Tolstoy's adventures of Pinocchio is the main idea. Encyclopedia of Fairytale Heroes: "Golden Key"

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Ministry of Education and Science of the Russian Federation

Federal Agency for Education

Department of Philosophy

Hresearch work

By discipline: "Comparative cultural studies"

on the topic: Pinocchio and Pinocchio: comparison of two national art worlds

Saint Petersburg 2013

FROMcontent

Introduction

1. Comparison of two fairy tales and characters

2. Images of the main characters

Conclusion

Bibliography

INconducting

Comparisons between two cultures are usually based on something. In this case, a comparison of the fairy tales "Pinocchio" and "Pinocchio" is considered. During the time that the book about this wooden boy was reprinted and filmed many times. After all, everyone has heard about the fairy tale "Pinocchio", this fairy tale is associated with a happy childhood and friendship for many. As in any fairy tale, there is a place for miracles in Pinocchio and Pinocchio, which is very attractive to readers.

aim This work is to find out the differences between the heroes of the fairy tales "Pinocchio" and "Pinocchio".

To achieve this goal, it is necessary to solve the following tasks:

2) Analyze the plot of fairy tales in search of coincidences and discrepancies.

3) Compare two fairy tales and find out how the main characters differ.

Methods:

· Theoretical analysis of the literature

Comparative cultural method

Relevance work consists in a comparative cultural analysis of the fairy tales "Pinocchio" and "Pinocchio".

1. Comparison of two fairy tales and characters

Pinocchio and Pinocchio are fabulous literary characters who can be called twin brothers, despite the fact that they were born at different times and in different countries.

"The Adventures of Pinocchio" and "The Adventures of Pinocchio" are largely dissimilar both in content and in the characters acting in them, and in the images of the main characters themselves. At first, Tolstoy quite accurately conveyed the plot of the Italian fairy tale, but nevertheless, Alexei Nikolayevich Tolstoy changed a lot, added new heroes, new adventures, and the fairy tale acquired a new meaning.

"The Golden Key, or the Adventures of Pinocchio" is a kinder tale suitable for children, and "The Adventures of Pinocchio" is more violent, there are scenes of cruelty.

K. Collodi created his hero in the form of a doll carved from a cherry log, but endowed him with the living features of a restless child with a full set of characteristic childhood tendencies to leprosy and lack of sense of danger. Pinocchio turned out to be so charming that the reader easily forgives his stupidity and even selfishness, because spontaneity and resourcefulness turn out to be more important, thanks to which he copes with any difficulties and unforeseen situations.

By the time of publication in Russian, the tale had gone through 480 editions. In 1906, the novice writer A. Tolstoy was so carried away by this wonderful work that later, having gained creative experience and literary fame, he created his own version of the adventures of a wooden man, who received the name Pinocchio.

The plot of the fairy tale about the golden key largely repeats the idea of K. Collodi. Pinocchio, like Pinocchio, runs away from home and ends up in a puppet theater instead of school. Pinocchio enjoys the patronage of a young fairy - the Girl with Azure Hair. Malvina becomes Pinocchio's girlfriend, who diligently educates the stubborn and tries to teach him the wisdom of life. Both Pinocchio and Pinocchio become victims of a cunning cat and a fox, naively waiting for a miracle tree to grow from coins buried in the ground.

But still, in the adventures of Pinocchio, much more difficulties arise. He ends up on the island of industrious bees; turns out to be in the service of a peasant and, like a guard dog, guards his chicken coop; turns into a donkey, from the skin of which they are going to make a drum. Pinocchio does not pass such tests, but he meets the turtle Tortila and learns the secret of the golden key. He has to cope with the greed of Duremar, escape from the persecution of Karabas, protect Malvina and Pierrot, rescue dolls from trouble.

At the end of the tale, Pinocchio turns into a boy. With Pinocchio, such a transformation does not occur, although it is understood that, having returned to Papa Carlo, he also became an ordinary child.

"The Golden Key, or the Adventures of Pinocchio" is a fairy tale story by Alexei Nikolayevich Tolstoy, written in 1936 based on the fairy tale "The Adventures of Pinocchio. The Story of a Wooden Doll" by Carlo Collodi.

The Adventures of Pinocchio. The history of the wooden doll as a classic of children's literature. First published on July 7, 1881 in Rome, in the Newspaper for Children. The book has been translated into 87 languages. In the city of Collodi there is a monument to Pinocchio with the inscription "Immortal Pinocchio - grateful readers aged 4 to 70 years."

There are quite a few monuments to Pinocchio in Russia: in Moscow, Gomel, Yalta, Barnaul, Rostov, Izhevsk, Salekhard, Voronezh, Kyiv and other cities. This once again confirms the degree of popularity that Tolstoy's hero acquired among readers. It can be confidently asserted that Pinocchio overtook Pinocchio with his fame.

If we compare "The Golden Key, or the Adventures of Pinocchio" and "The Adventures of Pinocchio", you can immediately notice how differently time flows. In the tale of Alexei Tolstoy, the time interval is much shorter than that of Karl Collodi; in his tale, the plot lasts about two and a half years. An equally important difference between the "Golden Key" and "The Adventures of Pinocchio" is the scene. From the Italian fairy tale, only the Land of Fools was taken into the "Golden Key", all other places (including the Land of Hardworking Bees) were not included. It is worth taking a closer look at exactly where Pinocchio lives and wanders. Outwardly, everything looks as if clear - there is a "town on the coast mediterranean sea"And there is the City of Fools in the Country of Fools (Bolvania at K. Collodi).

Tale of A.N. Tolstoy's "The Golden Key" uses some motifs from Collodi's fairy tale, but on the whole it changes the original plot quite a lot. Up to the scene of burying coins on the Field of Miracles, the plot of Pinocchio and Pinocchio develops in general in the same way, with a difference in small details (for example, instead of Malvina, there is a Fairy with the appearance of Malvina). But after the cat and the fox dig up the coins buried by Pinocchio, plot matches with Pinocchio no longer occur.

The landscapes of Collodi differ from those of Tolstoy. Instead of the usual description of a night thunderstorm - with howling wind, thunder, lightning and other effects - Tolstoy uses: "The trees rustled, the shutters clapped."

There are also minor differences in the works of Russian and Italian authors: Pope Carlo, unlike Geppetto, is not imprisoned, and instead of a fox there is a fox.

Tolstoy preserved and strengthened what made Collodi's fairy tale a work for children and ensured its tremendous popularity - narrative richness, an abundance of bizarre episodes and fantastic adventures, unexpected turns of action from funny to terrible and back. The whole fairy tale has shifted: turned by Collodi from the world of adults into the world of children, under the pen of Tolstoy it began to approach ideas children's world about himself.

Carlo Collodi's book combines fabulousness, cheerful fantasy of the author and the true real world included in this fabulousness. All her characters: a talking cricket, a fox, a cat, a fisherman, an inhabitant of the "country of fools" - have living prototypes in Italian reality. Throughout the course of the book, Pinocchio finds himself in a wide variety of situations, experiencing many adventures that are not at all a chain of accidents. Pinocchio in his adventures and trials is morally cleansed - and gains a soul, becomes a living boy. Pinocchio remains a wooden doll, and "it would be strange to turn Pinocchio into a man - he is already a man." That is, the image of Pinocchio can be considered as an image of a living person, since personality traits are visible in it.

The events of the fairy tale about Pinocchio follow one another, like the steps that main character on the path of its development. Some heroes replace others, and rarely any of the heroes appears again. In the tale of Pinocchio, all events are concentrated around the secret of the golden key, this secret keeps readers in suspense throughout the story. Most of the heroes of the fairy tale are heroes important for the plot, there are much fewer episodic characters. The reader perceives the story as one big Adventure Pinocchio and his friends in search of the key to happiness.

2. Images of the main characters

If we compare the heroes themselves, then we can say that both wooden men have not only differences, but also similarities.

The differences between the characters may be that Pinocchio is a doll who really wants to become a man and tries to fix it by any means. He considers his image a curse, although Pinocchio is also a doll, but he is happy with everything. Pinocchio gives the impression of a passive boy, he often cries, is prone to loneliness, and Pinocchio, on the contrary, is active, he can even be called a rebel or strategist, always in the spotlight, sociable, but Pinocchio has a big minus - he often makes false promises. Pinocchio is not smart, he needs protection and help, he can even be called naive, and Pinocchio is independent, cunning, always ready for criticism, adventure and any situations on his way. pinocchio fairy tale literature

In the fairy tale about Pinocchio there are many miracles, transformations, there is a Fairy, and in the fairy tale about Pinocchio there are no miracles except for the appearance of Pinocchio himself.

Carl Collodi endowed Pinocchio with the ability to read and write, he is diligent at school, while Pinocchio does not like school, has never been there, although he knows that he needs to go to school. They treat edification differently: When someone wants to "educate" Pinocchio, for example, Malvina or candles, most often he does not listen to them, ignores them, and Pinocchio is brought up by everyone, they look after him, for him the whole world is one series of cruel life lessons.

You should also deal with the appearance of the main characters: Pinocchio is a boy with blond hair, and Pinocchio is a boy with dark hair, but the nose is of particular importance for both characters. Pinocchio's is not very long, but when Pinocchio starts to lie, his nose grows rapidly, and everyone sees that he is deceiving. Pinocchio's nose is always long. It's like a hallmark of his appearance. Pinocchio is timid, timid, and Pinocchio is very brave, goes ahead and is even a little impudent.

In the fairy tale "The Golden Key, or the Adventures of Pinocchio" is a very kind book, no one dies, bad characters only portray evil ones, they just scare, and "The Adventures of Pinocchio" includes many cruel scenes, deaths, deaths, so for reading with children "The Adventures of Pinocchio" is more suitable. Pinocchio is incorrigible, well, or almost incorrigible. He changes the world for himself. For Pinocchio, the path of correction is the path of continuous misfortunes, the bitterest suffering.

