First Moscow period

Usually the life and work of Odoevsky is divided into three periods, the boundaries between which more or less coincide with his travels from Moscow to St. Petersburg and back.

The first period refers to life in Moscow, in a small apartment in Gazetny Lane in the house of his relative, Prince Peter Ivanovich Odoevsky. Odoevsky then studied at the Moscow University Noble Boarding School (-). Friendship with his cousin A. I. Odoevsky had a great influence on his worldview. As he admitted to student diary(-), "Alexander was an epoch in my life".

His name remained on the golden board of the boarding school, along with the names of: Zhukovsky, Dashkov, Turgenev, Mansurov, Pisarev.

From 1823 he was in the public service. At the apartment of V. Odoevsky, a circle was going to “Society of wisdom”, created under the influence of Schellingian ideas, professors of Moscow University M. G. Pavlov and D. M. Vellansky who taught at the boarding school. Among the permanent members of this circle were A. I. Koshelev, D. V. Venevitinov, I. V. and P. V. Kireevsky, V. K. Kyuchelbeker. A. S. Khomyakov and M. P. Pogodin regularly attended the meetings. The meetings of the circle took place in -1825 and ended with its liquidation after the uprising of the Decembrists.

In those same years, Odoevsky tried his hand at the literary field: together with Kuchelbecker, he published the almanac Mnemosyne and wrote the novel Hieronymus Bruno and Pietro Aretino, which remained unfinished. In 1826, he moved to St. Petersburg, where he married and entered the service in the 2nd department of His Majesty's own office, under the command of Count Bludov.

Creativity of the Petersburg period

The second period of Odoevsky's work is characterized by a passion for mystical teachings, primarily the mystical philosophy of Saint-Martin, medieval natural magic and alchemy. He is actively engaged in literary creativity. He writes romantic and didactic stories, fairy tales, journalistic articles, collaborates with Pushkin's Sovremennik, Vestnik Evropy and several encyclopedias. Edited the Journal of the Ministry of the Interior.

Admittedly, the best of his works, a collection of philosophical essays and stories under the general title Russian Nights (1844), dated in the form of a philosophical conversation between several young people, belongs to the same time. Intertwined here, for example, are the stories “The Last Suicide” and “The City Without a Name”, which describe the fantastic consequences that the implementation of Malthus’s law on the growth of the population exponentially leads to, and the works of nature in arithmetic, and Bentham’s theory, which lays the foundation for all human actions are exclusively the beginning of the useful, as a goal and as a driving force. Deprived of internal content, closed in hypocritical conventionality, secular life finds a lively and vivid assessment in the "Dead Man's Mockery" and especially in the pathetic pages of "The Ball" and the description of the horror of death experienced by the audience gathered at the ball.

Around the same time, Odoevsky's participation in the Belinsky circle, the preparation of a three-volume collected works, also published in 1844 and still not reprinted.

This instrument was ordered from a master of German origin A. Kampe, who lived in Moscow and kept a piano factory in Gazetny Lane, which passed to his daughter (married Smolyaninova) at the end of the century. The archive preserved a receipt dated February 11, 1864 on the payment of 300 silver rubles for the manufacture of the instrument. Although Odoevsky called him clavicin(i.e. harpsichord), it was a standard hammer piano, with the only difference that each of its black keys was divided in two, in addition, it had one black key where they usually do not exist - between si And before and between mi And F; thus, in each octave of Odoevsky's instrument, 19 keys were formed instead of the usual 12. The mentioned difference includes all the features that an enharmonic keyboard should have. Such a naming extended keyboard not accepted either in German (enharmonische Tastatur), or in Italian (tastatura enarmonica), or in Russian lexicography.

Since there is no work by Odoevsky, in which he mathematically accurate would outline the principles of tuning his instrument, modern musicological conclusions about his intentions are largely hypothetical. Now enharmonic clavicin stored in the Museum of Musical Culture. Glinka in Moscow.

Social activity

In addition to the tireless activity of collecting, preserving and restoring the Russian musical heritage, primarily in regard to Orthodox church music, Odoevsky spared no effort in some other fields. One of the outstanding aspects of his literary activity was his concern for the enlightenment of the people, in whose abilities and good spiritual qualities he passionately believed. For many years he was the editor of the Rural Review, published by the Ministry of the Interior; together with his friend, A.P. Zablotsky-Desyatovsky, published the books “Rural Reading”, in 20 thousand copies, under the titles: “What the peasant Naum told the children about potatoes”, “What is the drawing of the land and what it is suitable ”(history, meaning and methods of surveying), etc.; wrote for popular reading a number of "Grandpa Iriney's Letters" - about gas, railways, gunpowder, epidemic diseases, about "what is around a person and what is in himself" - and, finally, he published "Motley tales of Iriney Gamozeyka", written language, which was admired by the connoisseur of Russian speech Dal, who found that some of the sayings and proverbs invented by Odoevsky could be attributed to a purely folk origin (for example, “it’s not heavy together, but at least drop it apart”; “two firebrands smoke in an open field, and one and goes out on the sixth "...). His troubles owed their permission to "Domestic Notes".

Welcoming the relaxation of censorship rules in 1865, Odoevsky strongly spoke out against the system of warnings taken from Napoleonic France and advocated the abolition of the unconditional ban on the import of books hostile to Russia.

After his death, the widow transferred her husband's book archive to the Imperial Public Library, and the musical archive (sheet music, manuscripts about music, enharmonic clavicin) to the Moscow Conservatory.

Internet Predictions

Vladimir Odoevsky, in the unfinished utopian novel “Year 4338”, written in 1837, seems to be the first to predict the emergence of modern blogs and the Internet: in the text of the novel there are lines “magnetic telegraphs are arranged between familiar houses, through which those living at a great distance communicate with each other friend."

Addresses in Moscow

and it came true ... In all likelihood, Odoevsky was a wise man.

Addresses in St. Petersburg

- - Lansky's house - Moshkov lane, 1;
- - Serebryanikov's House - embankment of the river. Fontanka, 35;
- - Schlipenbach's house - Liteiny prospect, 36;
- - profitable house of A. V. Starchevsky - English embankment, 44.

Odoevsky's works on music

Beethoven's Last Quartet // Northern Flowers for 1831. SPb., 1830
Sebastian Bach // Moscow observer, 1835, part 2, [May, book. 1]
A letter to a music lover about Glinka's opera A Life for the Tsar // Northern Bee, 1836, No. 280
The second letter to a music lover about Glinka's opera "Life for the Tsar", or "Susanin" // ibid., 1836, No. 287-88
New Russian opera: "A Life for the Tsar" // Literary additions to the "Russian invalid" (1837); reprint: Glinka. Creative way. Volume 22. Ed. T.N. Livanova and V.V. Protopopov.
About a new scene in the opera A Life for the Tsar. The work of M. I. Glinka (1837) // reprint ibid.
"Ruslan and Lyudmila" (1842) // there
Notes for my great-great-grandson about the literature of our time and other things. Bichev's letter - "Ruslan and Lyudmila", Glinka's opera (1842) // Otechestvennye zapiski, 1843, vol. 26, no. 2
Appendix to the biography of M.I. Glinka [written by V.V. Stasov]
On the study of Russian music not only as an art, but also as a science (speech for the opening of the Moscow Conservatory on September 1, 1866)
Letter from Prince V. F. Odoevsky to the publisher about the original Great Russian music // Kaliki passers-by. Sat. poems and research by P. Bessonov, part 2, no. 5, 1863
Wagner in Moscow // Contemporary Chronicle. Sunday additions to the Moscow News, 1863, No. 8
Richard Wagner and his music // ibid., 1863, No. 11
A note on singing in parish churches // Day, 1864, No. 4
On the question of ancient Russian singing // Day, 1864, No. 4, 17
On the case of church singing // Home conversation, 1866, no. 27 and 28
Russian and so-called general music // Russian (Pogodina), 1867, No. 11-12
Musical Literacy, or Foundations of Music for Non-Musicians. Issue. 1. M., 1868
Brief notes on the characteristics of Russian Orthodox church singing // Proceedings of the First Archaeological Congress in Moscow. M., 1871
The difference between frets (Tonarten, tons) and voices (Kirchen-tonarten, tons d "église) // there
Worldly song, written in eight voices with hooks with cinnabar marks // there
An Essay on the Theory of Fine Arts, with a Special Application to Music (Unfinished)
Dwarfs of the 19th century (not completed)

