Colorful fairy tales with a red word. The ideological and genre diversity of the cycle "Colorful fairy tales with a red word, collected by Iriney Modestovich Gomozeykoy, master of philosophy and a member of various learned societies, published in

“As for me,” one of the kind young people told me, “then all your misfortunes are nothing before mine. Great importance that you got into the dictionary! How many mammals would like to achieve this honor. I rubbed myself so hard on the printed sheets that to say without pride I will not change my current image for the former one. If I weren’t a fairy tale, I would never understand what happened to me; now, at least, willy-nilly but I must clearly understand all the circumstances of my life, be ready to give an account to everyone in it, and this, really, is not a trifle. You grieve, Lord, that you have fallen into the Dictionary! caught in a glass jar and in danger of being eaten by your own parent? Do not be surprised, Lord, I am telling the real truth. But before I begin the story, I must explain to you my bewilderment about a subject that I still do not comprehend : why are you Lord Che Lovers, put up with villains in your midst, who do nothing but remove skulls, disassemble the brain, stretch the heart on pins, break off the legs, villains! whom you call Nature Watchers, Naturalists, Entomologists, and so on. etc. Why these gentlemen? Why their cold crimes? For what benefit? I still can't figure it out. You smile as if you want to say that I will not understand your explanations. So be it I agree to this Listen: I am happening, for until now our chroniclers are arguing about our name. There is a legend that we are descended from crocodiles; Egyptian Hieroglyphs, where we or our like-minded people are depicted together with our forefathers and the creations of Elyan, can serve you as a guarantee; in general, we played an important role in antiquity: the famous took our image; Aristotle described our ancient battles with lizards; Democritus assured us that we use our nets as a porcupine uses our quills; that two insects in our interior are enough to exterminate a person before his birth, and such is our importance in Nature that scientists have long argued over our cradles whether to call them nymphae oviformes! Our family belongs to the glorious, and word, which high value you should understand if you know Greek. For our dwellings we dig deep caves in the earth: at the entrance we strengthen stones and wood, which proudly turn on their ropes from us people occupied what they call doors. Moreover speaking with the eloquent lips of our biographers Nature has given us: two four-piece biting points, jagged jaws, equipped with a claw; but, most importantly, she endowed us with agility, cunning, muscle strength and indomitable courage. Alas! perhaps in it she laid the germ of our misfortune too! From the very young years I was afraid of my father; his formidable appearance, his hardness of heart frightened me; his every glance seemed to threaten me with death; my mother was long gone; all my brethren fell victim to his natural ferocity; I survived alone, for I managed to escape from my father's house; I hid among the wild jungles of my homeland and often, among the thick bushes, watched with trepidation how my father spread the nets of birds, with what skill he lured them or with what greed he exterminated his own kind. Meanwhile, I had to think about my food; I decided, following the example of my father, to become a hunter, setting up nets; Nature helped me: with weak muscles I pulled the ropes, hid, and I was lucky; feathered, although occasionally, but came across to me; I ate them. So a long time passed, several times already a bright warm summer gave way to a gloomy cold winter and again appeared and warmed my home; I grew up; fiery passions began to agitate me, and I began to look for girlfriends. Nature, my guide, fulfilled my desire; I found a girlfriend; mutual love strengthened our connection; we quickly ran high cliffs with her; on light ropes they descended into the abyss, set up nets together, caught birds together and cheerfully shared the last drop of dew sent by the sky; I soon saw the need to enlarge my dwelling, to further spread the nets: my friend already felt pregnant, she was already afraid to leave her dwelling, and I alone had to deliver food to her; with what joy I went hunting; natural dexterity and cunning seemed to increase in me; I despised danger, boldly attacked our enemies and during the winter when the sky is dark and when a painful sleep imposed chains on all the inhabitants of my homeland, I blessed Nature in a warm nest. But, alas! The bliss did not last long. Hard times are coming! The rumor about the power and ferocity of my father increased daily; already almost all my neighbors either became his victim, or left their homeland; every day my father's dominions spread; naturally fast and strong, he climbed high cliffs, examined everything around him with an attentive eye, and like lightning fell on his prey. Already my father was approaching my dwelling; already often my father's nets touched my nets, and his feet shook my refuge. I did not leave my friend for a moment in horror; fortunately, her father had not yet noticed her; but, to my greatest regret, he often snatched the prey that fell into my nets, and instead of the former plentiful food, I was forced to share only hunger with my friend. I also hid from her the whole horror of our fate; endured patiently when she reproached me for inaction, when she begged me to satisfy her hunger; but at last her strength began to dwindle; pallor began to spread over her, all her muscles came to a stupor in sadness I left my dwelling I see: the net is moving, more in my thoughts I already catch prey, I carry it to my beloved, I satisfy both her and my hunger I hide, quickly rush to my goals ¿So what? Father devours the prey that belongs to me! Despair took possession of me; in a fit of vengeance, I decided to fight my enemy, despite the superiority of his strength, but at that moment the thought of a friend the enemy’s necessary sacrifice after my death, this thought struck me; I restrained myself and, reluctantly, watched as my father quenched his hunger, tore the nets that I had spread, and, proud, calm, returned to his possessions. Meanwhile, new intentions were born in my head. There was a terrible abyss near our homeland; its borders were lost in the distance, and no one has yet dared to measure its depths; it was visible, however, that huge stones covered its bottom, and a muddy spring rustled between them; some daredevils dared to descend into this abyss, but they all disappeared without a trace, and there was a rumor that they were all carried away by the stream in its aspiration. Despite the fact that one of my neighbors who by nature loved to travel told me that behind this abyss there are not only countries like ours, but that there are other countries close to them completely different from ours where eternal summer reigns and where game is so there are so many that there is almost nothing to scatter nets for. Up to now I have regarded my neighbor's stories as a fable, and have almost forgotten them; but at that moment they came into my mind. What? I thought, inevitable death is everywhere: either we will be a victim of an angry enemy, or we will die of hunger this is true; scary and unknown but there is always some ghost of hope in it, let's try it! No sooner said than done: I hitched a light rope to the top of the cliff and began to descend; I soon reached another rock, which served as the foot of the first, and I also attached a rope to it, then to a third; finally there were no more rocks under me, I swayed between heaven and earth and, despite the rising wind, with a curious look examined everything around me; I was already close to the land, I saw how the sea of ​​water flowed between the sea of ​​\u200b\u200bstones, and noticed that in one place it was convenient to cross it to the other side, where, as it seemed to me, the same luxurious rapids were green as in my homeland . My hope increased, and joy agitated my heart, when suddenly my rope swayed strongly, this surprised me, I quickly went upstairs and what did I see? My father was chasing my girlfriend; in my absence, he noticed her, kindled a criminal passion for her! The unfortunate woman gathered her last strength and, seeing the rope lowered into the abyss, decided to go down it; I