In the fairy tale "The Golden Key, or the Adventures of Pinocchio" Karabas-Barabas acts as an unambiguously negative character, the dolls also behave like animated beings, and in the fairy tale "The Adventures of Pinocchio" Majafoko is a positive character, despite his ferocious appearance, and sincerely wants to help Pinocchio and the tale emphasizes that the puppets are just puppets in the hands of the puppeteer. A. Tolstoy has a Golden Key, for information about which Karabas gives Pinocchio money, while K. Collodi does not have a Golden Key (at the same time, Majafoko also gives money). Another significant difference between "The Adventures of Pinocchio" and "The Adventures of Pinocchio" is the novel by Piero and Malvina.

The similarities of the main characters can be called the following qualities: Both little men were carved by an old master from a wonderful talking log. They are both wooden dolls.

The film "The Adventures of Pinocchio" was created - a Soviet two-part musical film based on the fairy tale by A.N. Tolstoy "The Golden Key, or the Adventures of Pinocchio", created at the Belarusfilm studio in 1975. Considered a cult. TV premiere - January 1 and 2, 1976.

There are many more films about "The Adventures of Pinocchio". The first film was released in 1940. The next film was released in 1988, and in 1996 the film "The Adventures of Pinocchio" was released, in the summer of 2013 the cartoon "Pinocchio" was released. http://www.kinokopilka.tv/movies/21404-pinokkio

Conclusion

After comparing two works - the fairy tale by Carlo Collodi "The Adventures of Pinocchio" and the fairy tale by Alexei Nikolayevich Tolstoy "The Golden Key, or the Adventures of Pinocchio", we can draw the following conclusions that Tolstoy's fairy tale was written "based on", he changed a lot both in the plot and in the image of the main hero, and in the images of other characters, and the meaning of the tale eventually became different. We can say that "The Golden Key, or the Adventures of Pinocchio" is a completely independent work. It cannot be considered either a translation or a retelling of the tale of Pinocchio.

For Tolstoy, such human qualities as kindness, courage, mutual assistance are very important. He is sure that only selfless and generous people can find the key to happiness. It seems to me that this is the meaning contained in that magic golden key that opens the magic door in the closet behind the painted hearth. Evil and greedy heroes will never get the key to happiness. It goes to those who know how to be friends, who do not hang up their noses and rush to help. Unlike Pinocchio, who, after undergoing trials, abandoned pranks and became a real boy, our Pinocchio remains a wooden doll who is not averse to fooling around. But, despite this, he is real: he is a real friend of Malvina, Artemon, Pierrot and other dolls, a real son and assistant to Papa Carlo. He became a real hero. Unlike Collodi, Tolstoy did not want to turn a mischievous, cheerful braggart into a well-bred boy. The writer remembered his childhood well and understood that there are no children without pranks and pranks. The writer showed how one can develop and improve the qualities given by nature, and turn shortcomings into virtues: curiosity into curiosity, recklessness into courage.

FROMlist of literature

1. Collodi K. The Adventures of Pinocchio. - M., 1998.

2. Tolstoy A.N. The Golden Key, or the Adventures of Pinocchio. - M., 2003.

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Research work in literature

The secret of the fairy tale by Alexei Tolstoy

"The Golden Key, or the Adventures of Pinocchio"

Completed by: student 9 "A" class

GBOU secondary school No. 137 of the Kalininsky district

Petersburg

Kaskelainen Oleg

Teacher: Prechistenskaya Ekaterina Anatolyevna

Chapter 1 Introduction page 3

Chapter 2. Theater of Karabas-Barabas page 4

Chapter 3. Image of Karabas-Barabas page 6

Chapter 4. Biomechanics page 8

Chapter 5. The image of Pierrot page 11

Chapter 6. Malvina page 15

Chapter 7. Poodle Artemon page 17

Chapter 8. Duremar page 19

Chapter 9. Pinocchio p. 20

Chapter 1 Introduction

My work is dedicated to the famous work of A.N. Tolstoy “The Golden Key or the Adventures of Pinocchio”.

The tale was written by Alexei Tolstoy in 1935 and is dedicated to his future wife Lyudmila Ilyinichna Krestinskaya - later Tolstoy. Alexei Nikolayevich himself called The Golden Key "a new novel for children and adults." The first edition of Pinocchio in the form of a separate book was published on February 28, 1936, was translated into 47 languages, and has not left the shelves of bookstores for 75 years.

Since childhood, I have been interested in the question of why there are no clearly expressed positive characters in this fairy tale, if a fairy tale is for children, then it should be of an educational nature, and here Pinocchio gets a whole magical country-theatre just like that, for no reason, without even dreaming about it ... The most negative characters: Karabas - Barabas, Duremar - the only heroes who really work, benefit people - maintain a theater, catch leeches, that is, they treat people, but they are exhibited in some kind of parodic color ... Why?

Most people believe that this work is a free translation of the Italian fairy tale Pinocchio, however, there is a version that in the fairy tale "The Golden Key" Tolstoy parodies the theater of Vsevolod Meyerhold and the actors: Mikhail Chekhov, Olga Knipper-Chekhova, Meyerhold himself, the great Russian poet Alexander Blok and K. S. Stanislavsky - director, actor. My work is devoted to the analysis of this version.

Chapter 2. Theater of Karabas-Barabas

The theater of Karabas - Barabas, from where the puppets run away - is a parody of the famous theater in the 20-30s of the director - "despot" Vsevolod Meyerhold (who, according to A. Tolstoy and many of his other contemporaries, treated his actors as "puppets" ). But Pinocchio, with the help of a golden key, opened the most wonderful theater where everyone should be happy - and this, at first glance, is the Moscow Art Theater (which A. Tolstoy admired).Stanislavsky and Meyerhold understood theater differently. Years later, in the book “My Life in Art”, regarding Meyerhold’s experiments, Stanislavsky wrote: “A talented director tried to hide the artists with himself, who in his hands were simple clay for sculpting beautiful groups, mise-en-scenes, with the help of which he carried out his interesting ideas.” In fact, all contemporaries point out that Meyerhold treated the actors as "puppets" performing his "beautiful play".

The theater of Karabas-Barabas is characterized by the alienation of puppets as living beings from their roles, the ultimate convention of action. In The Golden Key, the bad theater of Karabas-Barabas is replaced by a new, good one, whose charm is not only in a well-fed life and friendship between actors, but also in the opportunity to play themselves, that is, to coincide with their true role and act as creators themselves . In one theater reigns oppression and coercion, in another Pinocchio is going to "play himself."

At the beginning of the last century, Vsevolod Meyerhold made a revolution in theatrical art and proclaimed: "Actors should not be afraid of the light, and the audience should see the play of their eyes." In 1919, Vsevolod Meyerhold opened his own theater, which was closed in January 1938. Two incomplete decades, but these time frames became the real era of Vsevolod Meyerhold, the creator of the magical "Biomechanics. He felt the basics of theatrical biomechanics back in the St. Petersburg period, in 1915. new system the movement of a person on stage was a continuation of the study of the technique of movement of Italian comedians from the time of the commedia dell'arte.

There should be no place for any randomness in this system. However, within a well-defined framework, there is a huge space for improvisation. There were cases when Meyerhold reduced the performance from eighteen scenes to eight, because this was how the acting imagination and the desire to live within these limits were played out. “I have never seen a greater embodiment of the theater in a person than the theater in Meyerhold,” wrote Sergei Eisenstein about Vsevolod Emilievich. On January 8, 1938, the theater was closed. “The measure of this event, the measure of this arbitrariness and the possibility that this can be done, is not meaningful to us, and not deeply felt as it should be,” wrote actor Alexei Levinsky.

Many critics note that in the emblem of the Meyerhold Theatera seagull is seen in the form of lightning, created by F. Shekhtel for the curtain of the Art Theatre. In contrast to the new theatre, in the theater « Karabasa-Barabasa”, from which dolls run away, “dancing little men, girls in black masks, scary bearded people in caps with stars, a sun that looks like a pancake with a nose and eyes, and other entertaining pictures were painted on the curtain.” This composition is made of elements, and in the spirit of really existing, moreover, loudly known theatrical curtains. This, of course, is a romantic stylization dating back to Gozzi and Hoffmann, inextricably linked in the theatrical consciousness of the beginning of the century with the name of Meyerhold.

Chapter 3. Image of Karabas-Barabas

Karabas-Barabas (V. Meyerhold).

Where did the name Karabas-Barabas come from? Kara Bash on many Turkic languages This is Blackhead. True, the word Bas has another meaning - to suppress, to press ("boskin" - press), it is in this sense that this root is part of the word basmach. "Barabas" is consonant with Italian words with the meaning of a scoundrel, a swindler ("barabba") or a beard ("barba") - both of which are quite consistent with the image. The word Barabas is the biblical sounding of the name of the robber Barrabas, who was released from custody instead of Christ.

In the image of the Doctor of Puppet Sciences, the owner of the Karabas-Barabas puppet theater, the features of the theater director Vsevolod Emilievich Meyerhold, whose stage name was Dr. Dapertutto, can be traced. The lash, a seven-tailed whip that Karabas does not part with, is the Mauser that Meyerhold began to wear after the revolution and which he used to put in front of him during rehearsals.

In his fairy tale Meyerhold, Tolstoy means beyond portrait resemblance. The object of Tolstoy's irony is not the true personality of the famous director, but rumors and gossip about him. Therefore, the self-characterization of Karabas Barabas: “I am a doctor of puppet sciences, director of a famous theater, holder of the highest orders, closest friend of the Tarabar king” - so strikingly corresponds to the ideas of Meyerhold of naive and ignorant provincials in Tolstoy’s story “Native Places”: “Meyergold is a complete general. In the morning, his sovereign, the emperor, calls: cheer, he says, the general, the capital and all the Russian people. - I obey, your majesty, - the general answers, throws himself into the sleigh and march through the theaters. And in the theater everything will be presented as it is - Bova the prince, the fire of Moscow. That's what kind of person"

Meyerhold tried to use acting techniques in the spirit of the old Italian comedy of masks to rethink them in modern space.

Karabas-Barabas, the master of the puppet theater, has his own "theory" that corresponds to practice and is embodied in the following "theatrical manifesto":

puppet lord,

That's who I am, come on...

Dolls in front of me

They lay grass.

Whether you are pretty

I have a whip

Whip in seven tails,

I will only threaten with a whip

My people are meek

Singing songs...