Editions of essays

Musical and literary heritage. General ed.<…>G. B. Bernandt. Moscow, 1956;
Odoevsky V.F. Russian Nights / The publication was prepared by B.F. Egorov, E.A. Maimin, M.I. Honey. - L.: Nauka, 1975. - 319 p. (Literary monuments);
Odoevsky V.F. Works. In 2 volumes - M .: Khudozh. lit., 1981. (T. 1 .: Russian Nights; Articles. T. 2 .: Tales);
V.F. Odoevsky. Beethoven's last quartet. Novels, short stories, essays. Odoevsky in life. M .: Moskovsky worker, 1982 (also contains a selection of memoir essays);
Odoevsky V.F. Motley fairy tales / The publication was prepared by M.A. Turyan. St. Petersburg: Nauka, 1996. - 204 p. (Literary monuments);
Prince Vladimir Odoevsky. To the 200th anniversary of the birth. Compositions for organ // Trudy GTsMMK im. M.I. Glinka. M., 2003;
Odoevsky V.F. Diaries. Correspondence. Materials. Ed. M.V. Esipov. M: GTsMMK im. Glinka, 2005.

Memory

Notes

V. F. Odoevsky: biography, works
V. F. Odoevsky on the pages of the "White City"
Memoirs of M. Pogodin 04/13/1869 - “In memory of Prince V.F. Odoevsky”
Biography of V. F. Odoevsky in the Encyclopedia "Circumnavigation"
V. A. Panaev From "memories". From chapter XXIII ... Saturdays at I. I. Panaev ... // V. G. Belinsky in the memoirs of contemporaries / compilation, preparation of the text and notes by A. A. Kozlovsky and K. I. Tyunkin; introductory article by K. I. Tyunkin. - 2nd edition. - M ., 1977. - 736 p. - (A series of literary memoirs). - 50,000 copies.
See numerous Sat. folk songs, starting from the famous collection of N.A. Lvov and I. Prach (1790) to N.A. Rimsky-Korsakov and M.A. Balakirev. The title of one of Odoevsky's articles is characteristic: “Genuine tunes. Experience in harmonization and processing of variants of the Russian folk song "Ai we sowed millet" (1863). Similarly, in droves, composers of the 19th century. old Russian church chants were also harmonized.
Odoevsky, V.F. [“Russian commoners ...”]. Quoted from the collection of VF Odoevsky. Musical and literary heritage. State Musical Publishing House, Moscow, 1956, ss. 481-482
English-language musicology calls this type of keyboard Enharmonic keyboard.
Thus, the English musicologist K.Stembridge in the course of his lecture on the history of musical temperaments (Glinka Museum, May 30, 2005) suggested that Odoevsky's instrument was tuned in one of the mid-tone temperaments (called "mesotonic" in professional jargon).
Tukhmanova Z. Enharmonic piano of Prince V. F. Odoevsky // Ancient Music, 2005, No. 3-4, ss. 23-26
Don Cemetery (Retrieved November 14, 2009)
Prince V. F. Odoevsky in criticism and memoirs
City register of real estate of the city of Moscow
Children's Music School. V. F. Odoevsky. Official site.

Literature

In memory of Prince V. F. Odoevsky.M., 1869.
Pyatkovsky A.P. Prince V. F. Odoevsky. - St. Petersburg, 1870.
A trait in the character of Prince V.F. Odoevsky/ Pub. N. Putyaty // Russian archive, 1870. - Ed. 2nd. - M., 1871. - Stb. 927-931.
Sumtsov N. F. Prince V. F. Odoevsky. Kharkov, 1884.
Yanchuk N. A. Prince VF Odoevsky and his importance in the history of Russian church and folk music // Proceedings of the Musical and Ethnographic Commission. T. 1. M., 1906, ss. 411-427.
Sakulin P. N. From the history of Russian idealism. Prince V. F. Odoevsky. M., 1913.
Bernandt G. B. VF Odoevsky and Beethoven. A page from the history of Russian Beethoveniana. - M .: Soviet composer, 1971. - 51 p.
Virginsky V.S. V. F. Odoevsky. 1804-1869. natural science views. Moscow: Nauka, 1975.
Stupel A. Vladimir Fyodorovich Odoevsky. L .: Music, 1985.
Gavryushin N. K. On the border of philosophy and theology: Schelling - Odoevsky - Metropolitan Filaret (Drozdov) // Theological Bulletin. - 1998. - No. 2. - S. 82-95.
Bayuk D. A. Mathematical theory of temperament. Prince Vladimir Fedorovich Odoevsky and his "enharmonic harpsichord" (Russian) // Historical and mathematical research: magazine. - M .: Janus-K, 1999. - V. 4. - No. 39. - S. 288-302. - ISBN 5-8037-0037-1.
Koire A. Philosophy and the national problem in Russia at the beginning of the 19th century. - M., 2003.
Tukhmanova Z. Enharmonic piano of Prince V. F. Odoevsky (Russian) // early music: magazine. - M ., 2005. - No. 3-4. - S. 23-26.
Saponov M. Fürst Vladimir Odojevskij, Richard Wagner und die Orgel "Sebastianon" // Musikinstrumentenbau im interkulturellen Diskurs, hrsg. v. E. Fischer. bd. 1. Stuttgart, 2006.