hurried to help her, we were already half way, when suddenly a gusty wind blew, the rope broke, and I found myself in a turbulent stream; fortunately, the shore was close, and in spite of my weakened strength, I got out on land; a minute of my own danger made me forget about my friend this minute passed, sadness and bewilderment squeezed my heart. ¿Where to find my girlfriend, where to find my ashes? Meanwhile, suddenly the sun was eclipsed, I looked: two I don’t know what to call it, two moving mountains above me; small potholes, located in a semicircle, covered them and some kind of reddish liquid poured noisily into the insides; they are approaching, I hear the rhythmic blows of some kind of hammer, a heat plows on me, different from the sun; I am squeezed between two mountains; I don’t know what happened to me at that moment, for I lost my feelings; when I came to my senses, I saw myself in some strange dwelling, whose magnificence in vain I would like to depict to you. All around me were shiny, transparent walls; at first it seemed to me that they were merged drops of dew: but they were partly made up of crystal columns, of the most diverse, partly from balls filled with air, but so densely and skillfully compressed that holes were barely visible between them; soon the sun illuminated my dwelling; dark colors played on the crystals; iridescent flowers shimmered and, reflected on the surface of my body, constantly produced in me new, varied, sweet sensations! How to describe its majestic spectacle! Even before I loved to watch when the sun gave birth to flowers on drops of dew, but never could I imagine that its rays were enough to decorate such a vast dwelling as my dungeon was. Dungeon I said. So! Despite all the splendor that surrounded me, I kept thinking about my former home, about my girlfriend, about my independence. Grabbing at the ends of the crystals, tying ropes to them, I, although with difficulty, got to half the wall; suddenly something rustled over my head—a new miracle! a flock of birds flew into my dwelling. With a new effort, I continued to climb, wanting to find the hole into which the birds had flown. "Solid walls all around me," I thought, "this hole must be at the top!" But what did I see when I reached the ceiling? It was nothing but a collection of products from almost all the kingdoms of Nature, interconnected with each other in much the same way as we connect ropes of nets. I could not quite marvel at the skill of the being who made up this cloth; in it were visible the remains of plants, the remains of insects, minerals, all this was held together by a wonderful connection; what efforts, what labors were necessary not only to strengthen all this among themselves, but even to collect it from different parts of the universe. What struck me most astonishingly was that this fabric was tightly attached to the crystal, but, however, was not attached to it. Only here did I manage to explain to myself what use this wonderful fabric could be used for; but even here I ask myself. This precious fabric, for all its splendor, can it be as useful as our nets? And I'm not alone; I know that many people have not yet solved this issue. Not finding a hole, I sank down and, seeing the impossibility of escaping from my dungeon, I decided, in anticipation of a convenient opportunity, to use the gifts of fate or a powerful wizard who sent me birds. Fortunately, it didn't cost me much; they were all very weak and did not hit, but fell into the nets that I set for them. So a long time passed, the sun was already beginning to hide, I was preparing myself a warm corner for the winter. ¿But how to portray my surprise? As soon as the sun was hidden, another appeared. I confess that awe seized me when I thought to what extent the power of sorcerers could extend! Summon your sun as if in mockery of the luminary of Nature! Change her order! To this day, I can't remember it without horror! True, this magical sun only reminded of the present by its light; he had no warmth; but in spite of that, just like the real thing, it painted the walls of crystals that surrounded me. While I was looking at this wonderful phenomenon, a distant thunder was heard. Well, I thought, he will strike the sorcerer for his crimes, destroy my dungeon, and I will triumph In a moment I noticed that this thunder was the operation of sorcery itself; it did not resemble the ordinary thunder of Nature, for it continued without interruption; meanwhile my dwelling trembled; not only did each crystal respond to external sounds, but even the rope on which I was standing sounded; I still can't explain it to myself strange action: probably, the sorcerer, in whose power I was, performed at that time some such terrible sacrament that all the objects created by him echoed his spells; I am even more convinced of this by the fact that the trembling of the objects surrounding me also spread to me; little by little all my muscles began to move; a feeling similar to the feeling of love agitated me; an invisible force chained me to the place where the sounds were more audible, and a sweet self-forgetfulness came over me; I do not know how long this condition lasted; when I came to my senses, then the sorcerer's power had already dried up; the sounds ceased, the false sun went out, and darkness enveloped all Nature. One day, when the light of the day shone in all its splendor and its heat increased, passing through the balls that were in the walls of my dungeon, again I heard a noise, the ceiling rose and ¿ how to express my admiration? I saw my girlfriend, my nest; I leave sensitive hearts to add what I felt at that moment; the dungeon seemed to me a clean, free plain, and I, perhaps, only at that moment fully appreciated its splendor; but my delight did not last long again the ceiling stirred and, oh horror! my father descended into my dungeon. From that time my troubles began; in the magnificent castle there was nowhere to hide from my father; while there were still birds, I was calm; but the greed of my father is known; soon he destroyed all the birds; no new ones appeared in their place; famine presented itself to us with all the torments. To my greatest sorrow, at the same time I became the father of a large family, the needs increased; Shall we tell all the horrors of our situation? Already many of my children have become a victim of my father; in fear, half-dead, my friend and I wandered through the magnificent crystals; finally nature prevailed! One day, already the darkness began to spread, suddenly I notice that my girlfriend is not with me, I gather my last strength, go around the castle and alas! In a distant corner, my friend is devouring her own brainchild! At that moment, all feelings flared up in me: anger, and hunger, and pity - everything came together, and I killed and devoured my friend. After one crime, others already seem easy together with my father, we destroyed everything that was alive in the dungeon; at last we met him on the quivering body of my last son; we looked at each other, measured our strength, were ready to throw ourselves into a mortal battle when suddenly there was a terrible crack, my dungeon was shattered, and since then I have not seen my father again ¿What do you say? ¿Is not my story more terrible But you laugh, you do not sympathize with my disasters! Listen, proud people! Answer me. ¿Are you yourself sure, are you convinced, as in mathematical truth, that your earth is the earth, and that you are the people? ¿What if your ball, which seems to you so vast, on which you are proud of both your high thoughts and bold inventions, what if all this haughty bulk is nothing but a nest of inconspicuous insects on some other earth? ¿What if the giants living on it take it into their head to do physical observations on you, as they did me, to starve you to experience, and then throw you and you in cold blood? Earth for the window? Their fingers will seem to you like pitted mountains, the sea their groove, the year their day, the candle the magic sun, the magnificent castle the bank covered with paper, humbly standing on the window and in which you will notice by the subtlety of your gaze what the giants do not notice. BUT! Lord! What do you say to that?.." Mr. Likos fell silent, I don’t know what others thought, but his questions frightened me to death; they frightened me more than they frighten Mr. G. Critics, to whom I boldly give my shaggy Hero to be eaten, let them eat it to their health!