It is not surprising that artists flee from such a theater, and it is the “beauty” Malvina who runs first, Pierrot runs after her, and then, when Pinocchio and his companions, with the help of a golden key, acquire new theater, all puppet actors join them, and the theater of the “puppet lord” collapses.

Chapter 4. Biomechanics

V. E. Meyerhold paid much attention to the harlequinade, Russian booth, circus, pantomime.

Meyerhold introduced the theatrical term "Biomechanics" to refer to his system of training an actor: "Biomechanics seeks to experimentally establish the laws of the actor's movement on the stage, working out training exercises for the actor based on the norms of human behavior."

The main principles of biomechanics can be formulated as follows:
“- the creativity of the actor is the creativity of plastic forms in space;
- the art of an actor is the ability to correctly use means of expression your body;
- the path to the image and to the feeling must begin not with experiencing and not with understanding the role, not with an attempt to assimilate the psychological essence of the phenomenon; in general, not “from within”, but from the outside - to begin with movement.

From this came the main requirements for the actor: only such an actor who is perfectly trained, has musical rhythm and slight reflex excitability can start with movement. To do this, the natural data of the actor must be developed by systematic training.
The main attention is paid to the rhythm and pace of acting.
The main requirement is the musical organization of the plastic and verbal drawing of the role. Only special biomechanical exercises could become such trainings. The goal of biomechanics is to technologically prepare the "comedian" of the new theater to perform any of the most complex gaming tasks.
The motto of biomechanics - this "new" actor - "everything can", this is an omnipotent actor. Meyerhold argued that the actor's body should be perfect musical instrument in the hands of the actor himself. The actor must constantly improve the culture of bodily expression, developing the sensations of his own body in space. Meyerhold’s reproaches that biomechanics brings up a “soulless” actor, who does not feel, does not experience, an actor, an athlete and an acrobat, the master completely rejected. The path to the "soul", to experiences, he argued, can only be found with the help of certain physical positions and states ("points of excitability"), fixed in the score of the role.

Chapter 5

The prototype of Pierrot was the brilliant Russian poet Alexander Blok. A philosopher and poet, he believed in the existence of the Soul of the world, Sophia, the Eternal Femininity, called to save humanity from all evils, and believed that earthly love has lofty sense only as a form of manifestation of the Eternal Femininity. In this spirit, Blok's first book "Poems about the Beautiful Lady" was realized in his "romantic experiences" - the passion for Lyubov Dmitrievna Mendeleeva, the daughter of the famous scientist, who soon became the wife of the poet. Already in earlier verses, subsequently united by Blok under the title “AnteLucem” (“Before the light”), in the words of the author himself, “it continues to slowly take on unearthly features.” In the book, his love finally takes on the character of an exalted service, prayers (as the whole cycle is called), offered no longer to a simple woman, but to the "Mistress of the Universe."Speaking in his autobiography about his youth, Blok said that he entered into life "with complete ignorance and inability to communicate with the world." His life seems normal, but one has only to read any of his poems instead of prosperous "biographical data", as the idyll will crumble to smithereens, and well-being will turn into trouble:

"Dear friend, and in this quiet house

The fever hits me.

Can't find me a place in a quiet house

Near peaceful fire!

I'm afraid of comfort ...

Even behind your shoulder, friend,

Someone's eyes are guarding!"

Blok's early lyrics arose on the basis of idealistic philosophical teachings, according to which, along with the imperfect real world, there is an ideal world, and one should strive to comprehend this world. Hence the detachment from public life, mystical alertness in anticipation of unknown spiritual events on a universal scale.

The figurative structure of the poems is saturated with symbolism, detailed metaphors play a particularly significant role. They convey not so much the real features of the depicted as the emotional mood of the poet: the river “sings”, the blizzard “whispers”. Often the metaphor develops into a symbol.

Poems in honor beautiful lady are distinguished by moral purity and freshness of feelings, sincerity and loftiness of the young poet's confessions. He sings not only an abstract embodiment of the “eternally feminine”, but also a real girl - “young, with a golden scythe, with a clear, open soul”, as if she had come out of folk tales, from whose greeting “a poor oak staff will sparkle with a tear of gems ...”. Young Blok asserted the spiritual value of true love. In this he followed the traditions of 19th century literature with its moral quest.

There is no Pierrot in the Italian original source, nor in the Berlin "alteration and processing". This is a purely Tolstoyan creation. Collodi does not have Pierrot, but there is Harlequin: it is he who recognizes Pinocchio among the audience during the performance, and it is to him that Pinocchio later saves his puppet life. Here the role of Harlequin in the Italian fairy tale ends, and Collodi no longer mentions him. It is for this single mention that the Russian author seizes and pulls Harlequin's natural partner, Pierrot, onto the stage, because Tolstoy does not need the "successful lover" (Harlequin) mask, but the "deceived husband" (Pierrot) mask. Call Pierrot to the stage - Harlequin has no other function in the Russian fairy tale: Pinocchio is recognized by all the puppets, the Harlequin rescue scene is omitted, he is not busy in other scenes. The theme of Pierrot is introduced immediately and decisively, the game goes simultaneously on the text - the traditional dialogue of two traditional characters of the Italian folk theater and on the subtext - satirical, intimate, full of caustic allusions: "A small man appeared from behind a cardboard tree in a long white shirt with long sleeves. His face was sprinkled with powder as white as tooth powder.He bowed to the honorable audience and said sadly: Hello, my name is Piero... Now we will play a comedy in front of you called: "The girl with blue hair, or Thirty-three cuffs." they will beat with a stick, give slaps and slaps on the back of the head. This is a very funny comedy ... Another man jumped out from behind another cardboard tree, all checkered, as Chess board.
He bowed to the most respectable audience: - Hello, I am Harlequin!

After that, he turned to Piero and gave him two slaps in the face, so sonorous that powder fell from his cheeks.
It turns out that Piero loves a girl with blue hair. Harlequin laughs at him - there are no girls with blue hair! - and hits him again.

Malvina is also the creation of a Russian writer, and she is needed, first of all, so that Piero loves her with selfless love. The novel by Pierrot and Malvina is one of the most significant differences between The Adventures of Pinocchio and The Adventures of Pinocchio, and from the development of this novel it is easy to see that Tolstoy, as well as his other contemporaries, was initiated into the Blok family drama.
Pierrot of Tolstoy's fairy tale is a poet. Lyric poet. It's not even that Piero's relationship with Malvina becomes a poet's romance with an actress, the point is what kind of poetry he writes. He writes poetry like this:
Dancing shadows on the wall

Nothing scares me.

Let the stairs be steep

Let the dark be dangerous

Still underground

Will take you somewhere...

"Shadows on the Wall" is a regular feature of Symbolist poetry. "Shadows on the wall" dance in dozens of A. Blok's poems and in the title of one of them. "Shadows on the Wall" is not just a detail of lighting often repeated by Blok, but a fundamental metaphor for his poetics based on sharp, cutting and tearing contrasts of white and black, malice and kindness, night and day.

Pierrot is parodied not by this or that Blok text, but precisely by the poet's work, the image of his poetry.

Malvina fled to foreign lands,

Malvina is gone, my fiancee...

I'm crying, I don't know where to go...

Wouldn't it be better to part with the puppet life?

Blok's tragic optimism implied faith and hope in spite of circumstances leading to disbelief and despair. The word "contrary", all ways of conveying the courageous meaning contained in it, turned out to be at the center of Blok's style. Therefore, even Pierrot's syntax reproduces, as befits a parody, the main features of the parodied object: despite the fact that ... but ... let ... anyway ...

Pierrot spends his time yearning for his lost lover and suffering from everyday life. Due to the transcendental nature of his aspirations, he gravitates toward blatant theatricality of behavior, in which he sees practical meaning: for example, he tries to contribute to the general hasty preparations for the battle with Karabas by “wringing his hands and even trying to throw himself backwards on a sandy path.” Involved in the struggle against Karabas, Pinocchio turns into a desperate fighter, even begins to speak in a “hoarse voice like large predators speak”, instead of the usual “incoherent verses”, he makes fiery speeches, in the end it is he who writes that very victorious revolutionary play in verse, given in the new theatre.

Chapter 6. Malvina

Malvina (O.L. Knipper-Chekhova).

The fate drawn by Tolstoy is a very ironic person: how else to explain that Pinocchio gets into the forest surrounded by a wall, fenced off from the world of troubles and adventures? Why is Pinocchio, who does not need this beauty, and not Piero in love with Malvina? For Pierrot, this house would become the coveted Nightingale Garden, and Pinocchio, only concerned about how great the poodle Artemon chases birds, can only compromise the very idea of \u200b\u200bthe Nightingale Garden. That's why he ends up in Malvina's Nightingale Garden.

The prototype of Malvina, according to some researchers, was O.L. Knipper-Chekhov. The name of Olga Leonardovna Knipper-Chekhova is inextricably linked with two most important phenomena of Russian culture: the Moscow Art Theater and Anton Pavlovich Chekhov.

She gave almost all her life to the Art Theater long life, from the moment the theater was founded and almost until his death. She was fluent in English, French, German languages. She had great tact, taste, was noble, refined, attractive as a woman. There was an abyss of charm in her, she knew how to create a special atmosphere around herself - sophistication, sincerity and tranquility. She was friends with Blok.

There were always a lot of flowers in the apartment, they were everywhere in pots, baskets and vases. Olga Leonardovna loved to take care of them herself. Flowers and books replaced her with any collections that had never interested her: Olga Leonardovna was not a philosopher at all, but she was characterized by an amazing breadth and wisdom of understanding life. She somehow in her own way distinguished in her the main thing from the secondary, what is important only today, from what is generally very important. She did not like false wisdom, she did not tolerate philosophizing, but she also simplified life and people. She could “accept” a person with oddities or with some features even unpleasant to her, if she was attracted to his essence. And she treated the “smooth”, “correct” with suspicion or with humor.

The most devoted student of Stanislavsky and Nemirovich-Danchenko, she not only admits and accepts the existence of other ways in art, “more theatrical than ours,” as she writes in an article about Meyerhold, but she dreams of freeing the Art Theater itself from squat, petty, everyday life, the neutrality of a poorly understood "simplicity".