Links

VF Odoevsky (1803-1869) was one of the rulers of the thoughts of his time. Philosopher, storyteller, author of mystical novels and short stories, talented musician. We emphasize in particular that Odoevsky is the founder of the rural elementary 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 compiled two collections: "Children's tales of grandfather Iriney" (1840) and "Children's songs of grandfather Iriney" (1847) - highly appreciated by Belinsky. The critic wrote that such an educator, which Russian children have in the person of grandfather Iriney, can be envied by children of all nations. Odoevsky was very seriously involved in the upbringing of children. He sought to create his own theory here, based on a "pedagogical idea" with a humanistic tendency. The writer expressed his thoughts on this matter in the great work “Science before Sciences”, which he created for many years. Following Belinsky, the writer called for a moral person as a result of raising a child, and what children are taught should have a connection with real life. In 1833 they saw the light of his "Colorful tales with a red word." In them, the narrator Iriney Modestovich Gomozeika (with such a pseudonym Odoevsky signed this work of his) presented readers in allegorical form with one or another moral teaching. The figure of Gomozeika is complex and multifaceted. On the one hand, he calls for a romantic vision of the world and constantly talks about human virtues, about comprehending the root causes of the world - in a word, about high matters. And at the same time he reproaches his contemporaries for a lack of imagination. Standing apart in Motley Tales is Igosh, perhaps the most poetic and most fantastic work in the book. This is connected with the figure of the hero-boy - the story is being told on his behalf. He made friends with a mysterious creature, with a brownie, which, according to popular belief, every unbaptized baby becomes. Probably, such a plan was connected with Odoevsky's conviction that the world of children's fantastic ideas and folk beliefs contain special poetic wisdom and latent knowledge that a person has not yet mastered consciously. Odoevsky's appeal to children's literature is closely related to 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 Sundays", where his thoughts on education sound: he places here not only works of art, but also a large section of an educational nature, which includes popular science articles and descriptions of various experiments, crafts , games. "Town in a Snuffbox" (1834) - the first perfect example of an artistic and educational fairy tale for children. In it, scientific material (in essence, teaching mechanics, optics and other sciences) was presented in such an entertaining form, close to child psychology, that it evoked an enthusiastic response from 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 the machine as some kind of living individual person." It all starts with the fact that the boy Misha receives 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 at the perception of beauty, it gives rise to a lively enthusiasm in them, a desire to create. Aesthetic experience causes the active work of the imagination, prompting creativity. Misha, falling asleep, creates a whole world in his sleep - and all of the 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. Roller - thick, in a dressing gown; he lies on the sofa; this is the chief warden, commanding uncles-hammers. Those, having received a 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, now curls up, then turns around - "and constantly pushes the warden in the side." The awakened Misha already understands how the music box works, and he really perceives the car "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 he found expression in this work. Even in the fantastic world of animated details, the author leads Misha through a dream - a very real state of the child. He put the same principle at the basis of many other fairy tales and stories, skillfully combining real events with fantasy 1 . Fairy tale "Worm" (1838) draws the attention of the child to the wonderful diversity of the natural world and the continuity of the life cycle; in a story accessible to children about the life and death of a little worm, the writer touches on a deep philosophical topic. A very real hero - the French architect Roubaud in the story "Joiner" (1838) - reaches the heights of mastery; so the author seeks 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 love for animals in the child's heart; concluding a humane thought in 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, a dog, is able to torture a person." The work of V. F. Odoevsky is still highly appreciated by both adults and children. Creativity is diverse, deep in philosophical and moral orientation.

Pogorelsky's fairy tale "The Black Hen, or Underground Inhabitants" (features of the genre, originality of fiction, psychologism, the role of the narrator)

The epithet "first" is often combined with the name of Anthony Pogorelsky. He is the author of the first science fiction story in Russian literature, one of the first "family" novels, the first story of a fairy tale for children "The Black Hen, or Underground Inhabitants". The tale was published in 1828 and brought the author a long reputation as an outstanding children's writer, although it was his only creation for young readers. Perovsky spent the last years of his life in his small Little Russian estate Pogoreltsy (hence his pseudonym), devoting himself to literary activity and the education of 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 story-tale. Obviously, precisely because at first it was a lively story for a small listener, the verbal fabric of the story is so light, the intonations are so soft in it, 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 where he fled, injuring his leg, which is why he limped all his life. In The Black Hen... traces of German romantic literature, in particular the legends about dwarfs, are also visible. But the main thing in the story remains attention to the formation of the child's character, to the psychological characteristics of childhood, the gradual introduction of the child to 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 small person living in a boarding school, yearning for 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 manifested in the organic fusion of the fantastic and the real. The description of Alyosha's life in a boarding house does not sin at all against the laws of the real world. The days of teaching 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, to imagine himself as a character in various stories drawn from books, to fantasize. And Alyosha's "young imagination wandered through the knight's castles, through the terrible ruins or through the dark dense forests." Pogorelsky was one of the first in Russian literature who managed to subordinate the pedagogical task to fiction. On the example of Alyosha, he convincingly showed what was good and what was bad. It is bad to be lazy, to be haughty in front of comrades, to be frivolous and talkative (after all, because of this, misfortune occurred in the underworld). And good traits are also clearly defined in Alyosha's actions. The author also shows the inherent value of childhood, the richness of the child's spiritual world, his independence in determining good and evil, the orientation of creative abilities. Since the publication of The Black Hen..., one of the leading ideas of Russian literature has become the main idea of Pogorelsky: the child easily passes from the world of dreams and naive fantasies to the world of complex feelings and responsibility for his deeds and actions. After this story, the possibility of the existence of two plans for the narration was fixed in children's literature: for children and for adults. In Pogorelsky, this manifests itself in the manner of the story, which is very close to a live conversation between a teacher and a child. The narrator's speech is reasonable, sympathetic, with shades of gentle humor and sentimentality, appropriate in the memories of an adult about 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: put on him a shirt with a round collar and cambric cuffs with small folds, white trousers and a wide silk blue sash, - Pogorelsky describes children's clothes of the 18th century. - Long blond hair, which hung almost to his waist, was shifted forward on both sides of his chest - this is how children were dressed up then - then they taught him how he should scrape his foot when the director entered the office, and what he should answer if they made him any questions. Another important merit of Pogorelsky: with his story "The Black Hen, or Underground Inhabitants", he actually initiated the formation of the language of Russian children's prose. His work is written in the same language that constantly sounded in the cultural families of that time - without bookish and outdated words that are difficult for children. In the last phrase, one can clearly feel the imitation of the child's story, and there are many such phrases in the story: the writer deliberately refers to the child's intonation. The artistic merit and pedagogical orientation of Pogorelsky's story made it an outstanding work of literature of the 19th century. It opens the history of Russian artistic children's prose, the history of autobiographical prose about childhood.

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

In addition to the beautiful and the terrible, Zhukovsky also penalized the funny - good humor, mild irony, and did not notice at all what is boring, ordinary, unaesthetic in life. But above all pathos was for him "a good feeling." In the world of ballads and fairy tales of Zhukovsky there is always a mystery - beautiful or terrible; the soul of the hero (and the reader) is captured by this mystery, experiencing feelings hitherto unfamiliar to her. Ballads almost always end tragically - unlike fairy tales, which require the hero's victory over the forces of evil. The poet believed that a fairy tale "should be purely a fairy tale, with no other purpose than the pleasant immaculate pursuit of fantasy." He freely altered the plots, introduced elements of a romantic style into them - motifs of the knightly Middle Ages, Russian antiquity, folk beliefs and customs, however, always ennobling them in accordance with the concepts of salon-court etiquette.

The reading circle of younger children included "Three Belts" - the only fairy tale in prose (1808), "Puss in Boots" (1845, poetic translation of Ch. Perrault's fairy tale), "The Sleeping Princess", created based on the fairy tale of the Brothers Grimm "The Briar Princess ” and Perrot “The Beauty Sleeping in the Forest”, “The Tale of Ivan Tsarevich and the Gray Wolf” (1845). After reading both works, we turn 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. Fairy 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 firebird is the culprit. It was the youngest son of the tsars, Ivan, who was able to discover the thief of apples. 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 tale, the youngest son Ivan had to stay with his father: “You are still young, wait; yours

The time will come; now you me

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

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

If I die, then to whom will I leave my people and kingdom ... ". Here we see the author's attitude to what is happening, agree that the duty of children is to look after their parents in old age. The tsarevich turned out to be stubborn, but he did not leave without permission. Asked for parental blessings. Stubbornness is also manifested in those moments when he does not follow the advice of the wolf (it was necessary to leave 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 takes place in different ways: “How much, how little time has passed, Ivan Tsarevich woke up, he sees that there is no horse. He went to look for him, walked, walked and found his horse - only gnawed bones.

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

"Well, - he thinks, - he took it - there is nothing to do."

And he went on foot.

Walked, walked, tired to death.

He sat down on the soft grass and mourned, sitting.

Out of nowhere, a gray wolf runs towards him:

What, Ivan Tsarevich, are you sitting down, hung 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 did you go far, where are you going? (Russian folktale)

"Ivan Tsarevich,

Hanging his head, he went quietly

On foot; but did not go long; in front of him

Still came the Gray Wolf

"I'm sorry, Ivan Tsarevich, my heart,

What is your good horse

Zael, but you yourself, of course, saw

What is written on the pillar; to that

That's the way it should have been; however you

Forget your sadness for me

Get in; I believe in you

I will serve from now on. Well, tell me

Where are you going now and why? (Fairy tale Zhukovsky).

