit (which, mind you, is similar to our Russian), many beautiful poetic works have been written; but this language is now incomprehensible to most Indians: they speak in different, new dialects. Here is one of the latest fairy tales this people; The Europeans overheard it and translated it, and I will tell it to you as best I can; it is very funny, and from it you will get some idea about Indian morals and customs.

January 8, 18..

Today I turned ten years old... Mama wants me from this very day to start writing what she calls a journal, that is, she wants me to write down every day everything that happens to me... I admit, I am very happy about this. This means... that I’m already a big girl!.. Besides how fun it will be to read your magazine after a while, remember all the games, all the friends, all the acquaintances... However, I must admit, this is also quite difficult. Until now, I only picked up a pen to either copy out a copy of a copy or write a small letter to my grandmother... Yes, it’s not easy at all! However, we'll see... Well, what did I do today? When I woke up, I found my mother’s gifts on the table next to the bed. Mama gave me a wonderful book in morocco binding for my journal; daddy gave me a very pretty inkwell with a bell. I'm so glad about this! I’ll put all this on my table - and my table will be exactly like daddy’s... I’m so glad about this!

I had dinner... Mama sent me to rest.

Once upon a time there lived two sisters in this world, both widows, and each had a daughter. One of the sisters died and left her daughter in the care of her sister; but this sister was not a good woman: she was kind to her daughter, but evil to her niece. Poor Masha! - that’s what they called the niece - her life was bitter: she got it from both her aunt and her sister; as if she were a slave in their house. One day, unfortunately, Masha broke the jug. As soon as the aunt finds out about this, get out of the house, and only until she finds another jug! Where can I find it? Here Masha goes and cries; Now she has reached the cotton tree, and under the tree sits an old woman, and what a beauty! - Headless! Without a head - no joke! I think Masha was quite surprised, especially when the old woman said to her:

Well, what do you see, girl?

“Yes, mother,” answered Masha, “I don’t see anything.”

Here kind girl, - said the old woman, - go your way.

And here again Masha goes along the road; So she reached the coconut tree, and under the tree there was also an old woman sitting, also without a head; She asked Masha the same, Masha answered her the same, and the old woman wished her the same.

Grandfather Irenei loved little children very much, that is, children who are smart, listen when they are told what is said, do not yawn around and do not look out the window when their mother shows them a book. Grandfather Irenei especially loves little Lidinka, and when Lidinka is smart, grandfather gives her a doll, candy, and sometimes a penny, a ten-kopeck piece, a five-kopeck piece, a two-kopeck piece, a quarter, a fifty-kopeck piece. You smart kids know right what kind of money this is?

One day, grandfather Irenaeus was getting ready to go on the road for a whole month; you know, I tea, how many days are there in a month and how many days in a week? When grandfather Irinei got ready to go on the road, Lidinka cried a lot and counted on her fingers how many days she would not see her grandfather.

Grandfather consoled Lidinka and told her that if she was smart, he would come sooner than she thought.

And as a souvenir,” said grandfather, “I will leave you a silver ruble and put it here, on the table, in front of the mirror.” If you study well all month and the teachers write in your notebook that you were diligent, then take this ruble - it is yours; until then, let it lie on the table; don’t touch it, just look; and looking at him, remember what I told you.

A large number of Russian writers, when creating their works for children, were inspired and drew images from the plots of their Russian folklore. The tales of Vladimir Odoevsky are the author’s collection, which is called “Tales of Grandfather Irenaeus”. This was his author's pseudonym, under which the texts were published.

The most a shining example borrowings from Russian folklore that were included in Odoevsky’s fairy tales can be called “Moroz Ivanovich”. This is the author's story, which is entirely based on the famous folk story called “Morozko”. This can be seen in the image of one of the main characters, whose name is in the title - he is entirely taken from Russian fairy tales about Santa Claus, he looks and behaves exactly the same. In addition, the main character, who is contrasted with her sister, can well be called a “folk image”. This is the personification of what an ideal wife should be like in the minds of a Russian person.

In addition to our folklore, Odoevsky’s stories also draw plots from cultural heritage other peoples. For example, the story about four deaf people, also included in the collection, was borrowed from India - they have a similar parable. Moreover, all such works were adapted and reinterpreted for a better understanding of the child who will read Odoevsky’s fairy tales.

“Tales of Grandfather Irenaeus” became one of the main books in the author’s collections in Russian literature. This is an excellent example of how folklore of different nations can be adapted to a specific reader - in in this case, child. Every schoolchild should open this book at least once and try to read fairy tales from there.

Creativity of V.F. Odoevsky for children.

Prince Vladimir Fedorovich Odoevsky is a Russian writer, philosopher, musicologist and music critic, public figure. Founding member of the Russian Geographical Society.

The last representative of the princely family of Odoevsky - one of the senior branches of the Rurikovichs. The mother came from serfs. Left orphaned in early age, was brought up in the house of his guardian, paternal cousin, General Dmitry Andreevich Zakrevsky

Odoevsky’s literary fame flourished in the 30s and 40s. His collection “Motley Tales with Red Words” is published. The genre of the works included in this collection is defined by Odoevsky as “fairy tales”.