What kind of Malvina appears before us? Malvina is the most beautiful puppet from the theater of Karabas Barabas: "A girl with curly blue hair and pretty eyes", "The face is freshly washed, pollen is on the upturned nose and cheeks."

Tolstoy describes her character with the following phrases: "... a well-mannered and meek girl"; “with an iron character”, smart, kind, but because of her moralizing, she turns into a decent bore. Defenseless, weak, "coward". It is these qualities that help to bring out the best spiritual qualities of Pinocchio. The image of Malvina, like the image of Karabas, contributes to the manifestation of the best spiritual qualities of a wooden man.

In the work "The Golden Key" Malvina has similar character with Olga. Malvina tried to teach Pinocchio - just like in life, Olga Knipper tried to help people, she was disinterested, kind and sympathetic. Conquered not only the charm of her stage talent, but also her love of life: lightness, youthful curiosity for everything in life - for a book, painting, music, performance, dance, sea, stars, smells and colors and, of course, for a person. When Pinocchio gets into Malvina's forest house, the blue-haired beauty immediately starts raising a mischievous one. She makes him solve problems and write dictations. The image of Malvina, like the image of Karabas, contributes to the manifestation of the best spiritual qualities of a wooden man.

Chapter 7

Malvina's poodle is brave, selflessly devoted to his mistress, with his outward childish carelessness and restlessness, he manages to perform the function of strength, those same fists, without which goodness and reason cannot improve reality. Artemon is self-sufficient, like a samurai: he never questions the orders of his mistress, he does not look for any other meaning of life, except for fidelity to duty, he trusts others to make plans. In his free time, he indulges in meditation, chasing sparrows or spinning around in a top. In the finale, it is the spiritually disciplined Artemon who strangles the rat Shushara and puts Karabas in a puddle.

The prototype of Artemon's poodle was Anton Pavlovich Chekhov. They With Olga Knipper got married and lived together until the death of A.P. Chekhov.The closeness between the Art Theater and Chekhov was extremely deep. Related artistic ideas and Chekhov's influence on the theater were very strong.

In his notebook, A.P. Chekhov once remarked: “Then a person will become better when you show him what he is.” Chekhov's work reflected the features of the Russian national character - softness, sincerity and simplicity, with a complete absence of hypocrisy, posture and hypocrisy. Chekhov's precepts of love for people, responsiveness to their sorrows and mercy to their shortcomings. Here are just a few of his phrases characterizing his views:

“Everything in a person should be beautiful: the face, and clothes, and the soul, and thoughts.”

“If every man on the bush of his land would do everything he can, how beautiful our land would be.”

Chekhov strives not only to describe life, but also to remake it, to build it: now he is busy with the construction of the first people's house in Moscow with a reading room, a library, a theater; In Crimea, the first biological station, either collects books for all Sakhalin schools and send them there in batches, or builds three schools for peasant children near Moscow, and at the same time a bell tower and a fire shed for peasants. When he set out to set up a public library in his native city of Taganrog, he not only donated more than a thousand volumes of his own books for it, but also sent piles of books he bought in bales and boxes for 14 years in a row.

Chekhov was a doctor by profession. He treated the peasants free of charge, declaring to them: "I am not a gentleman, I am a doctor."His biography is a textbook of writer's modesty.“You have to train yourself,” said Chekhov. To train, to make high moral demands on himself and to strictly ensure that they are fulfilled is the main content of his life, and he loved this role most of all - the role of his own educator. Only in this way did he acquire his moral beauty - through hard work on himself. When his wife wrote to him that he had a compliant, gentle character, he replied to her: “I must tell you that by nature I have a sharp character, I am quick-tempered and so on and so forth, but I am used to restraining myself, because a decent person does not let himself go. appropriate." At the end of his life, A.P. Chekhov was very ill and was forced to live in Yalta, but he did not demand that his wife leave the theater and look after him.Devotion, modesty, a sincere desire to help others in everything - these are the features that unite the hero of a fairy tale and Chekhov and suggest that Anton Pavlovich is the prototype of Artemon.

Chapter 8. Duremar

The name of the closest assistant to the doctor of puppet science Karabas Barabas is formed from the domestic words "fool", "fool" and the foreign name Volmar (Voldemar). The director V. Solovyov, Meyerhold's closest assistant both on the stage and in the magazine Love for Three Oranges (where the poetry department led Blok), had a magazine pseudonym Voldemar (Volmar) Luscinius, who, apparently, gave Tolstoy "the idea » named after Duremar. "Resemblance" can be traced not only in names. Tolstoy describes Duremar as follows: “A long man entered with a small, small face, as wrinkled as a morel mushroom. He was wearing an old green coat." And here is a portrait of V. Solovyov, drawn by a memoirist: "A tall, thin man with a beard, in a long black coat."

Duremar in Tolstoy's work is a leech dealer, himself similar to a leech; some sort of medical. Selfish, but in principle not evil, can benefit society, for example, in the position of a theater janitor, which he dreams of when the population, who has completely recovered after the opening of the Pinocchio Theater, stops buying his leeches.

Chapter 9

The word "Pinocchio" is translated from Italian as a puppet, but in addition to the literal meaning, this word at one time had a very definite nominal meaning. The surname Buratino (later - Buratini) had a family of Venetian usurers. They, like Pinocchio, also “grown” money, and one of them, Titus Livius Buratini, even suggested that Tsar Alexei Mikhailovich replace silver and gold coins with copper ones. This replacement soon led to unprecedented inflation and the so-called Copper Riot on July 25, 1662.

Aleksey Tolstoy describes the appearance of his hero Pinocchio with the following words: "A wooden man with small round eyes, a long nose and a mouth to the ears." The long nose of Pinocchio in the fairy tale acquires a slightly different meaning than that of Pinocchio: he is curious (in the spirit of the Russian phraseological unit “poking your nose into your own business”) and naive (having pierced the canvas with his nose, he does not guess what is visible behind the door, i.e. e. "does not see beyond his own nose"). In addition, the fervently protruding nose of Pinocchio (Collodi has nothing to do with the character of Pinocchio) in Tolstoy began to denote a hero who does not hang his nose.

Barely born, Pinocchio is already playing pranks and mischief. So carefree, but full of common sense and tirelessly active, defeating his enemies “with the help of wit, courage and presence of mind,” he is remembered by readers as a devoted friend and a warm-hearted, kind little man. In Pinocchio - the features of many of A. Tolstoy's favorite heroes, inclined rather to action than to reflection, and here, in the sphere of action, they find and embody themselves. Pinocchio is infinitely charming even in his sins. Curiosity, innocence, naturalness ... The writer entrusted Pinocchio with the expression not only of his most cherished convictions, but also of the most attractive human qualities, if only it is allowed to talk about the human qualities of a wooden doll.

Pinocchio is plunged into the abyss of disaster not by laziness and aversion to work, but by a boyish passion for "terrible adventures", his frivolity, based on the life position "What else could you come up with?". He reincarnates without the help of fairies and sorceresses. The helplessness of Malvina and Piero helped bring out the best features of his character. If we start listing Pinocchio's character traits, then dexterity, courage, ingenuity, and a sense of camaraderie will come to the very first place. Of course, throughout the whole work, in the first place, Pinocchio's self-praise is striking. During the “terrible battle at the edge of the forest”, he sat out on a pine tree, and the forest brotherhood fought, mainly; victory in battle is the work of Artemon's paws and teeth, it was he who "came out of the battle as a winner." But here Pinocchio appears at the lake, Artemon, bleeding with two bales, barely trails behind him, laden with two bales, and our “hero” declares: “They also wanted to fight with me! me Karabas Barabas himself - pah! ... "It seems that, in addition to such a shameless appropriation of other people's merits, he is also heartless. Choking in the story from admiration for himself, he does not even notice that he is putting himself in a comical position (for example, during the flight): “No panic! Let's run!" - Commands Pinocchio, "courageously walking ahead of the dog ..." Yes, there is no longer a fight, you no longer need to sit out on the "Italian pine", and now you can completely "courageously walk over bumps", as he himself describes his next feat. But what forms does this “courage” take when danger arises: “Artemon, throw off the bales, take off your watch - you will fight!”

Analyzing the actions of Pinocchio as the plot develops, one can trace the evolution of the upbringing of good traits in the character and deeds of the hero. hallmark The nature of Pinocchio at the beginning of the work is rudeness, bordering on rudeness. His expressions such as "Pierrot, roll to the lake ...", "That's a stupid girl ..." "I'm the boss here, get out of here ..."

The beginning of the tale is characterized by the following actions: offended a cricket, grabbed a rat by the tail, sold the alphabet. “Pinocchio sat down at the table, twisted his leg under him. He stuffed almond cakes into his mouth whole and swallowed without chewing. Then we observe “politely thanked the turtle and the frogs ...” “Pinocchio really wanted to brag right now that the key was in his pocket. In order not to let it slip, he pulled off the cap from his head and stuffed it into his mouth ... ”; “... supervised the situation ...” “I am a very reasonable and prudent boy ...” “What will I do now? How can I get back to Papa Carlo?” “Beasts, birds, insects! Ours are being beaten! As the plot develops, Pinocchio's actions and phrases change dramatically: he himself took water, collected branches for a fire, lit a fire, cooked cocoa; worries about friends, saves their lives.

The justification for the adventure with the Field of Wonders is to cover Papa Carlo with jackets. Poverty, which forced Carlo to sell his only jacket for the sake of Pinocchio, gives rise to the latter's dream of getting rich quick in order to buy Carlo a thousand jackets..

In the closet of the Pope, Carlo Pinocchio finds the main goal for which the work was conceived - a new theater. The author's intention is that only a hero who has gone through the path of spiritual improvement can achieve the cherished goal.

The prototype of Pinocchio, according to many authors, was the actor Mikhail Alexandrovich Chekhov, the nephew of the writer Anton Pavlovich Chekhov.From his youth, Mikhail Chekhov was seriously engaged in philosophy; later there was an interest in religion. Chekhov was not interested in social problems, but in "a lonely Man, standing in the face of Eternity, Death, the Universe, God." The main feature that unites Chekhov and his prototype is "Contagiousness". Chekhov had a huge impact on the audience of the twenties of all generations. Chekhov had the ability to infect the audience with his feelings. “His genius as an actor is above all a genius for communicating and connecting with the audience; he had a direct, reverse and continuous connection with her.