But in both tales, the wolf offers his help.

The plot of the Russian folk tale is repeated at those moments when the Gray Wolf helps Ivan the Tsarevich to get the golden-maned horse, the firebird and Elena the Beautiful, helped him return home, and also brings him back to life after the brothers kill Ivan out of envy. Further in 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 is in the duck, the duck is in the hare. A pike gets an egg from the bottom of the sea. Here we draw an analogy with the tale of the frog princess.

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

3. We see the image of Leshy in the fairy tales "Frost", "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 brawler-club, a self-assembled gusli, a self-assembled tablecloth are found in such tales as "Gusli-self-assembled", "The Prince and his uncle", "The Enchanted Princess".

6. A snake with six heads is found in the tale of Ivan, the peasant son.

AS Pushkin on the importance of folklore and the role of folk poetry in the creation of national literature. "Prologue as an artistic study of a fairy tale and the exact expression of its features.

Pushkin acted not only as an unsurpassed master of the interpretation of folklore works, but also as one of their first collectors and theorists. Pushkin approached folk poetry as a poet, as a research scientist, and as a critic; he clearly imagined the historical significance of folk poetry, its role in the creation of national literature. For Pushkin, the problem of nationality was at the center of his thoughts; he repeatedly and on various occasions dwelled on this issue. Such is the well-known note “On Nationality in Literature” (1825), in which the poet opposes “pseudo-nationality”, emphasizes that nationality is manifested not in external signs of 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 the ideological content; a folk writer should not be limited 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” transferred their readers “to all parts of the world”, at the same time preserving in their works “the dignity of a great nation”. 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 a small but rather diverse collection of his recordings. He recorded a song about Arakcheev (“You, Rakcheev, sir, ruined all of Russia”), as well as folk ballads, soldiers' and family songs, mostly wedding songs. Pushkin planned to publish a collection of 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 Mikhailovsky, the poet writes down songs about Stepan Razin. In 1833 he traveled to the Orenburg province to study the Pugachev uprising, where he also recorded several songs about Pugachev.

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

Pushkin highly valued the language of folk art. The simplicity of the language of a folk tale, the accuracy and expressiveness of the structure of the phrase in proverbs was noted by him as a perfect form of poetic speech: “What kind of gold are Russian proverbs, and they are not given into hands, no!” Pushkin's collecting activity is explained not only by the desire to preserve a song or a fairy tale, but by the desire to master the 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 identity. The poet did not even have a blind idealization of folk art, he noted in it the features of conservatism, the manifestation of all kinds of prejudices.

Pushkin uses folklore motifs and images in his artistic work, for example, the poem "The Robber Brothers" is built on the motives and material of "robber" songs. The poem "The Prisoner" is also inspired by the motives of these songs and reproduces their themes and images. Folk tales captivated and fascinated Pushkin with their artistic charm, their figurative language, rich fantasy, realistic spirit; in fairy tales, the poet saw, as it were, a synthesis of all the elements of folklore. When creating his fairy tales, Pushkin uses different sources: these are plots of Russian folk tales, these are plots of popular literature, these are plots taken from world folklore (“The Tale of the Golden Cockerel”). Folklore images in Pushkin's fairy tales are either taken from folklore, or rethought by the poet, or invented by him. Pushkin's statements on the issues of folklore, his plans for collecting work and understanding of the tasks of study were not only the facts of his personal biography, but had an undeniable 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; "Russian Folk Songs" by 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 opposite camps were clearly outlined in it. In a certain sense, the Slavophiles (brothers Kireevsky, 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 folklore is characterized by the idealization of ancient Russian life with all its conservative aspects, the assertion that Russian traditional folklore is fundamentally religious. That is why P.V. Kireevsky published only spiritual poems from his song collection as, in his opinion, the most valuable. Supporters of the “official nationality” sought to prove, through a biased selection of folklore material, that the Russian people were characterized by such qualities as royalty, religiosity and humility. Another camp in the Russian science of folklore in the 30-40s of the XIX century was represented by the emerging revolutionary-democratic folklore.

Pushkin's fairy tales with a folk poetic stylistic basis. Issues. The role of fantasy Plot and compositional features. Peculiar development of characters in comparison with folk. The role of the author's voice. Variety of descriptions. Rhythmic originality.

Fairy tales with a folk poetic stylistic 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 learn not only the individual features of its poetics, but to capture its poetic integrity. Folklore for Pushkin was not a means, but an end. Studying the artistic form, the poet wanted to understand its semantic fullness, to reach 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. Hence the 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 organically “grow” through the folk meaning of fairy tales, supplement, develop and deepen it. Pushkin adopted the natural wisdom of the people and raised it with his thought to the rank of a deep dialectical philosophical view of the earthly existence of man. Thus, the popular 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". Pushkin's "The Tale of the Fisherman and the Fish" is one of the most complex and mysterious Pushkin's texts. The story has mythological origins. This tale is the most epic of all, the most monumental and in its appearance is very close to folklore. This is a story-parable in verse, created according to the laws of the magical genre, it is a fairy tale built on the basis of everyday life (a description of everyday life from the life of ordinary peasants). The tale begins with the initial situation, where family members are listed: "There lived an old man 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 Boldino Pushkin According to the classification of V.Ya. Propp, considered above, Pushkin's goldfish belongs to a special variety of fairy-tale heroes - "magic 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 an award. In the fairy tale "About the Fisherman and the Fish" this does not happen, everything returns to the beginning. If compared with a folk tale, then its beginning corresponds to a plot from folklore: luck smiled at the poor man, some magic happened, a fabulous action. The hero has a magic tool at his disposal. And the old man acts in the spirit of positive fairy tale characters: "He released the golden fish / And he said to her an affectionate word ...".

The capture and mercy of the animal are brought to the beginning in this tale. There is a plot twist. However, from this moment on, the plot role of the old man changes, 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 you know, is determined by his function. Service to an evil and greedy heroine changes his position in the tale. The motive of a grateful animal is replaced by the motive of punishment for unjustified, excessive desires, which is more characteristic of a parable or a 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 one originally set. And although the old woman's desires are evaluated in the mouth of the old man (the quarrelsome woman, the damned woman freaked out), he nevertheless does not try to resist her will. The hero himself does nothing, the magic helper (the fish) does everything. He begins to serve the evil and greedy heroine, who is always missing 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 classification already indicated, he can now be called a "suffering hero", an intermediary. The old woman can be attributed to a false hero who strives for publicity, power, wealth. The old woman with an order sends the old man to the fish, accompanying her words with threats: "You are a fool, you simpleton!" The old woman scolds even more / What the world is worth scolding her husband / She hit her husband on the cheek / "If you don't go, they will inevitably lead you."

Why doesn't the old man reread the old woman? After all, he calls her "a grumpy woman", "the old woman got mad more than ever", "damned woman". The distance between the old man and the old woman increases, though not immediately. While the old woman asks for a new trough, we have before us a domestic scene. But then the old man seems to forget that his wife is in front of him. Class relations take over family, human. He is afraid of his wife, and not a pillar noblewoman. Why did Rybka stop fulfilling the wishes of the old woman? Indeed, in the fairy tale "Sivka - Burka" desires are not limited. Pushkin introduces moral issues into the fairy tale. Only for greed she is punished.

A detail is very important in the fairy tale: the old woman was left with nothing after she forced the old man to tell the fish that she wants to be the mistress of the sea, and the goldfish herself should serve her on the premises. This is not just a reaction of the fish - it is the answer of the 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 is a story about oppression. Even Pushkin's contemporaries 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 pace of the "Iron Age" - this is emerging capitalism, exorbitant greed.