Description:

1. Colorful Tales, pp. 5-57
   1. From the publisher, pages 5-6
   2. Writer's Preface, pp. 7-8
   3. I. Vladimir Odoevsky. Retort(story), pp. 9-17
      1. Chapter 1. Introduction
      2. Chapter 2. How did the writer know what makes living rooms stuffy
      3. Chapter 3
      4. Chapter 4
   4. II. Vladimir Odoevsky. Tale of a dead body belonging to no one knows who(fairy tale), pp. 18-25
   5. III. Vladimir Odoevsky. The life and adventures of one of the local inhabitants in a glass jar, or New Zhoko(short story) (classic novel), pp. 26-32
   6. IV. Vladimir Odoevsky. The tale of the occasion on which the collegiate adviser Ivan Bogdanovich Relation failed to congratulate his bosses on the holiday on bright Sunday(fairy tale), pp. 33-36
   7. V. Vladimir Odoevsky. Igosh(story), pp. 37-41
   8. VI. Vladimir Odoevsky. Just a fairy tale(story), pp. 42-44
   9. VII. Vladimir Odoevsky. A tale about how dangerous it is for girls to walk in a crowd along Nevsky Prospekt(fairy tale), pp. 45-51
   10. VIII. Vladimir Odoevsky. The same fairy tale, only twisted(fairy tale), pp. 52-57
       1. Vladimir Odoevsky. The Wooden Guest, or the Tale of the Waking Doll and Mr. Kivakel(story)
   11. Epilogue, page 57
2. Add-ons
   1. Variants and other editions of lifetime editions, pp. 61-72
   2. Vladimir Odoevsky. An excerpt from the notes of Irinei Modestovich Gomozeika(story), pp. 72-83
   3. Excerpts from "Colorful Tales" (preface), pp. 83-84
   4. Experiences in telling about ancient and new legends (preface), pp. 84-85
   5. The original plan for "Colorful Tales", pp. 85-85
   6. Thoughts that came to mind while reading "Motley Fairy Tales" by Gomozeika, pp. 86-87
   7. Vladimir Odoevsky. The life and adventures of Hilarion Modestovich Gomozeika(story), pp. 87-100
      1. Life and adventures of Hilarion Modestovich Gomozeika, pp. 87-88
      2. The life and adventures of Hilarion Modestovich Gomozeika, or family circumstances that made him what he is and what he should not be, pp. 88-89
      3. Family circumstances of Irinei Modestovich Gomozeika, which made him what he is and what he should not be, pp. 89-92
   8. Vladimir Odoevsky. About pedantry(work (other)), pp. 100-101
   9. Vladimir Odoevsky. Biography of Gomozeika(story), pp. 101-102
   10. Vladimir Odoevsky. Grandmother, or the Harmful Consequences of Enlightenment (rough autograph), pp. 102-106
   11. Vladimir Odoevsky. Grandmother, or the Harmful Consequences of Enlightenment(work (other)), pp. 107-110
   12. Rosen E.F. Motley fairy tales with a red word, collected by Irinei Modestovich Gomozeika (1833), pp. 111-113
   13. Polevoy N. Motley fairy tales with a red word, collected by Irinei Modestovich Gomozeika (1833), pp. 114-118
   14. Letter from E. V. Binemann to V. F. Odoevsky, pp. 119-120
   15. Belinsky V.G. From the article "Works of Prince V.F. Odoevsky" (1844), p. 121
   16. Odoevsky V.F. From The Current Chronicle and Special Incidents (1860), pp. 122-123
   17. Answer of V. F. Odoevsky to P. V. Dolgoruky(article), pp. 124-125
   18. Sollogub V.A. From the memoirs "Survived days. A story about yourself about others" (1874), p. 126
   19. Pogodin M.P. From "Memories of Prince Vladimir Fedorovich Odoevsky, read at a meeting of the Moscow Society of Amateurs Russian literature April 13th, 1869" (1869), p. 127
   20. Lenz V.F. From "The Adventures of a Livonian in St. Petersburg" (1878), p. 128
3. Applications
   1. M.A. Turyan. "Motley tales of Vladimir Odoevsky" (article), p. 131-168
   2. M.A. Turyan. Notes, p. 169-201
   3. List of illustrations, p. 202

Note:

The publication was prepared by M. A. Turyan.

In Motley Tales, Odoevsky collected images and characters that he then used in his later work. original name with the epithet "terry", according to the author, more successfully reflected his idea - to portray the negative qualities of people under the cover of external decency, in the manner of a fable. The final version - motley - only reflected the diversity of genres and topics of presentation.

Unusual stories alternate like pieces of glass in a kaleidoscope, each time laying out an unpredictable fantastic plot. Fairy tales are written on behalf of Iriney Modestovich Gomozeyka, Master of Philosophy and member of various societies. They contain the attitude of the author to contemporary issues. With the words of an imp, he ridicules secular society: “Day-to-day you cook, cook, fry, fry, but only the joys that soot and water come out of the retort ...”. Fairy tales are not written for children at all, they are ironic grotesque stories with impossible situations that fabulous way occur in real life, as, for example, the tale of a dead body belonging to no one knows who - about a clever bribe-taking official who knows how to turn any case in his favor.

The story of a collegiate adviser with a speaking name Ivan Bogdanovich is also real. Attitude. Who has not met an official copying endless papers, "not paying attention either to deeds or petitioners"? Or Igoshka - a fairy tale in the style of folklore about the legless - armless Igosh - the fruit popular superstition on which people blame their failures and misfortunes.

In one of the stories, the thought slips through that people may turn out to be a handful of insects caught in a giant jar, which are watched by giants. It is in their will to starve us, or throw the entire globe out the window. Through frivolous tales, the reader gets the idea that modern man fell into the delusion that he is smarter than his ancestors. People stopped doubting themselves. Previous achievements seem random, but the fact is that with this approach, a person’s imagination stops working, he exists within his own limits of the possible and impossible, and in order to do something really new, these limits must be crossed.

Picture or drawing Colorful fairy tales

Other retellings for the reader's diary

• Summary Gogol Dead Souls briefly and chapter by chapter

  In the work, the story is about a gentleman whose identity remains a mystery. This man arrives in a small town, the name of which the author did not voice, in order to give free rein to the reader's imagination. The character's name is Pavel Ivanovich Chichikov.

• Summary Gorky Summer Residents

  At one of the summer dachas, a company of Russian intellectuals, tired of secular life seeking peace and quiet.

• Summary Tales of mother Tsvetaeva

  This story is autobiographical. The story was written by Marina Tsvetaeva three decades after the events described, at a time when she was on vacation in Germany with her mother in need

• Summary of Aitmatov Piebald dog running along the edge of the sea

  The story of the story takes place on the shores of the Sea of ​​Okhotsk, when the Great Fish Woman, the founder of mankind, ruled.

• Summary of Vampilov Eldest son

  Evening. Freshly. Two friends with beauties arrived in an unfamiliar town. Friends counted on the hospitality of the girls, but they were offended and closed the doors in front of the boyfriends.

V.F. Odoevsky (1803-1869) - philosopher, writer - storyteller, author mystical stories and stories talented musician. The work of Odoevsky as a writer belongs to the Russian romantic prose of the 30s of the 19th century. In this sense, his novels "Beethoven's Last Quartet", "Sebastian Bach", "The Improviser", "Elladius", "Princess Zizi", "Princess Mimi" and others are characteristic. His artistic manner is marked by a complex interaction of abstract philosophical thought with deep penetration into life characters and phenomena. Odoevsky entered children's literature as the creator of the magnificent Tales of Grandfather Iriney, which earned wide popularity among young readers.