In 1939 "Chekhov Theater" settles in Ridgefield, 50 miles from New York, in 1940–1941, performances of Twelfth Night (a new, different edition), Cricket on the Stove, Shakespeare's King Lear were prepared.

Theater-studio M.A. Chekhov. USA. 1939-1942

In 1946, the newspapers announced the creation of the “Acting Workshop”, where “the “Mikhail Chekhov method” is being developed at the moment (it exists to this day in a modified form. Among his students were Hollywood actors: G. Peck, Marilyn Monroe, Y. Brynner) . Worked as a director at the Laboratory Theater of Hollywood.

Since 1947, due to an exacerbation of his illness, Chekhov limited his activities mainly to teaching, and taught acting classes in the studio of A. Tamirov.

Mikhail Chekhov died in Beverly Hills (California) on October 1, 1955, the urn with his ashes was buried at the Forest Lawn Memorial Cemetery ("Forest Glade") in Hollywood. Almost until the mid-1980s, his name was forgotten in his homeland, found only in separate memoirs (S.G. Birman, S.V. Giatsintova, Berseneva, etc.). In the West, the Chekhov method over the years has gained a significant influence on the technique of acting, since 1992 Mikhail Chekhov International Workshops have been regularly organized in Russia, England, USA, France, the Baltic States, Germany with the participation of Russian artists, directors, teachers.

The main miracle of the whole fairy tale, in my opinion, is that it was Mikhail Chekhov (Pinocchio), who opened the door to a fairy-tale land - a new theater, founded a school of theater art in Hollywood, which still has not lost its relevance.

Elena Tolstaya. Golden Key to the Silver Age

V. A. Gudov Adventures of Pinocchio in a Semiotic Perspective, or What is seen through the well from the golden key.

Internet networks.

The work is dedicated to the memory of the teacher of Russian language and literature

Belyaeva Ekaterina Vladimirovna.

Among such books"The Three Musketeers", "Alice in Wonderland", "Winnie the Pooh", "The Wizard of the Emerald City", "Dunno in the Sunny City". This mandatory list, in our deep conviction, should also include a story about the adventures of a wooden boy named Pinocchio.

In 2015, it was eighty years since the fairy tale was written by Alexei Tolstoy, who was in exile at that time, and forty years of its adaptation by the film studio "Balarusfilm". Thanks to the author's processing of "Pinocchio" Carla Collodio and the magnificent play of not only the meters of Soviet cinema Vladimir Etush, Rina Zelenaya, Elena Sanaeva, Rolan Bykov, Nikolai Grinko and others, but also the young artists Dima Iosifov, Tanya Protsenko, Buratino firmly entered the minds of more than one generation of boys and girls and from their simple wooden doll (Italian burattino - wooden doll-actor) has become an example of the best human qualities: courage, independence, humor, nobility, love and respect for elders, generosity, generosity, optimism, intolerance to injustice.

Aleksey Tolstoy not only Russified the Italian fairy tale by Carlo Collodi, full of moral maxims (i.e. edification), but, through the introduction of a new image of the golden key as a symbol of happiness, filled it deep meaning. Pinocchio is not Pinocchio, deceit, cunning and resourcefulness are alien to him. Yes, to them, his main attribute (long nose) has turned from a symbol of lies into a symbol of curiosity inherent in any creative personality. It is a creative person who is able to transform and cultivate the world around him.

The tale of Pinocchio has the potential not only for moral, but also for the spiritual education of children. A deep analysis of the work shows that many plots have parallels with Christian theology. At first glance, the statement of the problem may seem far-fetched, but is it? Let's try to comprehend the tale from a Christian point of view.

Let us make a reservation right away that we do not share the point of view of some literary critics that Tolstoy's fairy tale is extremist in nature and offends the feelings of believers, since, in their opinion, it is a parody of Jesus Christ. Say, the father of the protagonist of the tale is a carpenter, like Joseph the Betrothed, Pinocchio bought a ticket for the performance "Girl with blue eyes, or Thirty-three slaps", which is a mockery of the age of Christ, and Karabas Barabas- in general, a parody of priests wearing beards in accordance with the canons of the Church.

Following this logic, "far-fetched", you can heroes of the cult cartoon "Well, you wait!" accuse him of promoting violence against animals, drunkenness and hooliganism, and accuse Uncle Fyodor from Troy from Prostokvashino of vagrancy and illegal possession of property (a house in the village).

But let us return to the "Golden Key" and carefully read the dialogue between Pinocchio and Talking Cricket in the closet Papa Carlo:

“Pinocchio saw a creature that looked a bit like a cockroach, but with a head like a grasshopper. It sat on the wall above the hearth and crackled softly - kri-kri - looked with bulging iridescent eyes, as if made of glass, moved its antennae.

- Hey, who are you?

“I am Talking Cricket,” the creature replied, “I have been living in this room for over a hundred years.

"I'm the boss here, get out of here."

- Well, I'll go, although I'm sad to leave the room where I lived for a hundred years, - said the Talking Cricket, - but before I leave, listen to useful advice.

“I really need some old cricket’s advice…”

“Ah, Pinocchio, Pinocchio,” said the cricket, “quit pampering, obey Carlo, do not run away from home without work, and tomorrow start going to school. Here's my advice. Otherwise, terrible dangers and terrible adventures await you. For your life, I will not give even a dead dry fly.

- What for? Pinocchio asked.

- But you will see - why, - said the Talking Cricket.

- Oh, you, a hundred-year-old insect-cockroach! shouted Buratino. “Most of all, I love scary adventures. Tomorrow at dawn I will run away from home - climb fences, destroy bird nests, tease boys, drag dogs and cats by the tails ... I can’t think of anything else! ..

- I feel sorry for you, sorry, Pinocchio, you will shed bitter tears.

- What for? Pinocchio asked again.

“Because you have a stupid wooden head.

Then Pinocchio jumped on a chair, from a chair to the table, grabbed a hammer and launched it into the head of the Talking Cricket.

The smart old cricket sighed heavily, wiggled its whiskers, and crawled away behind the hearth—out of this room forever.”

Pinocchio talks to Cricket like a rival, insisting on his superiority. Doesn't this communication of a person with his ... conscience remind us?

Old Testament prophet Hosea, lamenting Ephraim, says: "Ephraim overthrew his rival, trampling down judgment, as if he had begun to walk after the vain" (Hos. 5:11). The rival, according to the interpretation of the Monk Abba Dorotheus, is conscience. “But why is conscience called a rival?” the holy father asks. “He is called a rival because he always resists our evil will and reminds us what we should do, but we do not; and again, what we shouldn’t do, we do, and for that she condemns us ”(Abba Dorotheos. Soulful Teachings and Messages. Teaching 3. On Conscience).

How does Pinocchio react to the instructions of the Talking Cricket? Just like a sin-stricken man of his conscience - first drowns it out, elevating his vices to the rank of permissible, and then completely expels it.

Almost immediately after the conflict between Pinocchio and the Talking Cricket, threat of life and inevitability of death:

“Now Pinocchio got scared, let go of the cold rat tail and jumped onto a chair. The rat is behind him.

He jumped from his chair to the windowsill. The rat is behind him.

From the windowsill, he flew across the entire closet onto the table. The rat follows him... And then, on the table, she grabbed Pinocchio by the throat, knocked him down, holding him in her teeth, jumped to the floor and dragged him under the stairs, into the underground.

Papa Carlo! – only had time to squeak Pinocchio.

The door opened and Papa Carlo walked in. He pulled off a wooden shoe from his foot and threw it at the rat. Shushara, releasing the wooden boy, gritted her teeth and disappeared.

The only hope- on Pope Carlo, therefore Pinocchio in a seemingly critical situation, when, due to his own frivolity, as Alexei Tolstoy himself notes, he almost died. Pinocchio calls for help to Papa Carlo, although he realizes that he is in the police station, and not next to him. And yet, Papa Carlo unexpectedly comes to the rescue. You can see the artistic intent in this plot. However, it is easy to see parallel with God's man, who is in a hopeless situation and calls on Him for help.

Just as the Lord takes care of his creation, so Papa Carlo creates a comfortable environment for Pinocchio - feeds and clothes him, moreover, that the wooden boy needs clothes, he says himself:

“Papa Carlo, but I’m naked, wooden, the boys at school will laugh at me.

“Hey,” said Carlo, scratching his bristly chin. - You're right, baby!

He lit a lamp, took scissors, glue and scraps of colored paper. I cut and glued a brown paper jacket and bright green pants. He made shoes from an old top and a hat - a cap with a tassel - from an old sock. I put all this on Pinocchio.

Isn't this plot like a dialogue Adama from God that he is naked and ashamed, and that “... the Lord God made garments of leather for Adam and his wife, and clothed them” (Genesis 3:21)?

As well as Creator gives a person book of life, reading which, he learns to communicate with God and the world around him, so Pope Carlo gives Pinocchio the alphabet, thanks to which he had to learn to know the world. Unfortunately, the desire for sensual pleasure takes precedence over the desire to develop their intellectual abilities, and Pinocchio exchanges school for theater.

Getting out of the way indicated by Pope Carlo, leads to the fact that Pinocchio's life is filled with dangers and, at times, exciting adventures. But, despite the winding road, Pinocchio returns to his father's house, and even with a golden key. The central event of his life is his acquaintance with the puppets of the theater of Karabas Barabas, whom he seeks to help. But first it was necessary to meet with the swindlers who invited him to Country of Fools.

Country of Fools returns attentive reader to the realities of everyday life modern man: social inequality, the superiority of power over citizens, the rich over the poor, the lack of justice and the imperfection of the judicial system, desire for easy money

“The three of them went along the dusty road. Lisa said:

- Clever, prudent Pinocchio, would you like to have ten times more money?

- Of course I want! And how is it done?

The fox sat on its tail, licked its lips:

- I'll explain to you now. There is a magic field in the Land of Fools - it is called the Field of Miracles ... Dig a hole in this field, say three times: “Crex, fex, pex”, put gold in the hole, fill it with earth, sprinkle salt on top, fields well and go to sleep. In the morning, a small tree will grow out of the hole, instead of leaves, golden coins will hang on it.