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

"Have mercy, empress fish ..."

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

"Come back, fool, you are to the fish ..."

"... The old man went to the blue sea..."

"Have mercy, empress fish," etc. .

A circle from which there seems to be no way out. The whole fairy tale rests 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 method of growth traditional for folk art. On the ground - from the trough to the royal dignity. On the sea - from the blue vastness to the black storm. The sea is becoming more and more restless, but the goldfish itself, meeting the old man with unfailing cordiality, reassures:

"Do not be sad, go with God to yourself. / So be it: you will already have a hut."

"Do not be sad, go with God! / Good! The old woman will be the queen!" .

There is another character in this tale - the sea. The sea acts as a full-fledged hero of a 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 "slightly broke out." The second time I went to ask for a hut - "the blue sea became cloudy", but it did not change its beauty, it remained blue. The sea met the old man restlessly for the third time. When the old man went to ask for the royal dignity for the old woman, then "the blue sea turned black." The last time the old man saw a black storm at sea:

"So the angry waves swelled, / So they walk, so they 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 tale does not have the usual happy ending, as in the folk tale "Sivko-Burko", which ends in victory and joy: "They played the wedding of the princess with Ivanushka and made a feast for the whole world."

Pushkin in the final returns everything to normal:

"Look: again in front of him is a dugout; / On the threshold sits his old woman, / And in front of her is a broken trough."

This tale is a peculiar, purely Pushkinian variant of the fairy tale, widely spread in the poetry of different peoples, about an old woman punished for her desire for wealth and power. In Russian fairy tales for this story, an old man and an old woman live in the forest, and the wishes of the old woman are fulfilled either by a wonderful tree, or a bird, or a saint, etc. Pushkin took advantage of the corresponding German fairy tale, where the action takes place on the seashore, the old man is a fisherman, and the flounder fish acts as the executor of all desires. Pushkin replaced this unpoetic image with a goldfish, a folk symbol of wealth, abundance, good luck.

Another change introduced by Pushkin to the plot gives the tale a completely new ideological meaning. In all popular variants, the idea of a fairy tale is reactionary. It reflects the oppression and humility of the people. The tale condemns the desire to rise above one's miserable condition. The old woman wants to get a new house instead of a dugout, then to become a mistress from a peasant woman (and the old man becomes a master), then a queen (and the old man - 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 return to their former poverty. The meaning of the tale in its folk versions is "every cricket know your hearth".

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 rises on 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 mistress or tsarina, but because, having become a mistress, she beats and "drags" her servants, sends her peasant husband to serve in the stable; having become a queen, she is surrounded by a formidable guard, who almost chopped 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 parcels.

Having considered the features of Pushkin's poetic tales and the originality of "The Tale 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 supplements the previous one by posing and solving 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 completely 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 trace not only individual features of folklore poetics, but its entire poetic integrity. Folklore for Pushkin is not a means, but an end. In his fairy tales, he tried, first of all, to preserve the people's view of things and only then express his own thoughts, his own view of life.

All Pushkin's fairy tales are built on the basis of two stable, recurring, archetypal situations. Depending on this, the texts can be divided into three groups: fairy tales about Balda and the fisherman and the fish are based on the situation of a person using another creature (person) for selfish purposes, exploiting his physical and spiritual powers, which is typical for everyday fairy tales; fairy tales about Tsar Saltan and the dead princess are based on the situation of the exile of the 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 variant of the tale about an old woman punished for her desire for wealth and power, which is widespread in the poetry of different peoples. This tale, adapted from a German folk tale by Br. Grimm, refers to a special kind of fairy tales, with the participation of fairy-tale characters - "magic helpers". If compared with a folk tale, then its beginning corresponds to a plot from folklore: luck smiled at the poor man, some magic happened, a fabulous action. The hero has a magic tool at his disposal. And the old man acts in the spirit of positive fairy tale characters. 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 rises on 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 mistress or tsarina, but because, having become a mistress, she beats and "drags" her servants, sends her peasant husband to serve in the stable; having become a queen, she is surrounded by a formidable guard, who almost chopped 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 parcels. This gives Pushkin's fairy tale a deep progressive meaning.

VF Odoevsky (1804-1869) is a famous writer, musician, philosopher and teacher. “A perfectly developed person”, “a living encyclopedia” - those who knew him spoke of him like that.

Publisher of the almanac "Mnemosyne" and the magazine "Moscow Bulletin", co-editor of Pushkin's "Contemporary". As an assistant 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 in 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 mankind, which is destined to become equal in meaning to the language of words, understandable to all people, all peoples, it will unite and make them friends.

Even the word "philosophy" - dry and abstract, he and his friends will find a replacement - wisdom, 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, organized the educational process in various educational institutions - from educational houses, parish rural schools to the Mariinsky Institute of Noble Maidens. He has written a number of textbooks for students, guides for teachers.

In 1834-1835, he published an unusual manual for orphanages where orphans lived - "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.

One of the first in Russia, Odoevsky became interested in pedagogy as a science. He conceived a large essay on pedagogy called "Science before Science". During the life of the writer, only a small part of it was published.

Odoevsky writes: “Three ways to act on a child: reasonable persuasion, moral influence, aesthetic harmonization ... whoever is inaccessible to persuasion (the most difficult task), he can be influenced by moral influence; the child will yield to you because you desire it, out of love for you; if you have not achieved love from a child, try to develop it by aesthetic harmonization - music, paintings, poems ... "

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

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

“Children were my best teachers ... For a fresh, childish 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. Considering that a child can be "awakened" and "unawakened", he attached great importance to children's literature, capable of awakening the mind and heart of a child. “The unawakened are more than asleep,” such children are not interested in anything, they do nothing. They can be awakened, for example, by the tales of Hoffmann. 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 "fertile" feelings in the child's soul.

He sought to set in motion the thought of the child, relying on the love of children for fiction, fantasy. His books skillfully combine real and fantastic events. The works of Odoevsky are characterized by the naturalness and scientific nature of the content, the fascination and drama of the narration, and the conviction in the power of the human mind.

During the life of Odoevsky, his books for children were published 6 times: "The Town in a Snuffbox" (1834, 1847), "Tales and Stories for Children of Grandpa Iriney" (1838 and 1840), "Collection of Children's Songs of Grandpa Iriney" (1847).

In terms of genre, his works are diverse: fairy tales, short stories, essays, poems. Odoevsky also wrote several colorful plays for the puppet theater: The Tsar Maiden, The Pharisee Boy, Sunday, The Carrier, or Cunning Against Cunning. According to the recollections of friends, Odoevsky with great pleasure came up with plots and staged home performances with children. He was an enthusiastic person, inexhaustible invention and fun. Such people, according to Belinsky, in Russia are called "children's holiday." Odoevsky ideally combined in himself the qualities necessary for a children's writer: "both talent, and a living soul, and poetic fantasy, knowledge of children." This predetermined his success.

Having studied the fairy tales and stories of Odoevsky, the following aspects of his works can be distinguished:

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

Materials for the 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 thing in everyday life of the last century, quite common and at the same time arousing the curiosity of a child. It is no coincidence that the author-musician himself is interested in it, who, by the way, created a musical instrument called "Se6astyanon".