Odoevsky's contribution to children's literature is significant. 2 collections: "Children's Tales of Grandpa Iriney" (1840) and "Children's Songs of Grandpa Iriney" (1847). - Belinsky praised them very much. V.F. Odoevsky belonged to the princely family of Rurik. Graduated from Moscow University Noble Boarding School. He headed the "Society of Philosophy" - a philosophical circle concerned about the fate of the Fatherland. Was a director public library and was in charge Rumyantsev Museum. Collaborated in the journal "Domestic Notes".

He was very serious about the upbringing of children. He sought to create his own theory here, based on " pedagogical idea"with a humanistic tendency (Work "Science before sciences"). He urged as a result of education to receive moral person, and what children are taught had to have a connection with real life.

Little people, who were in the grip of an instinctive desire to do nothing "to think nothing," were of particular concern. It was necessary to awaken thoughts and feelings; believed that the fairy tale plays an important role here. No less important to him was the need to form good feelings in adults.

In 1833, his Motley Tales with a Red Word was published. In them, the narrator Iriney Modestovich Gomozeyka presented readers in allegorical form with this or that moralizing. The figure of Gomozeyka 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, about lofty matters. And at the same time he reproaches his contemporaries for a lack of imagination.

However, on the other hand, in the course of the narration, the author's irony towards his fairy tale hero Homozeika is clearly felt. This is especially noticeable when he makes actors, for example, a spider, to express thoughts that are not at all characteristic of their nature. The spider loftily talks about love, fidelity, nobility and immediately greedily eats his wife and children. Often in these tales there is a situation of ironic overcoming romantic conflict. This approach to romantic literature is very similar to the intonation of Gogol's fairy tales by Rudy Panok.

Standing apart in Motley Tales is Igosh, perhaps the most poetic and fantastic work in the book. This is due to the figure of the boy - the story is being told on his behalf. He made friends with the brownie - according to legend, this is everyone unbaptized baby. This idea is associated with O.'s conviction that the world of children's fantasies and folk beliefs contain poetic. Wisdom and latent knowledge.

The boy heard his father's story about how cabbies at the inn, having lunch, put a piece of cake and a spoon on the table - "for Igosha." And the child believes. Since then, Igosha and the little storyteller have not parted. Ig. Encourages him to leprosy. And at the end of the tale, it disappears, which marks the growing up of the hero. Sad intonations are natural for the period of transition from childhood to adolescence.

O.'s regret about the loss of the ability for adults to see and feel how children permeate another cycle - "Tales of Grandfather Irenaeus." The first story is "The Town in a Snuffbox" (1834), the rest were published as a separate book (1844).

Grandfather Irenaeus is an example of a mentor - a strict, but kind and understanding child. "The town in the city" is the first perfect example of an artistic and educational fairy tale for children. In it, the scientific material was presented in an entertaining and close to child psychology form, which caused an enthusiastic response from the then critics. The boy receives a music box as a gift from his father. It is amazing from its beauty: on the lid - turrets, houses, windows shining at sunrise, a cheerful Mouzon plays. Children always rejoice at the perception of beauty - a desire to create is born. Aesthetics is an activator of imagination and creativity.

Misha, falling asleep, creates in a dream the whole world- all of the objects familiar to him, but in combinations of purely fantastic. The roles of the actors depend on the impression, the cat. They fired at the boy. Roller - thick, in a dressing gown; he lies on the sofa; this is the chief warden, commanding uncles - hammers. Those, on his command, beat the bell-boys with a golden head and in steel skirts (-that's where the boys' fashion is to mow down women!). But power is also over the revenge: this is the princess - a spring. She, like a snake, either curls up or turns around - "and impartially 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 the main principles of Odoevsky. Even in the fantasy world of animated details, he leads the boy through a dream - a real state. The same principle is found in other fairy tales. The fairy tale "Worm" draws the child's attention 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 player - the French architect Roubaud in the story "The Joiner" - reaches the heights of skill; so the author seeks to evoke in the reader "a noble thirst for knowledge, an irresistible desire to learn."

And in the story “Poor Gnedko”, 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." Despite the didactic tendencies and elements of natural science enlightenment that are strongly manifested in the Tales of Grandfather Iriney, they are filled with genuine poetry.

8. Stories and fairy tales by D.N. Mom is a Siberian. Main topics. Collection "Alyonushka's Tales"

Dmitry Narkisovich Mamin-Sibiryak (1852-1912). “A truly Russian writer” (A. M. Gorky) is D.N. Mamin-Sibiryak in literature for children, addressing them with stories, fairy tales, and essays. Like Gorky, Chekhov, Korolenko, Mamin-Sibiryak explores the theme of the deprivation of a child from poor family, an orphan child. And more broadly - the topic of depriving a child of his seemingly indisputable right to have a childhood - the stories: “The Breadwinner” (1885), “In Learning” (1892), “Spit” (1897), “In the Wilderness” (1896), “Rich Man and Yeremka" (1904)), "Wintering on Studenaya" (1892), "Emelya the hunter" (1884) and others.

In the first of these stories, "The Breadwinner", a twelve-year-old boy, the sole breadwinner of the family, dies, becoming a victim of the difficult conditions of factory labor.

The fate of Proshka in the story "Spit" is tragic. This slender, "resembling a jackdaw" boy works all year round in a grinding workshop, like a little convict. His whole life passes in this workshop, cramped and dark, where sandpaper dust is in the air, where the sun does not reach. Proshka's cherished dream is to go to where "the grass is green-green, the pines rustle with their peaks, little keys ooze from the ground, every bird sings in its own way." He does not know the sensations of nature, human warmth, but the imagination draws the desired pictures. Proshka is like an automated mechanism. It is as if inseparable from the wheel, has become its element. Proshka is even deprived of the possibility of communication. He is constantly hungry, "he lived only from food to food, like a small hungry animal ..." Indifference, inertia, slavish acceptance of lawlessness, horror as an objective norm - this true death even with an apparent (supposedly) life ... In the end, Proshka falls ill from overwork and dies. The deepening of the consciousness of predestination is also emphasized by the fact that, in parallel with the existence of Proshka, the reader observes the life of his peer, a boy from a wealthy family.

Deprivation of childhood is an objective predestination for peasant and urban children born in poverty - the leading motive of the story "In the Wilderness", very characteristic of Mamin-Sibiryak.

The heroes of a number of stories - poor peasant fishermen, hunters, inhabitants of winter quarters abandoned in remote places - find an incomparable source of spiritual stability in the harsh nature of the Urals. (“Emelya the hunter”, “Wintering on Studenaya”. The characters of these and other stories are fanned by the deep sympathy of the author. He poeticizes their attractiveness: good nature, diligence, responsiveness to other people's suffering. Yeleska takes care of a seriously ill Vogul hunter who finds himself in a deep forest Emelya's heartfelt kindness is also shown in the case of hunting: he did not dare to shoot at a small deer, knowing with what dedication any mother protects her child.