Pinocchio, like deceived investors of financial pyramids end of the 20th - beginning of the 21st centuries, fails. But Alexei Tolstoy leads his hero through trials to understand that vain And perishable the world is deceptive, but it is there that he receives the golden key from the turtle Tortila.

Reflecting on the episode of the transfer of the golden key by the turtle Tortila Pinocchio, let's pay attention to the motive of her act. In Tolstoy's text it is presented as follows:

- Oh, you brainless, gullible boy with short thoughts! Tortila said. - You should sit at home and study hard! Has brought you to the Land of Fools!

“So I wanted to get more gold coins for Papa Carlo ... I’m a very good and prudent boy ...”

“The cat and the fox stole your money,” said the turtle. - They ran past the pond, stopped to drink, and I heard how they boasted that they dug up your money, and how they fought over it ... Oh, you brainless, gullible fool with short thoughts! ..

“You don’t need to swear,” Pinocchio grumbled, “here you need to help a person ... What am I going to do now? Oh-oh-oh!.. How can I get back to Papa Carlo? Ah ah ah!..

He rubbed his eyes with his fists and whimpered so plaintively that the frogs suddenly sighed all at once:

“Uh-uh… Tortila, help the man.

The tortoise gazed at the moon for a long time, remembering something...

“Once I helped one person in the same way, and then he made tortoise combs out of my grandmother and my grandfather,” she said. And again she gazed at the moon for a long time. - Well, sit here, little man, and I will crawl along the bottom - maybe I will find one useful little thing. She sucked in the snake's head and slowly sank under the water.

The frogs whispered:

- Turtle Tortila knows a great secret.

It's been a long, long time.

The moon was already leaning behind the hills ...

The green duckweed hesitated again, the tortoise appeared, holding a small golden key in its mouth.

She put it on a leaf at Pinocchio's feet.

- Brainless, gullible fool with short thoughts, - said Tortila, - do not grieve that the fox and the cat stole gold coins from you. I give you this key. It was dropped to the bottom of the pond by a man with a beard so long that he put it in his pocket so that it would not interfere with his walking. Oh, how he asked me to find this key at the bottom! ..

Tortila sighed, was silent, and sighed again so that bubbles came out of the water ...

“But I didn’t help him, I was very angry at the people for my grandmother and my grandfather, who were made into tortoiseshell combs. The bearded man talked a lot about this key, but I forgot everything. I only remember that I need to open some door for them and it will bring happiness...

Tortile is impressed by Pinocchio's desire to provide Pope Carlo with a comfortable existence. His desire is altruistic. This idea is very well reflected in the film adaptation of The Golden Key. The author of the script managed to convey the main idea of why Pinocchio receives the key to happiness. Let's think about it too.

We understand perfectly well that neither Karabas Barabas, who personifies evil in a fairy tale, nor his minions Duremar, earning on the misfortune of others, nor scammers cat Basilio and fox Alice cannot be fully happy because they are immoral. But why not in place of Pinocchio Malvina, not Pierrot, not Artemon or Harlequin? After all, they, like no one else, need to find happiness, become free, free themselves from the fetters of Karabas Barabas. But this is the key to unraveling the act of the turtle Tortila. And Malvina, and Harlequin, and Pierrot, and Artemon are puppets. Beautiful, at first glance, the appearance of the puppets of the Karabas Theater hides masks.

Pierrot, as a typical lover, suffering from unrequited love, is in constant despondency and a state of depression and resembles a representative of the direction of modern youth subculture emo. Pinocchio calls Pierrot a crybaby and a pester. Harlequin, on the contrary, is a model of carelessness and being in eternal fun. And even the poodle Artemon in a fairy tale looks like a dandy and a dandy. Malvina's pride is so great that in dealing with Pinocchio, whom she sees for the first time in her life, she is touchy and absurd, capricious to the extreme. However, she tries to educate him. The words of the Apostle Peter come to mind: “They promise them freedom, being themselves slaves of corruption; for whoever is conquered by whom is the same slave (2. Pet. 2:19). And the strings from the dolls are in the hands of Karabas Barabas.

Unlike the puppets of the theater of Karabas, Pinocchio has free will, this is the reason for his restlessness and mischief, but at the same time, generosity and disinterestedness, the desire to make others happy.

The motive for handing over the golden key by the turtle Tortila to Pinocchio is very subtly reflected in the film "The Adventure of Pinocchio".

Let's read their dialogue:

“- And you know, for some reason I liked you.

I am charming.

No, that's not the point. You are kind, you love Papa Carlo and believe that you were created for the joy of people. I want to give you a key. I swore I would never give it to people. They have become greedy and evil, and evil and greedy can never be happy. Take the key, it will bring you happiness.

Recall that the film appeared in 1975 the year when atheistic propaganda was raging. Consciously or not, but, nevertheless, in this dialogue, the commandments about love for God and neighbor are veiled: “Love the Lord your God with all your heart, and with all your soul, and with all your mind. This is the first and greatest commandment. The second is similar to it: Love your neighbor as yourself. On these two commandments hang all the law and the prophets (Matthew 22:37-40).

Possession of a golden key is not able to make the main characters happy - the door is needed, to the lock of which this key fits, and behind which is the main dream. As conceived by the author, the door is located behind a canvas with a painted hearth in Papa Carlo's modest closet. In other words, after many adventures, like the prodigal son, you need to return to your father's house.

In a fight with Karabas Barabas and his henchmen, far from the house of Papa Carlo, Pinocchio, according to the author, for the first time in his life comes in despair:

Fox Alice smiled crookedly:

- Permission to turn the necks of these impudent ones?

Another minute, and it would all be over ... Suddenly swifts rushed with a whistle:

- Here, here, here!

A magpie flew over the head of Karabas Barabas, chattering loudly:

- Hurry, hurry, hurry!

And at the top of the hillside appeared old Papa Carlo. His sleeves were rolled up, a gnarled stick was in his hand, his eyebrows were furrowed...

He pushed Karabas Barabas with his shoulder, Duremar with his elbow, pulled the fox Alice along the back with a baton, threw Basilio the cat with his boot ...

After that, bending down and looking down from the hillside where the little wooden men stood, he said joyfully:

“My son, Pinocchio, rogue, you are alive and well, come to me as soon as possible!”

Let's compare the last words of this passage with the words from the parable of Jesus Christ about the prodigal son: "... my son was dead and is alive again; he was lost and is found" (Luke 15:23).

The final scenes of the tale also have Christian motifs. Here is the dialogue of the main characters before the performance in the new puppet theater:

“Pierrot rubbed his wrinkled forehead with his fists:

“I will write this comedy in sumptuous verse.

“I will sell ice cream and tickets,” said Malvina. - If you find talent in me, I will try to play the roles of pretty girls ...

- Wait, guys, and when to study? asked Papa Carlo.

They all answered at once:

- We will study in the morning ... And in the evening we will play in the theater ...

“Well, that’s it, little children,” said Papa Carlo, “and I, little children, will play the hurdy-gurdy to amuse the respectable audience, and if we start traveling around Italy from city to city, I will drive a horse and cook lamb stew.” with garlic...

Happiness finds not only Pinocchio, but also his friends. A rebirth takes place in their hearts: Malvina turns from a capricious and arrogant girl into a modest girl, Piero finally finds inspiration and joy in life. It is especially valuable that Papa Carlo becomes their guide, who will continue to take care of them. It is symbolic that the Talking Cricket returns to Pinocchio the day before.

The fairy tale "The Golden Key, or the Adventures of Pinocchio" has deep Christian meaning. Its main idea, in our opinion, is that while living in a temporary life, through virtues and the fight against temptations, a person acquires a “golden key” for a happy life. eternal life, life with God .

Comparative analysis of "Pinocchio" by K. Collodi and "The Golden Key, or the Adventures of Pinocchio" by A.N. Tolstoy

2. Issues

5. Main characters

7. Addressee of the book

Aleksey Nikolaevich Tolstoy (1882/83-1945) - Russian writer, extremely versatile and prolific writer, writing in all genres and genres (two collections of poems, more than forty plays, scripts, adaptation of fairy tales, journalistic and other articles, etc.) , first of all, a prose writer, a master of fascinating narration. Academician of the Academy of Sciences of the USSR (1939).

In 1918-23 in exile. Tales and stories from the life of the estate nobility (cycle "Zavolzhye", 1909-11). The satirical novel "The Adventure of Nevzorov, or Ibicus" (1924). In the trilogy "Walking Through the Torments" (1922-41), A. Tolstoy seeks to present Bolshevism as having a national and popular soil, and the Revolution of 1917 as the highest truth comprehended by the Russian intelligentsia; in the historical novel "Peter I" (books 1-3, 1929-45, not finished) - an apology for a strong and cruel reformist government. He also owns science fiction novels "Aelita" (1922-23), "Hyperboloid engineer Garin" (1925-27), stories, plays.

Among the best stories for children in world literature by Alexei Tolstoy is The Golden Key, or the Adventures of Pinocchio (1935), a very thorough and successful adaptation of the Italian writer C. Collodi's fairy tale Pinocchio.

2. Issues

For the first time, the fairy tale of the Italian writer C. Collodi "The Adventures of Pinocchio. The Story of a Puppet", which was published in 1883, was translated into Russian in 1906 and published in the journal "Soulful Word". In the preface to The Golden Key (1935), whose hero was Pinocchio (in Italian, Pinocchio), it is said that the writer allegedly heard the tale as a little boy. The author clearly mystified the reader, perhaps in order to gain greater freedom in self-expression, filling the tale with the subtexts of his time. In fact, back in 1924, together with the writer N. Petrovskaya, he published the book The Adventures of Pinocchio in the Berlin publishing house Nakanune. The title says: "Remade and edited by Alexei Tolstoy". Apparently, the writer did his retelling by interlinear. The desire to preserve the somewhat old-fashioned aesthetics of the fairy tale, sentimentality and humor collided with the desire to give the text a more modern rhythm, to get rid of excessive sententiousness and moralizing. Here the impetus was laid for a radical revision of the text, which was carried out twelve years later in Russia. In 1935, first following the text of "Pinocchio", the author created a completely original work, a fairy tale masterpiece, surpassing the source in its cultural significance. The break in the plots occurs after the flight of Pinocchio from the Country of Fools. In addition, magic (transformation) is excluded. A year later, Tolstoy wrote the play "The Golden Key".