Little Misha is fascinated by the appearance of the snuffbox, on the lid of which are depicted a gate, a turret, golden houses, golden trees with silver leaves, a sun with diverging rays. But the boy is more interested in the internal structure of a 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 many bell boys, they are constantly tapped by evil uncle hammers, who are supervised by a thick roller, turning from side to side on the sofa. And the graceful princess spring “in a golden tent with pearl 6-chrome” commands everyone. It is she who explains to Misha the well-coordinated work of the musical mechanism. With surprise, Misha discovers the similarity of the principles of the music box with the laws of the social structure: everything is interconnected and a violation in one link disables the entire system, violates the wonderful harmony. As soon as Misha pressed the spring, everything fell silent, the roller stopped, the hammers fell, the bells turned to the side, the sun hung down, the houses broke ... ". A town in a 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, the musical theory of counterpoint. And all this simply and naturally fits into the story.

The story is also educational. The idea that everything in the world is driven by labor passes latently, idleness seems attractive only from the outside. At the same time, morality is unobtrusive, it follows from action.

In The Town in a Snuffbox, Odoevsky fully demonstrated the art of talking with children about complex things in a language that is understandable, simple and convincing.

Similar artistic techniques were used by Odoevsky in the fairy tale "Worm" , turning this time to the field of natural science. The tale in an entertaining, poetic form acquaints readers with the transformation of a larva-worm into a chrysalis, then into a butterfly. About this tale, A. A. Kraevsky wrote the following: “Is not a mysterious idea obvious in this whole story of the life of a worm, a deep allegory, dressed in the simplest, most charming, most understandable expression for children? 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, not only may want to study natural history, but will also take into his soul a great, fruitful thought that will never be forgotten, give rise to many other sublime thoughts and lay the foundation for moral perfection.

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, holidays. The basis of personal culture is being formed.

The most popular fairy tale is Moroz Ivanovich. It resonates in plot with the folk tale "Morozko", includes traditional fairy tale motifs (an oven with pies, an apple tree with golden apples). Creating his work, Odoevsky supplemented it with details of everyday life, a description of the decoration of Moroz Ivanovich's dwelling, and described in detail the characters of the main characters - the girls of the Needlewoman and Lenivitsa. In the literary fairy tale, they are sisters, they live with a nanny, so the motive of unfair persecution by 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 emphasizes the epigraph: “For nothing,
without labor, nothing is given - it is not for nothing that the proverb has been kept from time immemorial.

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

The writer softens the end of the tale. Sloth receives gifts from Moroz Ivanovich that melt before our eyes. What is the work, such is the reward. And the afterword is addressed to the reader: “And you, kids, think, guess what is true here, what is not true; what is said really, what is said by the side; either for fun or for instruction.

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

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

The story "Poor Gnedko" sounds most modern - about the fate of a cab horse driven by its owner.

... Once Gnedko was a cheerful foal, he lived in the village, the children of Vanyusha and Dasha were friends with him. Then he was sold to the city. And now poor Gnedko lies on the pavement, "cannot move, buried his head in the snow, breathes heavily and rolls 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. Whoever torments a horse, a dog, is able to torment a person ... "

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

The witty Indian tale "About the Four Deaf People" is interesting and meaningful. Four deaf people (a village shepherd, a watchman, a rider and a brahmin) forced to communicate cannot hear each other. Everyone interprets the behavior of the others in his own way, which is why a lot of absurd and absurd things follow. The tale warns against moral deafness. The writer addresses the readers: “Do a little, friends, don't be deaf. We have been given ears to listen. One wise man noticed that we have two ears and one tongue, and that, therefore, we need to listen more than speak.

The 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 be possible for a boy who had amazing perseverance, magical curiosity, and extraordinary diligence.

Thus, we can talk about the crucial importance of Odoevsky's works in introducing young readers to universal human values that are relevant for any era.

Odoevsky's works are well known and loved by connoisseurs of Russian literature of the 19th century. He was called the prince of romanticism, one of the founders of Russian musicology. In his career, he led the Society of Philosophers, published almanacs and magazines, and was the director of the Rumyantsev Museum. Schelling and Hoffmann had a great influence on him, it is interesting that he was fond of the occult sciences. He was even nicknamed "Russian Faust". Popularity brought him fantastic stories written in the genre of romanticism, wrote utopias, educational satire.

Biography of the writer

It is noteworthy that some of Odoevsky's works remained unfinished. In particular, this concerns one of his first novels called "Jeronimo Bruno and Pietro Aretino", referring to the so-called first Moscow period of his biography.

At this time, Odoevsky lived in Gazetny Lane, studied at a noble boarding school. In 1823 he began to serve in the archives of the College of Foreign Affairs. A circle of the "Society of Philosophy" gathered at his apartment, which was dissolved after the Decembrist uprising.

In 1826, the hero of our article moved to St. Petersburg, where he married Olga Lanskaya. Begins to work in the Censorship Committee of the Ministry of the Interior. He uses the connections that have appeared to resume the publication of Otechestvennye Zapiski. At that time he took an active part in Belinsky's circle, preparing a three-volume set of his own compositions. However, until now they remain unreprinted.

The maintenance of the salon, which the Odoevsky spouses had in Moshkov Lane, belongs to the Petersburg period. Well-known musicians and writers regularly came to them, among whom were foreign celebrities. For example, Franz Liszt.

"Kitchen Art Lectures"

By the way, Odoevsky was famous for his recipes. Dishes from them always turned out to be original and very spicy. There was always a large number of sauces on the table, which were collected from all over the world.

In the same period of creativity, he shows interest in mysticism, alchemy, Masonic teachings, and medieval magic. It is worth noting that it was during this period that his literary creativity flourished. For example, it is believed that in the unfinished novel "Year 4338: Petersburg Letters" he was one of the first in the world to predict the emergence of the Internet and blogs. His collection of philosophical stories and essays, united under the general title "Russian Nights", belong to the Petersburg period.

Popular are his stories under the titles "The Last Suicide", "The City Without a Name". They detail the consequences that the implementation of the law of Malthus can lead to when the entire population of the planet increases exponentially.

"Russian Nights" became an important final work, in which the author embodied all the disappointments experienced from modern literature and society. After that, he begins to devote less and less time to writing, more doing work and helping others.

Works of the second Moscow period

During the second Moscow period of his work, Odoevsky abandons mysticism, starting to promote the ideals of folk art.

In 1861 he returned to Moscow, received a seat as a senator in the Moscow department. Welcomes liberal reforms and easing of censorship.

Interestingly, throughout his life he had many diverse interests. For example, somehow he became interested in shorthand and even began to write a "Guide to the gradual study of Russian cursive writing."

"4338th year: Petersburg letters"

One of the famous, but unfinished works of Odoevsky is the novel "Year 4338; Petersburg Letters", written in 1835. It was first published in 1926. This is a popular utopia. In the work of V. F. Odoevsky, events unfold in 4338. All in anticipation that Biel's comet will collide with the Earth in a year.

Initially, it was supposed to be the final part of the trilogy, in which attention would also be paid to Russia during the time of Peter the Great. However, as a result, the first part was never realized, and Odoevsky did not finish the second and third parts.

In this work of Odoevsky one can find distant predictions of the future. For example, the possibility of remote communication between people using magnetic telegraphs.

The "home newspapers" that replace regular correspondence are also described in detail. They tell about the illness of the owners or other important events of this life. You can also find thoughts, sayings and comments. In 2005, blogger Ivan Dezhurny drew attention to this and began to claim that these were the first predictions of blogs and the Internet in the history of literature.

"Town in a Snuffbox"

Of the works of Odoevsky for children, the most popular is "The Town in a Snuffbox". This is a story written in 1834. Its main characters are father and son.

The father gives the child a snuffbox. The boy immediately wanted to find out how it functions and to find himself in the inner world of a small snuffbox. He certainly needs to consider how everything works.