The people Mamin-Sibiryak writes about differ each in their special understanding of nature, although they all feel its colors, voices, smells. Everything is internally as if merged with the breath of the forest, river, sky... The story about the love of the old man Taras ("Adopted") for the rescued swan is like a lyrical song. Taras not only knows all the places around his home for fifty miles. He comprehended with his soul "every custom of the forest bird and forest beast." He admires the bird, is happy in communion with nature, appreciates its openness, the incomprehensible richness of its colors, its ability to soothe and delight the soul that is starving for caress.

Close to the story "Priemysh" intonation and intent is the story "The Rich Man and Eremka". Here, as if in the role of a well-groomed swan, there is a hare with a broken leg: a hunting hunter did not take it with his teeth smart dog Eremka; the old experienced hunter Bogach could not shoot at him, although he lived precisely by selling hare skins. The victory of true generosity over all other pragmatic calculations - the main idea of ​​the story, its pathos - in the ability of a person and a dog to love the weak, in need of protection ...

The writer conveys the natural predisposition of a person to protect the weak. This state of mind, this feature human relationship to nature and everything around in these works is transmitted primarily through the feelings and specific actions of the elderly and children, dictated by these feelings. This emphasizes the naturalness, the naturalness of human predisposition: in childhood and old age, a person is open, more natural in feelings and thoughts, in actions.

Nature in the works of Mamin-Sibiryak is not a background for the disclosure of feelings, mental states, human impulses. Nature is a full-fledged, full-blooded hero of works, an exponent of the author's position and aesthetic, moral and social. The landscape, like the portrait of the heroes, is picturesque, changeable, the colors are in motion - the transitions of one shade to another are harmonious with the change in state of mind. Here is a picture of a rainy summer day in the forest. Underfoot is a carpet of last year's fallen leaves. The trees are covered with raindrops that fall with every movement. But the sun came out, and the forest lit up with diamond sparks: “Something festive and joyful is all around you, and you feel like a welcome, dear guest at this holiday” (“Priemysh”).

The language of the works of Mamin-Sibiryak is folk, picturesque, well-aimed, figurative, rich in proverbs and sayings. "Look for the wind in the field!" - says the Rich Man about the runaway bunny. “Close together, but boring apart,” he remarks, observing the behavior of a dog that makes friends with a hare.

Tales of Garshin, Mamin-Sibiryak for children.

Alyonushka's Tales (1894 - 1897) were written by Mamin-Sibiryak for his little daughter Elena. The girl, born in 1891, faced a difficult fate: her mother died in childbirth, her father was no longer young, and her serious illness prevented her from counting on a prosperous destiny. The father had to prepare his Alyonushka for life, for its harsh sides, and most importantly, to teach the child to love this life. "Alyonushka's Tales" are full of optimism, bright faith in goodness.

The heroes of fairy tales - a fly, a goat, a mosquito, a hare, toys, flowers - are emphasized small, weak, invisible among large and strong creatures; but all the action of fairy tales is directed towards their victory. The weak prevail over the strong, the imperceptible finally find their place in life. At the same time, the writer tactfully notes that weak beings are often infected with petty egoism, they want the whole world to belong to them, and, unable to achieve this, they are offended and become unhappy. The underlying thought of fairy tales comes down to the fact that it is impossible to remake the world to please yourself, but you can change yourself and your attitude towards the environment for your own good.

The tales of D.N. Mamin-Sibiryak, like the tales of K.D. Ushinsky and L.N. Tolstoy, stylistically and according to the object of analysis are realistic. “The Tale of the Brave Hare Long Ears - Slanting Eyes - Short Tail” (1894) and “The Tale of Komar Nemirovich - Long Nose and Shaggy Bear - Short Tail” (1895), “About Sparrow Vorobeich created in the tradition of folk tales about animals.

The heroes of his works are ordinary animals, birds, insects, which a child, as a rule, knows in life. There is nothing rare or exceptional about them. A bear, a bunny, a sparrow, a crow, a mosquito, even a housefly - live in fairy tales of their own life, peculiar to them. Distinctive features of appearance fairytale heroes easily recognized by a child: a hare " long ears, short tail", in a mosquito -" a long nose”, the crow has a “black head”. Animals, birds, insects are carriers of qualities that are distinguished in them by a folk tale: the hare is cowardly; the bear is strong but clumsy; the sparrow is gluttonous, impudent; mosquito annoying.

The heroes in them are humanized, and the characters are described as original, "personal", which distinguishes them from folklore heroes - always generalized-typed. So, Komar Komarovich and the bouncer hare stand out among other mosquitoes and hares with their real or feigned courage. Even the bear and the wolf eventually give in to them, deciding not to mess with an unusual opponent (“And the wolf ran away. You never know other hares can be found in the forest, but this one was some kind of mad one”). The key to the victory of the weak over the strong is not magic or someone's intercession, not cunning or luck, but a change in the usual internal position.

Action in fairy tales, plots, as a rule, are based on funny, funny incidents. For example, the collision of a boastful hare with a wolf or a mosquito with a bear. A funny scene in which the chimney sweep Yasha tries to fairly judge the dispute between Sparrow and Ruff. While he is giving his speech, he is robbed.

The stories are educational. The humanization of the characters helps to present to the reader-child more vividly and vividly the characteristic properties of animals, their life. Acquainting with how and in what the cowardice of a hare is manifested, the strength and clumsiness of a bear, its ferocity, how difficult it is for a sparrow to winter time, in what a harsh environment the sparrow spends his life and how this situation is tragic for the “yellow canary bird”, the writer activates associations, the child’s imagination, enriching both thought and feeling. Revealing the laws that govern the animal and vegetable world, Mamin-Sibiryak expands the cognitive possibilities of a literary fairy tale and its boundaries as a scientific and artistic genre.

In fairy tales, unlike stories, the landscape occupies an insignificant place. Here you can see the influence folklore tradition that does not know the unfolded landscape. His sketches are brief, although very expressive: “The sun has become colder, and the day is shorter. It started to rain, a cold wind blew" - that's the whole sketch of late autumn ("The Tale of the Crow"). The exception is Alyonushka's poetic dream: "The sun is shining, and the sand is turning yellow, and the flowers are smiling," surrounding the girl's bed with a colorful garland, and "gently whispering, bending over her, a green birch" ("Time to sleep").

Of particular interest is "Saying" - a vivid example of "Mother's syllable", as contemporaries called the style of the writer's children's fairy tales. “Bayu-bayu-bayu ... Alyonushka’s one eye is sleeping, the other is looking; one ear of Alyonushka is sleeping, the other is listening. Sleep, Alyonushka, sleep, beauty, and dad will tell fairy tales. The saying with its melodiousness is close to folk lullabies. Perhaps, for the first time, a paternal feeling was so clearly expressed, not inferior in tenderness to maternal love.

In addition to Alyonushka's Tales, Mamin-Sibiryak also wrote whole line fairy tales of various themes and styles. Most of them are devoted to the life of nature: "The Gray Neck" (1893), "Stubborn Goat", " Green War”, “Forest Tale”, “Postoyko”, “Old Sparrow”, “Bad Day of Vasily Ivanovich”. Closest to folklore is the "Tale of the glorious Tsar Pea and his beautiful daughters - Princess Kutafya and Princess Goroshina." At the same time, the writer never sought to stylize his fairy tales as folk tales. The basis of all fairy tales is his own position.