In the fairy tale, the writer again refers to the "memory of childhood", this time recalling his passion for S. Collodi's book "Pinocchio, or the Adventures of a Wooden Doll". Collodi (Carlo Lorenzini, 1826-1890) wrote in 1883 a moralistic book about a wooden boy. In it, after long adventures and misadventures, the mischievous and lazy Pinocchio is corrected under the influence of a fairy with blue hair.

A.N. Tolstoy does not follow the source literally, but creates a new work based on it. Already in the preface, the author reports that in childhood he told the book he loved each time in different ways, inventing such adventures that were not in the book at all. The writer focuses on the new reader; it is important for him to instill in the Soviet child good feelings for the oppressed and hatred for the oppressors.

Telling Yu. Olesha about his idea, A.N. Tolstoy emphasized that he would not write an instructive work, but an entertaining and cheerful recollection of what he had read in childhood. Yu. Olesha wrote later that he wanted to evaluate this idea "as an idea, of course, crafty, since the author is still going to build his work on someone else's basis - and at the same time as an original idea, charming, since borrowing will take the form of searching for someone else's plot in memory, and from this the fact of borrowing will acquire the value of a genuine invention.

The fairy tale "The Golden Key, or the Adventures of Pinocchio" turned out to be a great success for A.N. Tolstoy and quite original work. When creating it, the writer paid the main attention not to the didactic side, but to the connection with folk motives, to the humorous and satirical depiction of the characters.

3. Plot, conflict, composition

The plot is based on the struggle of Buratino (burattino - in Italian "doll") and his friends with Karabas-Barabas, Duremar, the fox Alice, the cat Basilio. At first sight. it seems that the struggle is for the mastery of the golden key. But the motive of mystery, traditional in children's literature, in the book by A.N. Tolstoy sounds different. For Karabas-Barabas, Duremar, the fox Alice and the cat Basilio, the golden key is a symbol of wealth, power over the poor, over the "meek", "stupid people". For Pinocchio, Papa Carlo, poodle Artemon, Piero and Malvina, the golden key is a symbol of freedom from oppression and the opportunity to help all the poor. The conflict between the "light and dark world" of the tale is inevitable and irreconcilable; the action in it unfolds dynamically; The author's sympathies are clearly expressed.

The "Dark World", beginning with Karabas-Barabas and ending with a general sketch of the Land of Fools, is given satirically throughout the entire tale. The writer knows how to show vulnerable, funny features in the characters of the "doctor of puppet science" Karabas, the seller of leeches Duremar, the fox Alice and the cat Basilio, the governor Fox, police dogs. The hostile world of the exploiters is exposed by A.N. Tolstoy debunked the legend of the omnipotence of the "lash in seven tails", wins the humanistic principle. Social concepts and phenomena are embodied by the writer in living images full of emotional power, which is why the beneficial effect on children of the fairy tale about the adventures of Pinocchio is still tangible.

4. Narrator ( lyrical hero). Figurative systematics of the work

Of course, the narrator in a work of art should by no means be identified with the author of this work. Moreover, in this case it is clearly visible that the narrator is endowed by Tolstoy with his own, moreover, a very specific psychology; therefore, he is a character, one of the heroes of the tale.

The somewhat feigned familiarity towards the reader with which the narration is being conducted is striking: “But Pinocchio’s long nose pierced through the bowler hat, because, as we know, the hearth, and the fire, and the smoke, and the bowler hat were drawn by poor Carlo on a piece old canvas. However, the reader just did not know that all this was drawn by poor Carlo. Or again: "We already know that Pinocchio has never even seen a pen and an inkwell" - although we are hearing (reading) about this for the first time. It is also characteristic that the lyric poet Pierrot in the fairy tale is ridiculed not only by Pinocchio, but also by the narrator. For example: "Pierrot, at the sight of Malvina, began to mutter words - so incoherent and stupid that we do not give them here."

There are also facts of frank empathy for the events described in the narrator's story. Or maybe he himself is an active participant in these events, if he brings his own emotional moment to them? In addition, this participant does not have a sufficient level of literacy, although he is narrating. From this it becomes clear that the work contains vulgar narrative techniques and numerous logical inconsistencies at the plot level, which A. Tolstoy, as a high-class professional, could not allow. Here, apparently, it is worth remembering that the character-narrator - artistic medium the writer to whom he "instructs" to lead the story, so the level of his intellect and literacy leaves its mark on literally the entire story.

5. Main characters

Characters in A.N. Tolstoy are outlined clearly and definitely, as in folk tales. They take their origins from folk stories, epic and dramatic. Pinocchio is somewhat close to the reckless Petrushka from the folk theater. It is outlined with humorous strokes, given in combination of positive and negative. It costs nothing for a wooden boy to show his tongue to Papa Carlo, to hit a talking Cricket with a hammer, to sell the alphabet to buy a ticket to the theater.

Pinocchio had to endure many adventures from the first day of his birth, when his thoughts were "small, small, short, trifling, trifling", until the moment when he realizes: "you need to save your comrades - that's all."

Pinocchio's character is shown in constant development; the heroic element in the wooden boy is often seen through the outwardly comic. So, after a brave fight with Karabas, Malvina forces Pinocchio to write a dictation, but he immediately comes up with an excuse: “They didn’t take writing materials.” When it turned out that everything was ready for classes, Pinocchio wanted to jump out of the cave and run wherever his eyes looked. And only one consideration held him back: "it was impossible to abandon helpless comrades and a sick dog." Pinocchio enjoys the love of the guys because he is not only fabulously lucky, but also has truly human weaknesses and shortcomings.

We can assume that the meaning of the country of children as a true country of happiness in the "Golden Key" embodies Malvina's glade. Children-dolls independently staged their lives, and did not turn it into chaos (in "Pinocchio" dolls are presented as toys in the hands of a puppeteer, in "Golden Key" - dolls are completely independent characters. In this temporary paradise, "rehearsing" the final scene of "Golden key", the contradiction "play-work", as noted, is removed in the aesthetics of the role-playing game and the theatricality of puppet life, which is directly inscribed in open space nature. The description of nature, in turn, acquires theatrical features: "... the moon hung over the mirror water, as in a puppet theater." Malvina inherited from the Sorceress from "Pinocchio" not only blue hair, but also an authoritarian character with an admixture of outright tediousness, parody exaggerating the moralizing of her predecessor. Especially straightforward phrases: "Now I will take care of your upbringing" and "She took him to the house to be educated", introduced by Tolstoy in the last version of the manuscript, did not leave hope for an educational effect gradually. Bust in education is motivated in the fairy tale by the immaturity of child dolls: in a role-playing game, everything is just like in adults. Playing as a teacher, Malvina dictates to Pinocchio a phrase from Fet: "And the rose fell on Azor's paw", which is read the same way from left to right - and vice versa. The bewitching serenity of this palindrome is consonant with the mood of Malvina's meadow, on which "azure flowers" grow, and it is consonant literally: "Rose", "Azore" - "azure". And isn’t the beautiful country of “Azor” encrypted in Fet’s phrase (along with other subtexts identified by researchers), and it still has the same dream of happiness? In the "Golden Key" the curtain opens - and this is the curtain of the new theater. The door of Papa Carlo's paternal closet opens into infinite space. big world. From here, the heroes begin their journey, because happiness is "not a state", but "free movement forward", as L.I. Tolstoy wrote. Barsheva, to whom he dedicated his book. The heroes of the fairy tale descend the stairs (the author himself for the first time recreates the symbolic procession along the steps in the poem "Creativity" ("Lyric", 1907), they fall into a round room, lit up like a temple (associations involuntarily reach for the ideal "glades" and "islands" ) and they see a "wonderful beauty puppet theater". Suddenly there is a "stop-disappointment", inevitable and psychologically extremely reliable on the way to the Absolute: the theater in the eyes of the adult Pope Carlo is just an "old toy". At worst, it would be better to have a lot of gold and silver! But the degree of disappointment is not so great as to destroy the tense expectation of a miracle, and only makes it more convincing. The "substitution" of points of view occurs unmotivated and imperceptibly for the reader: the stairs down turn out to be the way up, an old toy - a theater of wonderful beauty, on a the stage of which is replaced by "tiny" worlds, and then the children-dolls, continuing the procession on a different scale, will "play themselves."

No less significant is the omission in the "Golden Key" of individual motives. As already mentioned, the motive of labor "falls out" when the Cricket appears. The author crosses out the admonition: "You will earn bread" as superfluous in the main ideas - "play-creativity" and "childhood-happiness". And even more so, the motive of labor is impossible as a punishment, which is hard to trace in the old fairy tale. Cruelty is unthinkable in the Golden Key, where no one even kills enemies (the exception is the rat Shushara). Instead of "Poor Cricket squeaked for the last time - kri-kri - and fell upside down with his paws," the author wrote in the margin: "Heavy sigh, wiggled his mustache and crawled forever over the edge of the fireplace."