Much to his surprise, he succeeds. Right out of the snuffbox, a bell boy comes out to him, who invites him inside. In the snuffbox there is a whole town in which everything for the protagonist is arranged unknown and in a new way. The boy learns a lot, masters interesting sciences, learns about mechanisms. At the end of the tale, he wakes up, only then he finds out that it was all a dream.

"Russian Nights"

Another work by Odoevsky is called Russian Nights. It was first published in 1843. This is one of the most philosophical and amazing works of the author, as the reader's reviews say.

The annotation to Odoevsky's work mentions that this is one of the most difficult and dramatic stages in the history of all Russian literature and culture. The same goes for reader reviews. The format of this book of the hero of our article is attractive. In fact, the frame is a conversation with elements of philosophy that takes place between several young friends. Various fantastic themes and motifs are raised in the stories.

Tales of Odoevsky

Among the works of Odoevsky, fairy tales stand apart. Many even know him, first of all, as the author of books for children.

Connoisseurs of his fairy tales note that each work of Odoevsky turns out to be a window into a unique and incredible world that is so easy for children to believe in. His tales tell of people who lived life to the fullest many generations ago. They selflessly loved, worked to the last drop of sweat, believed in what they were performing for.

Odoevsky's fairy tales can teach even modern children a lot. In them, the best human feelings will be demonstrated to the kids. This is restraint, diligence and inquisitiveness.

"Moroz Ivanovich"

One of Odoevsky's most famous fairy tales, according to readers, is called Moroz Ivanovich. It tells about two girls, whose names are Sloth and Needlewoman. In life, they behave exactly in accordance with their names.

When the Needlewoman dropped a bucket of water into the well, the nanny made her go down into the well for the bucket. At the bottom of the well, she found an oven with pies, an apple tree, old man Moroz Ivanovich, whom she treated with gifts. For her kindness, he agreed to give her back a bucket full of money.

When Lenivitsa went for gifts, she returned empty-handed.

prince, 08/11/1804, Moscow - 03/11/1869, ibid.

Russian writer, philosopher, music critic

This song was sung by a bell boy in a radio performance, and several generations of children heard it first on the radio, then on a record, before they got a book with beautiful pictures, where on the cover stood: “V. Odoevsky. Town in a snuffbox.
Even if someone had a different way, there is still no better way to enter the world of the writer than to get acquainted with this little elegant fairy tale. The author, just like his little hero, himself always wanted to know: why does music play in a snuffbox? Why do different hooks cling to each other, hammers knock on them, and why do bells ring?
The writer admitted that he feeds "special hatred of autobiographies" and so we know little about his childhood. The last of the family, Vladimir Odoevsky was the son of Prince Fyodor Odoevsky, a descendant of Rurik. His mother was a simple peasant woman, a serf before marriage. At the age of five, the boy lost his father, and his mother, having remarried, handed him over to his uncle for upbringing.
In the Moscow University Noble Boarding School, where pupils had the right to choose subjects to their liking, Vladimir gave preference to philosophy and literature. Very early he was fascinated by music. “Ever since I can remember, I have already read music”.
After graduating from the boarding school, Odoevsky and his friend Dmitry Venevitinov founded the Philosophy Society, which brought together young philosophers and writers, admirers of Kant and Schelling. D. Venevitinov, I. Kireevsky, A. Khomyakov, V. Titov, S. Shevyryov and others gathered secretly at Odoevsky's apartment in Gazetny Lane.
“The two cramped closets of young Faust under the entrance were littered with books - folios, quartants and all sorts of octaves - on tables, under tables, on chairs, under chairs, in all corners, so it was tricky and dangerous to make your way between them. On the windows, on the shelves, on the benches - glass bottles, bottles, jars, mortars, retorts and all kinds of tools.(M. Pogodin). The heartfelt speeches of the young “wise men” were calmly listened to by a human skeleton with a bare skull, standing in the front corner.
According to eyewitnesses, the office of Prince Odoevsky in St. Petersburg, where he moved in 1826, was exactly the same picture. After the defeat of the Decembrists, the “wise men” had to dissolve their society. Odoevsky entered the civil service and settled in the northern capital.
Having married and made his own home, he quickly entered both the secular circle and the literary environment of St. Petersburg. Writers, musicians, scientists, travelers - people of different classes and various talents - began to gather in his modest outbuilding in the late evenings after the theater. Pushkin and Zhukovsky, Countess Rostopchina and young Lermontov, young Gogol and Glinka sat on an old leather sofa in the office of the hospitable host... Ruslan and Lyudmila, A Life for the Tsar, and many other compositions were played here on the piano much earlier than in theater and concert halls.
In the 1830s and early 1840s. the literary gift of V. Odoevsky flourished. Known until then as a bold journalist and music critic, he began to publish one after another book, although not fully appreciated, but made people talk about him as one of the most notable and original Russian authors.
"Motley fairy tales ... collected by Iriney Modestovich Gomozeika ..." (1833), stories about "great madmen" ("Beethoven's Last Quartet", "Sebastian Bach", "Improviser" and others); “secular” stories (“Princess Mimi”, “Princess Zizi”, “Black Glove”), and finally, “Tales and Tales for Children of Grandpa Iriney” (1838) presented samples of a completely new Russian prose: satirical, psychological and whimsically fantastic.
It was not for nothing that everything boiled, gurgled and shimmered in the retorts and flasks in the prince's office. It must be that not only unprecedented chemical compositions were born there, but also strange plots and images ... Phantasms of Petersburg, where either people play cards, or cards play people; a restless soul wandering in search of a body in Rezhensky district and God knows what else ...
In “The Tale of a Dead Body Belonging to No One Knows” and “The Tale of the Occasion on which Collegiate Councilor Ivan Bogdanovich Otnoshenie failed to congratulate his bosses on the holiday on Bright Sunday,” the future Gogol is visible. “Katya, or the Story of a Pupil”, “Martingale” foreshadow Dostoevsky, the story “Foreman” - “The Death of Ivan Ilyich” by L. Tolstoy and so on.
Much of what was found by V. Odoevsky was used by both his contemporaries and distant literary "descendants".
As for the “mysterious” stories - “Sylphide”, “Salamander”, “Orlakh Peasant Woman”, “Cosmorama” and others, then in this genre, Prince Vladimir Fedorovich, well-versed in the secret sciences, alchemy, magic and magnetism, said his weighty word. But it was not immediately heard.
The crowning achievement of Odoevsky's work and its unexpected conclusion was the philosophical novel Russian Nights (1844). This book - the result of many years of research, observation and reflection on the nature of things and man, on the fate of peoples and civilizations - led readers and critics into bewilderment and was recognized "outdated and untimely". Perhaps that is why the author soon left literature and wrote only articles about music and on various topics of social life.
Considering that a person should honestly fulfill his duty wherever he is, Odoevsky served conscientiously all his life: in the Censorship Committee, in the Department of Religious Affairs of Foreign Confessions, in the commissions of the Ministry of Internal Affairs. He gave a lot of strength and soul to the Society for the Encouragement of the Poor, helping orphans, the disabled and all the destitute. His encyclopedic knowledge and great love for the book finally found real use when the writer was appointed assistant director of the Public Library and head of the Rumyantsev Museum. Protecting the collection of books, manuscripts and other rarities, "like a faithful dog"(in his own words), Vladimir Fedorovich did not allow the closure of the museum and the fragmentation of collections when the buildings where they were kept fell into disrepair.
A bibliophile and educator, Odoevsky had long dreamed of creating a city public library in Moscow. Finally, his many years of efforts were crowned with success, and, having received an appointment in Moscow, in 1862 he moved an invaluable book collection to his native city. Prince Vladimir Odoevsky became the first director of the Rumyantsev Library, which is still the main national library of Russia.
The scribe and mystifier, who met his guests in a black pointed cap and a long black velvet frock coat, like an alchemist ...
The prince, long before the reform, set his serfs free along with the land, although he was not at all rich ...
A talented musician and perhaps our first professional music critic, he "discovered" Bach and Beethoven, Berlioz and Wagner to the Russian public. He preserved old Russian musical texts and taught his contemporaries to understand and appreciate new Russian music - from Glinka to Tchaikovsky. The free choral singing class opened by Odoevsky became the Moscow Conservatory two years later.
Russian Faust, he kept trying to understand why the successes of mathematics, chemistry, physics, mechanics do not bring a person closer to unraveling the mystery of being, but rather move away from it ... Even before the word "progress" was heard, and people believed that the achievements of science will inevitably lead humanity to the "golden age", Odoevsky thought: what will happen at this time to the human soul? Living in huge glass houses, flying through the air, replacing correspondence and books "electric conversation" Will people become happier?
In the new millennium, we still face the same “damned questions”. Will Russian boys still look for answers to them? Who knows…