He expressed his idea of ​​the future of Russia in the unfinished science fiction novel “The Year 4338.” In his novel, Vladimir Odoevsky was the first to predict the emergence of modern blogs and the Internet: among other predictions, the text of the novel contains the lines “magnetic telegraphs have been installed between familiar houses, through which those living at a far distance communicate with each other.” Russia extends over two hemispheres, connected by an internal tunnel. The writer-visionary foresees flights to the Moon and the possibility of influencing the climate.

On his initiative, two hospitals and a number of orphanages were founded in St. Petersburg, and a Society for Visiting the Poor was created.

For a long time, Odoevsky was involved in organizing the educational process in various educational institutions. Publishes an unusual manual for educational homes where orphans lived - “Children's Books for Sundays.” Pedagogical instructions for teachers, didactic materials, as well as stories and fairy tales for reading to children were placed here.

Odoevsky saw the main task of education in “training the student, first of all, to be a human being.” He understood general education as universal, preceding any special education. His thoughts about the holistic perception of the world by a child (“a child is an inveterate encyclopedist; give him everything without artificially breaking things up”), about the ways of educational influence on a person, about the art of talking with children sound contemporary.

Many of Odoevsky’s pedagogical ideas were embodied in his works for children's reading. In his work addressed to children, Odoevsky first of all set the task of developing the child’s mental abilities, “strengthening his mental strength.” The writer divides all children into “woke” and “unwoke.” “Those who are not awake are more than asleep,” such children are not interested in anything, they do nothing. For example, Hoffmann's fairy tales can awaken them. In general, Odoevsky sees the task of literature in awakening the “unawakened” child’s mind, in promoting the spiritual growth of the child. At the same time, the writer sets the task of developing “graceful” feelings in the child’s soul.

Odoevsky took great pleasure in inventing stories and staging home performances with children. He was an enthusiastic person, inexhaustible in inventions and fun. Such people, according to Belinsky, are called “children’s holiday” in Russia.

“Town in a Snuff Box” is the first science fiction fairy tale in Russian children's literature. In this tale, Odoevsky demonstrated the art of speaking with children about complex things in a clear, simple and convincing language, which he called on educators to do.

In other fairy tales, Odoevsky used folklore traditions, both Russian and other nations. His most popular fairy tale is “Moroz Ivanovich”.

In addition to fairy tales, Odoevsky’s stories were very popular among readers of the last century: “Silver Ruble”, “Poor Gnedko”, “Organ Grinder”, “Carpenter”, “Orphan”. The content of most of them was related to children's life and reflected the everyday interests of children. Odoevsky's stories, like all his works, developed the ideas of kindness, humanity, spiritual nobility, responsibility, and hard work.

Odoevsky established the genres of scientific and artistic fairy tales, scientific and educational stories, and essays in literature for children.

Few people know about Vladimir Fedorovich Odoevsky. But if we carefully study the life and work of this man, we will recognize him as an excellent teacher, writer and specialist in the theory of musical art.

Originally from Moscow and from a princely family, the writer studied well at the Moscow boarding school, where such famous writers of that time as N. Turgenev and N. Muravyov had previously studied, who had a great influence on the development of his further work.

At the beginning of the 18th century, Vladimir went to meetings of the “Society of Lovers of Russian Literature”, where he made friends with V. Kuchelbecker and I. Kireevsky.

A little later, in 1824-1825, the writer, together with V. Kuchelbecker, organized and published the almanac “Mnemosyne”, where famous writers of that time published their works. After releasing several issues of his almanac, Vladimir Fedorovich began to become more interested in issues of morality and freedom.

Having left for St. Petersburg in 1826, Odoevsky devoted more time to journalistic activities. To educate the majority of peasants, he publishes the magazine “Rural Reading,” which was very popular with readers.

During the peasant reform, Odoevsky practically stopped working literary activity, but all the works he previously created found a wide response among people. Belinsky respected the writer because in his works he wrote about life close to reality.

Everyone was especially attracted by the story “Princess Zizi,” which appeared in 1834, which said that a liar and a slacker robbed a chaste and noble girl who could not find happiness among a corrupt circle of people like this scoundrel.

In addition to social problems, the author produces works presented in a fantastic form. In 1833, he created “Motley Tales,” where everyday events come into contact with fictional phenomena. This is the image of a girl who loved to dress up beautifully, gradually turning into a stupid doll, and a greedy official who manages to take bribes from both living and dead people.

Vladimir Fedorovich begins to create a collection of stories “Russian Nights”, where in his creations he combines romanticism with realism. He was especially attracted by the story “4338,” which was published only in our time, where the author described the near future that is expected in Russia.

Odoevsky was considered an excellent teacher, and therefore wrote his works for children. The fairy tale “Town in the Snuffbox,” written by him in 1834, is one of the most famous and original works. The author showed how to communicate with children, which is very important for educators.

The death of the talented writer occurred already in Moscow in 1869.