Pinocchio not only became more harmless and closer to children's perception, along with this, the whole concept of the fairy tale changed. The motives of guilt and remorse are strongly muffled in it. Pinocchio's adventures are more likely not a violation of morality ("do not steal" - preserved only for the Cat and the Fox), but a violation of the rules due to Pinocchio's "short" thoughts.

pinocchio pinocchio thick collodi

6. Word in a work: details, repetition of details, figurative structure of speech

The text of The Golden Key is a completely different fairy tale than The Adventures of Pinocchio, and its hero not only has a different character, he is the bearer of a different aesthetics and other life attitudes that have absorbed the dynamic experience of his era. However, at the same time, the later text is polemically sharpened in relation to Pinocchio and literally grows through it. Before us is a unique case when the text of one work is a draft version for another. This is not just a set of outlines; on the margins and between the lines of one of the copies of Pinocchio, the Golden Key is outlined and lined up. Crossing out large chunks of text, the writer sets a new rhythm for the tale, removes endless moralizing maxims: "naughty children cannot be happy in this world", comically sharpens many scenes, for example, in the scene of the hero's healing, recklessly introduces expressive words like: "stuck" instead of “hit”, “hit what the spirit has” instead of “run with what the spirit has” (about the rooster) ... This continues until the “resistance” of the material of the early text, apparently giving new ideas, becomes insurmountable. The plot of the tales finally diverge "in the meadow of Malvina (Sorceress)", any marks on the copy of the book disappear. But the internal polemic is preserved to the end, just as hints, reminiscences and compositional parallels are preserved and realized. And at the end, a scene of a meeting with Cricket is written, by analogy with the early text, summing up the adventures of the heroes. Various phrases that sounded in the early text of 1906 (“bats will eat him”, “pull the dog by the tail”, etc.) are used in The Golden Key, giving rise to new images in a completely different context. Many details are consistently converted from text to text. In The Golden Key, the pine tree is replaced by an oak tree, on which Pinocchio was hanged, rather conventionally, because his enemies "got tired of sitting on wet tails" (a detail indicated by the author in the text of "Pinocchio"). But the "pine" is not forgotten and was useful to the author already in another scene - the battle scene at the edge of the forest, to decide its outcome, when the savvy Pinocchio (again, conditionally, as in a children's game) wins by wrapping the opponent's beard on a resinous tree, which immobilizes him . If the differences between the two texts of "Pinocchio" are mainly in the field of style, then between "Pinocchio" and "The Golden Key" they certainly turn into polemics.

In The Golden Key, in the image of Carlo the organ grinder, the gaiety and artistry of his predecessors - the fair and redhead - were polemically revealed. The hurdy-gurdy, being associated with the game, art, theater, wanderings, becomes the central and positive ... image of the "Golden Key". It is no coincidence that in the final chapter, at the stage of the last editing of the text, the writer introduced the epithet "hurdy-gurdy" ("organ-organ music played") into the description of the theater, uniting the entire fairy tale with the theme of play and theater. In "Pinocchio" play and fun lead only to sad consequences... The theater removed the opposition between work and play within the text, but sharpened it polemically in the text of "Pinocchio".

The comparisons can be represented in the form of a diagram:

"The Golden Key, or the Adventures of Pinocchio" "The Adventures of Pinocchio" The plot is kind and quite childish. Although there are several deaths in the story (Shushara the rat, old snakes, Governor Fox), there is no emphasis on this. At the same time, all deaths occur through no fault of Pinocchio (Shushara was strangled by Artemon, snakes voluntarily died a heroic death in a battle with police dogs, badgers dealt with the Fox). The book contains scenes of gore and violence. Pinocchio hit the Talking Cricket with a hammer, then lost his legs, which burned on the brazier. Then he bit off a cat's paw. The cat killed a thrush that tried to warn Pinocchio. Malvina with the poodle Artemon, who is her friend. There is clearly no magic in the book. A fairy with the same appearance, who then changes her age several times. The poodle is a very old servant in livery. There is a Golden Key, for information about which Karabas gives Pinocchio money. The Golden Key is missing (while Majafoko also gives money). Karabas-Barabas is an unambiguously negative character, the antagonist of Pinocchio and his friends. Majafoko is a positive character, despite her ferocious appearance, and sincerely wants to help Pinocchio. Pinocchio does not change his character and appearance until the end of the story. He stops all attempts to re-educate him. Remains a doll. Pinocchio, to whom morality and notations are read throughout the book, first turns into a real donkey (this motif was then clearly borrowed by N. Nosov in "Dunno on the Moon" when describing the Fool's Island), but then he is re-educated, and in the end from a nasty and naughty wooden boy turns into a living virtuous boy. Dolls behave like independent animated beings. It is emphasized that the puppets are just puppets in the hands of the puppeteer.

The books vary considerably in atmosphere and detail. The main plot coincides quite closely until the moment when the cat and the fox dig up the coins buried by Pinocchio, with the difference that Pinocchio is much kinder than Pinocchio. Further plot coincidences with Pinocchio do not occur.

7. Addressee of the book

Excluding from the text of "The Golden Key" the moral moralizing maxims that overwhelm "Pinocchio", the writer at the same time makes a "nod" in the direction of modern pedagogical criticism, also focused on the "moral lesson". Behind all this is a different attitude towards the child and towards the person in general. Childhood for Tolstoy is not a degraded version of adulthood, but a valuable game world in itself, in which human individuality is especially clearly manifested. In Pinocchio, the child is initially quite vicious (which means that he needs to be radically remade). In addition to the need to "climb trees and destroy bird nests," he is obsessed with laziness: "I want to eat, drink and do nothing," but does it agree with the active curiosity of a little man with a long nose? Therefore, apparently, in the "Golden Key" the motive of laziness is completely excluded (a healthy child cannot be lazy), and a long nose symbolizes only restlessness and curiosity, and does not act, as in "Pinocchio", a criterion of correct (wrong) behavior.

Both Pinocchio and Pinocchio change, but Pinocchio remains a "naughty man" to the end, who, according to the definition of our contemporary teacher and psychologist A. Amonashvili, is the "engine of progress." It is the scoundrel, who first "climbs trees" and then wins "with the help of cunning and ingenuity", is capable of making an independent, creative choice in life, and he does not need to be in the shoes of a "circus donkey" to become a man. In Pinocchio, only after going through a series of successive transformations does the hero become a "real" boy: the doll disappeared, a man appeared; play and fun are over - life has begun. In The Golden Key, the antithesis is removed: the doll is the person; play, creativity, fun is life. In this simultaneity lies infinity and relativity, as in a theater where the characters will "play themselves."

List of sources used

1.Gulyga A.V. Art in the age of science. - M.: Nauka, 1978.

2.Zamyatin E.I. Martyrs of Science // Lit. studies. 1988. No. 5.

.Urnov D.M.A.N. Tolstoy in the dialogue of cultures: the fate of the "Golden Key" // A.N. Tolstoy: Materials and research / Ed. ed.A.M. Kryukov. - M.: Nauka, 1985. - S.255.

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It is no secret that A. Tolstoy's favorite fairy tale "The Golden Key, or the Adventures of Pinocchio" was created based on the book "Pinocchio, or the Adventures of a Wooden Doll" by C. Collodi. But many behind an interesting plot and very exciting adventures do not see the meanings that the author hid (voluntarily or involuntarily) behind a seemingly children's fairy tale.

There are many allegories and double meanings in the book, which refer everyone to the familiar adventures of the “wooden hero” to the book “of all times and peoples” - the Bible.

Parable of the Prodigal Son

In the Gospel of Luke (Luke 15:11) the Savior tells the parable of the prodigal son. The negligent son, not wanting to wait for the inheritance, demanded his father's share, went to the big city. There he "squandered" the entire inheritance of his father and fell into poverty, not disdaining to eat with pigs. Unable to bear such a life, the son returned to his father and asked for forgiveness. The father did not hold a grudge against his son, but arranged a big feast upon his return: "this one was dead and is alive again, was lost and was found."

Parallels

Pinocchio, like the prodigal son, fled from Papa Carlo, tempted by a theater poster. At the same time, he managed to mess up the order: pierce the hearth on the canvas and quarrel with the cricket. Before us appears a typical lost son - stubborn, curious and nasty.

Pinocchio, having escaped from Papa Carlo, soon goes through the most difficult trials, stumbling upon the robbers of Karabas-Barabas and his minions: Durimar, the cat Basilio and the fox Alice. The "guardian angel" and the conscience of the "wooden boy" fell to be Malvina.

Malvina as soon as she did not try to reason with the fool Pinocchio: exhortations and reproaches had no effect on the naughty boy. As a result, Pinocchio is locked in a dark closet, where evil spiders turn out to be his neighbors ... Isn't it a familiar picture when a person, showing excessive persistence in his pride or greed, finds himself in a similar psychological "closet".

Country of fools! “The famous hare-fur jackets for Papa Carlo are sold in this city,” the fox sang, licking his lips, “alphabets with painted pictures ... Oh, what sweet pies and lollipop cockerels are sold on sticks! You haven't lost your money yet, you little Pinocchio, haven't you? - so the fox Alice lured the gullible boy.

But the prodigal son also left his father for a better and easier life. It turns out that the problem of easy money and temptations are topical not only in biblical times, but also in the time of A. Tolstoy, and even more so in our time ... But in the same Bible it says: “ IN sweat faces your you will eat bread”(Genesis, 3, 19), which instructs a person not to look for easy ways.

Like the prodigal son, seduced by temptations, Pinocchio does not pass the test of strength. Only after finding friends and acting to save them, Pinocchio embarks on the path of correction and returns to his father's house.

Who enters the house with a good fairy tale?

In the popular 1976 film "The Adventures of Pinocchio" for the first time, a song was performed on the verses of Y. Entin “Bu-ra-ti-no!”. I don't know if the author voluntarily or involuntarily laid down, but the biblical theme can also be traced in the song. On the face, either a mockery of the Savior or a subtly embedded allusion to the Easter plot of Pinocchio.

Who enters the house with a good fairy tale?
Who is known to everyone since childhood?
Who is not a scientist, not a poet,
And conquered the whole wide world,
Who is known everywhere
Tell me, what's his name?

Of course, since childhood, everyone has known the Savior, who is neither a scientist nor a poet, but conquered the whole wide world. Under the "good fairy tale" can mean the Gospel events.

On his head is a cap,
But the enemy will be fooled
He will show his nose to the villains
And make friends laugh
He will be here very soon.
Tell me, what's his name?

What hat did the Savior have? Of course, the crown of thorns. Who will laugh and rejoice at the end of time? Those who follow Christ, that is, the language of the song, are friends. Well, how not to draw a parallel between the second coming and the phrase "He will be here again soon."

He is surrounded by human rumor,
He's not a toy, he's alive!
In his hands is the key to happiness,
And that's why he's so lucky
All songs about him are sung,
Tell me what his name is!

Christ is really surrounded by people's rumors - everyone knows and talks about him. But, like the Pharisees, not everyone believes in him, perceiving him as a "toy", for a non-existent character. And what a pity that many do not understand that the key to happiness is so close to the one “who has been known to everyone since childhood” ...

Such hidden meanings are quite often hidden in the works of the Soviet period.

If these parallels offend anyone, I apologize in advance.

Music from the film "The Adventures of Pinocchio" 1975.