Margarita Pereslegina

WORKS OF V.F.ODOEVSKY

WORKS: In 2 volumes / Entry. Art. V.I. Sakharov. - M.: Artist. lit., 1981.
After many years of oblivion, the personality and work of Odoevsky again began to arouse keen interest. In the last decades of the 20th century, both the writer's own works and interesting works dedicated to him were published more than once. But much of his legacy has yet to be studied and discovered by researchers and readers of modern times.
This edition presents the writer's stories known from many collections and his main work - the philosophical novel "Russian Nights"; articles on Russian literature and journalism are also included.

TOWN IN A SNUFFBOX: Fairy tales, excerpts from the story. - M.: Drofa-Plus, 2005. - 64 p.
"Town in a Snuffbox"
“What a beautiful snuffbox! motley, from a turtle. What's on the lid? Gates, turrets, a house, another, third, fourth - and everything is small and small, and all are golden, and the trees are also golden, and the leaves on them are silver; and the sun rises behind the trees, and from it pink rays diverge throughout the sky.. I wish I could go in there and see who lives there!..

"Igosha"
A strange tale ... A brownie is not a brownie, an imp is not an imp, where did it come from, why did it become attached? He broke the toys, broke the dishes, and you have to stand in the corner for him! And yet he "pathetic" some...

MOROZ IVANOVICH; TOWN IN A SNUFFBOX; WORM; JOINER; A TALE OF FOUR DEAF people // Tales and stories of Russian writers. - M.: Reading Circle, 2001. - S. 35-63.

ABOUT LITERATURE AND ART / Introduction. Art. V.I. Sakharov. - M.: Sovremennik, 1982. - 223 p. - (B-ka "To lovers of Russian literature").

COLORFUL FAIRY TALES WITH THE RED SLOVETS, COLLECTED BY IRINEY MODESTOVICH GOMOSEIKOY, MASTER OF PHILOSOPHY AND A MEMBER OF DIFFERENT SCIENTIFIC SOCIETIES, PUBLISHED BY V.BEZGLASNY. - M.: Book, 1991. - 158 p.: ill.
Facsimile reproduction of the 1833 edition.
Odoevsky's first book was published with extraordinary ingenuity and fiction. Only a person in love with book art could think through all its elements in such a way: from the multi-colored letters of the title and the lace pattern on the cover to the special “rules” of spelling, about which the preface informs with seriousness.
As for the content, the author foresaw that "for some readers, his tales will seem too strange, for others too ordinary." And so it happened. But two things - “The Tale of the Dead Body, No One Knows Belonging" and "The tale of the occasion on which the collegiate adviser Ivan Bogdanovich Relation failed to congratulate his bosses on the holiday on Bright Sunday" - everyone liked it and has since been included in all collections of the writer's works.

NOVELS AND STORIES / Entry. Art. and note. A. Nemzer. - M.: Artist. lit., 1989. - 382 p. - (Classics and contemporaries).
Contents: Sylph; Salamander; Cosmorama.
The human mind is daring, and the temptation to look into the secrets of another world is great... But will the soul withstand communion with the elemental spirit of air or fire, or with the very embodiment of evil?..

NOVELS AND STORIES / Comp., foreword. and note. E. Maimina; Rice. N. Goltz. - M.: Det. lit., 1992. - 334 p.: ill.

Margarita Pereslegina

LITERATURE ABOUT THE LIFE AND CREATIVITY OF V.F.ODOYEVSKY

Belinsky V. Compositions of Prince VF Odoevsky // Odoevsky V. Beethoven's Last Quartet. - M.: Mosk. worker, 1987. - S. 344-371.

Korovin V. Vladimir Fedorovich Odoevsky (1804-1869) // Anthology of World Children's Literature. - M.: Avanta +, 2002. - T. 5. - S. 251-253.

Labyntsev Y. Romantic wisdom // Labyntsev Y. Became part of it: Collections of Russian bibliophiles in the main book treasury of the country. - M.: Book, 1990. - S. 164-195.
About the life and work of Odoevsky in connection with his book collection, transferred after the death of the writer to the Rumyantsev Library.

Lasunsky O. Secrets of the literary mask // Book treasures of the world. - M.: Prince. Chamber, 1989. - S. 83-91.
About the first edition of "Motley Fairy Tales" and about their author.

Lyubytsyna M. Odoevsky Vladimir Fedorovich // Russian writers of the XI-beginning of the XX century: Biobibliogr. dictionary / Ed. N. Skatova. - M.: Education, 1995. - S. 291-294.

Muravyov V. Russian Faust // Odoevsky V. Beethoven's Last Quartet. - M.: Mosk. worker, 1987. - S. 3-34.

Nemzer A. V. F. Odoevsky and his prose // Odoevsky V. Novels and stories. - M.: Artist. lit., 1988. - S. 3-11.

Odoevsky in life; Autobiography; Reviews and memories of contemporaries // Odoevsky V. Beethoven's last quartet. - M.: Mosk. worker, 1987. - S. 320-376.

Sakharov V. About the life and works of VF Odoevsky // Odoevsky V. Works: In 2 volumes - M .: Khudozh. lit., 1981. - S. 5-28.

Sakharov V. Sower of thoughts: (V.F. Odoevsky) // Sakharov V. Pages of Russian romanticism. - M.: Sov. Russia, 1988. - S. 247-311.

Stupel A.M. Vladimir Fedorovich Odoevsky: 1804-1869. - M.: Music, 1985. - 96 p.

Tubelskaya G. Odoevsky Vladimir Fedorovich // Tubelskaya G. Children's writers of Russia: Bibliogr. reference book: Part 2. - M.: School Library, 2002. - S. 52-56.

Turyan M. Tales of Iriney Modestovich Gomozeyka: Appendix to facsimile reproduction of ed. 1833 - M.: Book, 1991. - 47 p.

Turyan M. My strange fate. - M.: Book, 1991. - 398 p.: ill. - (Writers about writers).

A brief biography of Odoevsky is the most important thing. Literature task (Grade 4): briefly tell the biography of Odoevsky V.F. Message on the topic in Fodoevsky

First Moscow period

Creativity of the Petersburg period

Social activity

Internet Predictions

Addresses in Moscow

Addresses in St. Petersburg

Odoevsky's works on music

Editions of essays

see also

Memory

Notes

Literature

Links

Biography of the writer

"Kitchen Art Lectures"

Works of the second Moscow period

"4338th year: Petersburg letters"

"Town in a Snuffbox"

"Russian Nights"

Tales of Odoevsky

"Moroz Ivanovich"

Margarita Pereslegina

WORKS OF V.F.ODOEVSKY

Margarita Pereslegina

LITERATURE ABOUT THE LIFE AND CREATIVITY OF V.F.ODOYEVSKY