The story of the Gray Neck is touching - a duck left for the winter due to illness. According to the laws of nature, her death is inevitable, and even a hare who sympathizes with her is powerless to help. The polynya, her only refuge, is covered with ice, the predator fox is getting closer and closer. But the world is subject not only to the laws of nature. A man intervenes - and the Gray Neck is saved. Author's position convinces the reader that even on the verge of death one must believe and hope. You should not expect miracles, but you should wait for good luck. A special place is occupied by the tale of Tsar Pea, which first appeared in the magazine "Children's Recreation" in 1897. It differs from the rest in more complex content and a detailed adventure story. The story is satirical and humorous. In the image of Tsar Peas, arrogance, greed, and the contemptuous attitude of the ruling elite towards ordinary people from the people. Some features of the old Russian way of life are true. For example, Princess Kutafya is in unquestioning obedience to her parents; she does not even dare to hint at the choice of her betrothed: “It’s not a girl’s business to sort out suitors!”

The tales of Mamin-Sibiryak are a characteristic way of an adult talking to a child about vital things that cannot be explained in the language of abstractions. The child is invited to look at the world through the eyes of a ladybug, a goat, a fly, a dog, a sparrow, a duck, in order to gain a truly human worldview. Like folk tales, these tales introduce the child to the complex laws of life, explain the advantages and disadvantages of a particular life position.

The tales of Mamin-Sibiryak are a significant phenomenon in the literature of the late 19th century. They mastered and develop the best realistic traditions of folk and literary fairy tales. There is no falsehood in the depiction of nature, the animal world, in the nature of fairy-tale morality. Fairy tales are interesting to children in our time. Some of them entered educational books for reading in elementary school.

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The variety of hobbies of Prince Vladimir Fedorovich Odoevsky (1804 - 1869) could not but affect his literary career. Studies in philosophy, natural sciences, music, history, linguistics allowed the writer to create an unusual, colorful, thematically versatile cycle of works, united under the fairy tale genre. In connection with the divergent views of the writer, it is not surprising that his fairy tales differ from traditional didactic and moralizing ones. Along with these definitions, the works of V.F. Odoevsky can be called sci-fi and socio-philosophical. Fairy tales are aimed not only at children, but also at adult readers. In this chapter, we will consider the first collection of this kind, "Colorful tales with a red word ...", highlight the history of its creation, reviews literary critics and contemporaries of the writer, as well as the state of the issue in modern literary criticism.

The history of the creation of "Motley Tales" by V.F. Odoevsky

By his own admission, V.F. Odoevsky creation of "harlequin" fairy tales, written with kind sadness and irony, addressed modern society, causing sympathy for the ridiculous hardships of a person, coincided with the “most bitter moments” of his life associated with N.N. Lanskoy. The writer notes that he was guided by the "triumph of the will", which, perhaps, explains the structure and formality of the cycle, the interconnection of its components, the strict following one after the other without any author's digressions. Adherence to the will also refers to the lack of inspiration and lifelessness of fairy tales, noted by many.

"Motley fairy tales ..." is one of the first embodied ideas of the artist, in which the emergence of themes and motifs characteristic of late creativity writer. The collection shows us the formation artistic principles V.F. Odoevsky, his philosophical and aesthetic searches. It contains "examples of philosophical grotesque, social and moralistic story, folklore, "everyday" and "psychological" fiction".

The final name of the cycle was preceded by something else - "Terry Tales". This was the name of the collection throughout the entire stage of work on it. A few days before the fairy tales were published, on February 12, 1833, A.I. Koshelev handed over to V.F. Odoevsky in a letter to I.V. Kireevsky. He regretted replacing "the original title 'Terry Tales' with the title 'Motley Tales', which is reminiscent of Balzac's 'Contes bruns' (Naughty Tales"). Perhaps V.F. Odoevsky initially intended in the content of the cycle to give preference to the image of the negative qualities of people, their true essence, under the guise of a favorable appearance. The epithet "terry" is also a tribute to the traditional, rooted fairy tale, focused on folklore and moralizing. Rethinking the tasks set for himself, the writer decided to leave only an indication of the heterogeneity of fairy tales, their diversity, reflected in the thematic diversity. The conclusion about the predominance of a negative or positive beginning in the heroes of fairy tales, he allows the reader to make himself, without giving direct instructions.

The idea of ​​the cycle was born in a new literary atmosphere. In Moscow, the writer was the chairman of the "Society of Philosophy" (1823 - 1825), which was created to discuss philosophical issues and study the works of Western philosophers, characterized by adherence to German idealism. “Until now, a philosopher cannot be imagined otherwise than in the image of a French talker of the 18th century; therefore, for distinction, we call true philosophers philosophies, ”wrote V.F. Odoevsky. Hence the philosophical orientation of early fairy tales, the denunciation of social vices. At the same time, cooperation with V.K. Küchelbecker - edition of the almanac "Mnemosyne". Having moved from Moscow to St. Petersburg in 1826, the author of "Motley Fairy Tales" enters a different literary environment. V.F. Odoevsky begins to get involved in the mystical philosophy of Saint-Martin, medieval magic and alchemy, but along with this, he is firmly established among the writers of the “Pushkin circle”, and the characteristic spirit of “intellectual artistry” begins to influence him and is reflected in fairy-tale creativity.

First of all, he learns the traditions of A.S. Pushkin. In 1831, The Tales of the Late Ivan Petrovich Belkin was published, published under the pseudonym A.P., which played one of the main roles in the formation of the cycle. The kinship of the works is indicated from the very beginning by epigraphs like A.S. Pushkin, and V.F. Odoevsky, taken from "Undergrowth" by D.I. Fonvizin. “Then, my father, he is still a hunter for stories” A.S. Pushkin and “What is the story. In another you will fly to distant lands for the distant kingdom ”V.F. Odoevsky point us to the content of the cycles - to "history". "stories" means short stories on behalf of the narrator. In the 19th century they were also called anecdotes, i.e. entertaining stories about any case, any person. Narrative of unusual incidents with ordinary people we find in the "Motley Tales". The discovery of the author of "Tales ..." hero-narrator Ivan Petrovich Belkin served as the appearance of Iriney Modestovich Gomozeika, which will be discussed later.

The fairy-tale-fantastic world of Ukrainian folklore, recreated by N.V. Gogol in "Evenings on a Farm near Dikanka", whose stories were collected and published by the "old beekeeper Rudy Panka". V.F. Odoevsky considered them "both in fiction, and in story, and in style" above everything that has been published so far "under the name of Russian novels."

M.A. Turyan points to the presence of Chatsky's traits in Gomozeika. She defines the hero as "a "crazy", a person who breaks out of life stereotypes and habitual ideas legitimized by human opinion and light." A similar type of personality, according to the researcher, can be found in the development of novels and preparatory materials assigned to the "House of Lunatics".

Mother V.F. Odoevsky saw her own son in the narrator of "Motley Tales". This testifies to the autobiographical nature of the cycle: “... But most of all I liked this one sitting in the corner and saying, leave me alone, it is very similar to you ... however, there is no living room in which you would not feel stuffy .. .» . Irinei Modestovich also opposed “methodism”, about the subject of which the author himself wrote to M. P. Pogodin: “... so that I, a Russian person, that is, who comes from people who invented the words freedom and what other language - to draw out according to Basurman Methodism? .. So don’t be surprised that I still don’t go to bed at 11, don’t get up at 6, don’t dine at 3 ... ".

The cycle "Colorful tales with a red word, collected by Irinei Modestovich Gomozeika, Master of Philosophy and a member of various learned societies, published by V. Bezglasy" includes the chapter "From the publisher", which presents us the history of the appearance of fairy tales; "A writer's preface", from which we learn about the hero-narrator. The tales of the cycle can be divided according to thematic orientation. Socio-philosophical tales with elements science fiction- "Retort", a fairy tale story "The life and adventures of one of the local inhabitants in a glass jar, or New Joko", which can also be called imitative. satirical tales on everyday material - “The tale of the occasion on which occasion the collegiate adviser Ivan Bogdanovich Relation failed to congratulate the bosses on the holiday on Bright Sunday”, “The tale of a dead body belonging to no one knows who”. literary fairy tale folklore basis- Igosha. Phantasmagoria with elements of moralizing - "Just a fairy tale." Socially accusatory - “The Tale of How Dangerous It Is for Girls to Walk in a Crowd along Nevsky Prospekt” and “The Same Tale, Only in a Curve” with “The Wooden Guest, or the Tale of the Waking Doll and Mr. Kivakel”, the philosophical “Epilogue” adjoining him.

Motley Tales was published at the beginning of 1833: the date of censorship permission was February 19 (signed by the censor V. N. Semenov), the release ticket was April 8 (signed by P. I. Gaevsky in the Register of Printed Books). In early April, "Molva" in the "Literary Rumors" section announced the release of "Colorful Tales": "In St. Petersburg famous writer, who gave us his fantasies in the Hoffmannian kind, publishes complete collection them under the title "Motley tales" ". On February 12, 1833, A. I. Koshelev wrote from Moscow: “I have fulfilled your instructions, dear friend Odoevsky. For "Molva" we even made an article with Kireevsky. They promised to place an announcement about your fairy tales soon. However, the article did not appear in Molva. On the 8th of April in the "Northern Bee" (1833, No. 37) an announcement was printed that Odoevsky's book "these days will go on sale."

In the British Library in London there is a copy of "Colorful Tales" with pencil marks by V.F. Odoevsky, representing the author's correction of the printed text. "Colorful Tales" from the British Library are among the gift copies, as evidenced by VF Odoevsky's own note: "These copies have never been put on sale." Three bookplates faithfully restore the history of the book. The first of them belongs to Count P.K. Sukhtelen, a well-known bibliophile, in last years life - to the Russian ambassador in Sweden. The count died in 1836, after which the book returned to the author. V.F. Odoevsky put his bookplate on it, and "Colorful Tales" took a place in his book collection.

Approximately seven years later, V.F. Odoevsky began editing the tales, making a number of corrections to this copy. Twenty years later he presented it to his friend and famous bibliophile S. A. Sobolevsky with the inscription: “Gifted to the library of another equally famous bibliophile Sergei Alexandrovich Sobolevsky. July 15, 1864. Book. V. Odoevsky. The third ex-libris appeared on the book - its new owner.

After the death of S.A. Sobolevsky, his book collection was inherited by S. N. Lvova, who sold it to Germany. At the Leipzig auction of the Liszt and Frank bookselling company, Motley Tales, among a significant part of the collection of S.A. Sobolevsky, was acquired by the British Museum for its library on October 9, 1873. has been identified so far.

Corrections made by V.F. Odoevsky in the "Sukhtelenovsky" copy, were the first revision of the text, where he made the most significant semantic corrections and corrected the typographical errors noticed. The following correction seems interesting and significant: in the "Retort" the writer restored a phrase that was not passed by censorship ("... a candle for that, a candle for another ..."). In the "Sukhtelenovsky" copy, the title of the final text is crossed out: "Epilogue".

In the fund of V.F. Odoevsky in the National Library of Russia there is another copy of "Motley Tales" with an ex-libris by S.A. Sobolevsky, but without a dedicatory inscription and litter.

In the library of the University of Cambridge are stored "Colorful Tales" of 1833 with anonymous records concerning the participation of N.V. Gogol in writing the collection of V.F. Odoevsky.

The final composition of "Colorful Tales" in comparison with the original plan was significantly expanded. The writer paid special attention to the artistic design of the book. It belonged to E. N. Riss, P. Roussel, and partly to A. F. Grekov.

Since the "Colorful Tales" were largely experimental in nature, V.F. Odoevsky, as a kind of linguistic experiment, considered it possible to resort to "Spanish" punctuation and some other punctuation features, specifically stipulating them in the chapter "From the Publisher". The spelling of "Motley Fairy Tales" is also distinguished by deliberate archaism; for example, a writer deliberately introduces the spelling of the letter e instead of e. Later, having included a number of fairy tales in his “Works” of 1844, V.F. Odoevsky abandoned "Spanish" punctuation and archaic orthography.

During the life of V.F. Odoevsky's "Motley Tales" as a complete cycle was not reprinted. The writer included six of the nine tales in the third volume of his "Works" in 1844: five of them made up the section "Excerpts from" Motley Tales "", the sixth - "Igosha" - was included in the section "Experiments in the story of ancient and new legends" ". In the 20th century, the cycle was republished in 1991. by the publishing house "Kniga", in 1996 in the series "Literary monuments" the publishing house "Nauka" published a work prepared by M.A. Turyan. The edition includes full cycle"Colorful Tales", additions concerning the history of the image of I.M. Gomozeikas, reviews of contemporaries, excerpts from the editions of fairy tales and author's corrections, photoinserts of the cover of the first edition, as well as an article by a scientist, dedicated to research cycle V.F. Odoevsky. Since 1996, Motley Tales has not been reprinted in the original series.

Reviews of contemporaries V.F. Odoevsky on "Motley Tales" were controversial. He spoke negatively about the cycle of N.A. Field. He noted the lifelessness of fairy tales; pointing to Hoffmann’s skill, the critic noted that “it is necessary to believe the miraculous, of course, not with the feeling of a commoner, but with the feeling of a poet, and believe sincerely in order to make those people to whom you want to convey your feelings succumb to charm.” According to him, V.F. Odoevsky did not become a good-natured storyteller, but "only put on a mask made so unskillfully that his own physiognomy is visible from under it." He compared the form and the internal meaning with allegory and moralizing, respectively, thereby convicting the writer of referring to "a kind of widespread fable that is inconsistent with our age." ON THE. Polevoy saw in the works only coldness, colorlessness and "an allegory that says nothing." The critic accuses V.F. Odoevsky in replacing pure, kind, sincere and bright “wit dust”, erudition and fakeness, and concludes the article that “there are many other fields for the mind” .

The views of V.G. Belinsky. In the article “The Works of Prince V.F. Odoevsky”, he noted in “Motley Tales” “several excellent humorous essays”, such as “The Tale of a Dead Body Belonging to an Unknown Person” and “The Tale of the Occasion of Collegiate Councilor Ivan Bogdanovich’s Relations failed to congratulate the bosses on the holiday on Bright Sunday. The critic of the fantastic "play" "Igosh" did not understand at all. He saw in it an imitation of Hoffmann and warned the writer: the fantasy of the German romantic was his nature, he “in the most ridiculous foolishness of his fantasy” was faithful to the idea, therefore it is dangerous to imitate him - “you can borrow and even exaggerate his shortcomings without borrowing his virtues.” A talented presentation notes V.G. Belinsky in "The Tale of How Dangerous it Is for Girls to Walk in a Crowd along Nevsky Prospekt" and "The Same Tale, Only in a Curve".

Already at the end of his life, preparing his "Works" for the second edition, in the "Note to the" Russian Nights "" V.F. Odoevsky summed up the numerous comparisons or oppositions of his E.T.A. Hoffmann. He finally formulated his understanding artistic method German writer: “Hoffmann ... invented a special kind of miraculous ... found the only thread through which this element can be carried in our time in word art» .

V.F. Odoevsky noted two sides of the miraculous: purely fantastic and real. He said that the reader is not obliged to believe everything unusual in the work: "in the setting of the story, everything is exhibited by which this very incident can be explained very simply." Thus, the writer noted, E.T.A. Hoffmann was able to reconcile the inclination towards the miraculous and the thirst for analysis, which "was a matter of true talent."

A completely opposite opinion was expressed by E.F. Rosen. Tales of V.F. He calls Odoevsky a kind of miraculous, in which “not only the idea of ​​the whole, but also the meaning of each particular action and phenomenon must come out, for a clear, unraveled meaning gives entertainment to ugliness itself, there is - so to speak - the necessary light in this magic lantern". The Baron noted the originality of the author's views, "a piercing philosophical mind", "an inexhaustible wealth of fantasy". The high score of the collection is visible in last paragraph articles where the reviewer speaks of the luxurious edition of fairy tales, adding: ""Motley fairy tales" and the luxury of publication are news on our Parnassus.

He spoke positively about the collection of E.V. Bienemann. In a letter to V.F. He wrote to Odoevsky: “this is the focus of delightful elegance and grace, this particle of the Thousand and One Nights; but at least it is obvious that the tales of Scheherazade could not amuse me as much as these "Motley Tales" .

M.P. Pogodin spoke of the author's love for humanity, "his entire line is permeated with feeling and conviction." The language of fairy tales is witty, correct and pure. However, he also noted that the inclination towards the extraordinary sometimes goes beyond the boundaries and causes bewilderment. An interesting review of the reader A.I. Saburova: “The thoughts of Mr. Aduevsky, having the imprint of a caustic allegory, quite rightly and skillfully relate to objects that are often found in the hostel and society ... In general, this style is pure in the book and the thoughts are diverse and witty.”

The view of A.S. Pushkin to read "Colorful tales with a red word." According to V.A. Sollogub, in one of the meetings on Nevsky Prospekt A.S. Pushkin and V.F. Odoevsky, a conversation took place between them regarding the published collection: “Pushkin got off common places: “read ... nothing ... good ...”, etc. Seeing that you can’t get anything from him, Odoevsky only added that writing fantastic tales is extremely difficult ... Here Pushkin again laughed with his ringing ... laughter ... and said: “Yes, if it is so difficult, why does he write them? Who is forcing him? fantasy tales only then are they good when it is not difficult to write them. These memoirs appeared in the press after the death of VF Odoevsky. However, even during the life of the writer, in 1860, P.V. Dolgorukov on the pages of the journal "Future" published by him in Paris. In a libelous article, in an effort to discredit the friendly nature of Pushkin's relationship with the prince, he retold the episode later described by V.A. Sollogub as gossip. V.F. Odoevsky did not accept this statement and rewrote part of the article in his diary, providing the author's comments. And later, “Answer V.F. Odoevsky P.V. Dolgorukov", where the prince says that "an anecdote invented by a dishonest slanderer, both in time and in the nature of our relationship with Pushkin, could not exist in any form and under no circumstances". However, it is impossible to completely refute this “slander”, since the testimony of a lawyer and musician, a visitor to the salon V.F. Odoevsky, V. Lenz. “Odoevsky also writes fantastic plays,” Pushkin said with inimitable sarcasm in his tone, “recalls V. Lenz. Echoes of the ironic attitude of A.S. Pushkin to science fiction are heard in the memoirs of Yu. Arnold, according to which, A.S. Pushkin called V.F. Odoevsky "a drop of Hoffmann".

Thus, we see that many did not accept the science-fiction beginning in fairy tales, noted the imperfection of the "Motley Tales" in artistic terms, statements about the lack of ideas of allegories, which have not only a fantastic basis, but also philosophical overtones, are unjustified. V.F. Odoevsky later confirmed the formal meaning of the cycle by including in his “Works” fairy tales that have “purely literary significance". But it should be noted that thanks to the first experience in this genre, we are witnessing the development of creative ideas and the emergence of the writer's artistic method. M.A. Turyan notes that in fairy tales “practically all directions of further artistic searches of the writer, who became almost the only exponent of “philosophical romanticism” in our literature, were indicated. This largely indicates the importance of studying the "Colorful Tales" for understanding the origins of ideas and directions of artistic thought in subsequent works by V.F. Odoevsky.

In modern literary criticism, the study of "Motley Tales" by V.F. Odoevsky is given insufficient attention. The main focus of the works is focused on the second cycle of "Tales of Grandfather Iriney", which included "Town in a Snuffbox" known to everyone since childhood (1834), "Moroz Ivanovich" (1841), "Broken Jug" (1841) and others, which have become recognized classic works of Russian children's literature. But, without revealing the originality of the first cycle, the role of the hero-narrator, it is impossible to trace the development of the author's thought and features of V.F. Odoevsky.

M.A. Turyan, who prepared them separate edition in " literary monuments". A great contribution to the development of literary criticism about V.F. Odoevsky at the beginning of the 20th century was introduced by P.N. Sakkulin with his two-volume book about the life and work of the writer. Many scientists today rely on his work. The articles of A.V. Botnikova, N. Lebedeva, A.T. Gryaznova. Communication N.V. Gogol and V.F. Odoevsky is considered by V.I. Sakharov, M.V. Lobytsina, L.A. Emirova, N. Genina; A.S. Yanushkevich devoted an article to the formation of a philosophical narrative in Russian prose. You can find several works devoted to the connection of V.F. Odoevsky and A.S. Pushkin, as well as the role of the first in the work of M.E. Saltykov-Shchedrin. The genre poetics of the cycle was considered by O.I. Timanov in the article “Principles of fairy-tale cyclization in the work of V.F. Odoevsky". In connection with the thematic content of "Motley Fairy Tales", articles devoted to the pedagogical activity of the writer, his social, philosophical and scientific views (I.F. Khudushina, A.V. Kovalenko, N.M. Mikhailovskaya, S.A. Sokolovskaya , T.P. Shumkova and others).