Tolstoy's adventures of Pinocchio are the main idea. Encyclopedia of fairytale heroes: "The 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 Artistic Worlds

Saint Petersburg 2013

WITHobsession

Introduction

1. Comparison of two fairy tales and characters

2. Images of the main characters

Conclusion

Bibliography

INconducting

Comparisons of two cultures are usually made on the basis of something. In this case, a comparison of the fairy tales "Pinocchio" and "Buratino" 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 "Buratino"; many associate this tale with a happy childhood and friendship. As in any fairy tales, so in "Pinocchio" and "Buratino" there is a place for miracles, which greatly attracts readers.

The purpose 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 literature

Comparative cultural method

Relevance work consists in a comparative cultural analysis of the tales "Buratino" 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 in many ways not similar in content, and in the characters acting in them, and in the images of the main characters themselves. At first, Tolstoy rather accurately conveyed the plot of the Italian fairy tale, but nevertheless Alexei Nikolaevich 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 fairy tale, suitable for children, and "The Adventures of Pinocchio" is more cruel, 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 a sense of danger. Pinocchio turned out to be so charming that the reader easily forgives him for stupidity and even selfishness, because spontaneity and resourcefulness are more important, thanks to which he copes with any difficulties and unforeseen situations.

By the time it was published in Russian, the tale had gone through 480 editions. In 1906, the aspiring writer A. Tolstoy was so carried away by this wonderful work that later, having acquired creative experience and literary fame, he created his own version of the adventures of a wooden man named Buratino.

The plot of the tale of the golden key in many respects 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 friend, 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 out of coins buried in the ground.

But still, in the adventures of Pinocchio, much more complexity arises. He ends up on the island of hardworking bees; finds himself in the service of the peasant and, like a guard dog, guards his chicken coop; turns into a donkey, from whose skin they are going to make a drum. Pinocchio does not pass such tests, but he meets the tortoise Tortilla and learns the secret of the golden key. He has to cope with the greed of Duremar, escape from the pursuit 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 Pope Carlo, he also became an ordinary child.

"The Golden Key, or the Adventures of Pinocchio" is a tale-tale by Alexei Nikolaevich Tolstoy, written in 1936 based on the tale of Carlo Collodi "The Adventures of Pinocchio. The History of a Wooden Doll".

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

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

If you 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 Carl 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 setting. Only the Country of Fools is taken from the Italian fairy tale to the "Golden Key", all other places (including the Country of Hardworking Bees) are not included. It is worth taking a closer look at exactly where Buratino lives and wanders. Outwardly, everything looks as if it is clear - there is a "town on the shore Mediterranean Sea"and there is a City of Fools in the Country of Fools (Bolvania from K. Collodi).

The tale of A.N. Tolstoy's "The Golden Key" uses some of the motifs of Collodi's fairy tale, but in general it quite strongly changes the original plot. 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 coincidences with Pinocchio no longer occur.

Collodi's landscapes 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 were rustling, the shutters were slamming."

There are also minor differences in the works of Russian and Italian authors: Pope Carlo, unlike Geppetto, is not imprisoned, and there is a fox instead of 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 scary and vice versa. The whole fairy tale shifted: turned by Collodi from the world of adults to the world of children, under Tolstoy's pen she began to approach the representations children's world about yourself.

Carlo Collodi's book combines fabulousness, the author's funny fantasy and the true real world included in this fabulousness. All her characters: a talking cricket, a fox, a cat, a fisherman, a resident of the "country of fools" - have living prototypes in Italian reality. Throughout the book, Pinocchio finds himself in a variety of situations, experiences many adventures that are not at all a chain of accidents. Pinocchio in his adventures and trials is morally cleansed - and finds a soul, becomes a living boy. Buratino, on the other hand, remains a wooden doll, and "it would be strange to turn Buratino 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 tale of Pinocchio replace one another, like the steps taken the main character on the path of its development. Some heroes replace others, and rarely any of the heroes reappears. 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 that are 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 that really wants to become a human and is trying 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 Buratino, on the contrary, is active, he can even be called a rebel or strategist, always in the spotlight, sociable, but Buratino 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 situation on his way. pinocchio pinocchio fairy tale literature

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

Carl Collodi endowed Pinocchio with the ability to read and write, at school he is diligent, while Pinocchio does not like school, has never been there, although he knows that he needs to go to school. They relate to edification in different ways: 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 lying, his nose grows rapidly, and everyone can see that he is cheating. Pinocchio's nose is always long. This is like a distinctive feature of his appearance. Pinocchio is timid, timid, and Buratino is very brave, goes ahead and even a little impudent.

In the fairy tale "The Golden Key, or The Adventures of Pinocchio" - 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 more suitable "The Adventures of Pinocchio". Pinocchio is incorrigible, or almost incorrigible. He himself changes the world for himself. For Pinocchio, the path of correction is the path of continuous misfortunes, of the most bitter 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 animate beings, and in the fairy tale "The Adventures of Pinocchio" Majafoko is a positive character, despite his fierce appearance, and sincerely wants to help Pinocchio and the tale emphasizes that the dolls are just puppets in the hands of the puppeteer. A. Tolstoy has the Golden Key, for information about which Karabas gives Buratino money, while K. Collodi does not have the Golden Key (while 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 following qualities can be called the similarities of the main characters: Both men were carved by the old master from a wonderful talking log. They are both wooden dolls.

The film "The Adventures of Buratino" was created - a Soviet two-part musical film based on the tale of A.N. Tolstoy "The Golden Key, or the Adventures of Buratino", created at the Belarusfilm studio in 1975. It is considered 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 tale of Carlo Collodi "The Adventures of Pinocchio" and the tale of Alexei Nikolaevich Tolstoy "The Golden Key, or the Adventures of Buratino", we can draw the following conclusions that Tolstoy's tale was written "based on", he changed a lot both in the plot and in the image of the main the 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, and 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 very meaning is 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 of happiness. It goes to those who know how to be friends, who do not hang their nose and is in a hurry to come to the rescue. Unlike Pinocchio, who after the endured trials gave up pranks and became a real boy, our Pinocchio remains a wooden doll that is not averse to playing pranks. But, despite this, he is real: he is a real friend of Malvina, Artemon, Pierrot and other dolls, a real son and assistant to Pope Carlo. He became a real hero. Unlike Collodi, Tolstoy did not want to turn the mischievous, cheerful braggart into a well-bred boy. The writer remembered his childhood well and understood that there are no children without pranks and leprosy. The writer showed how you can develop and improve the qualities given from nature, and turn disadvantages into advantages: curiosity into curiosity, recklessness into courage.

WITHlist 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 on literature

The mystery of the tale of Alexei Tolstoy

"The Golden Key, or the Adventures of Pinocchio"

Completed: student 9 "A" grade

GBOU Secondary School No. 137 of the Kalininsky District

St. Petersburg

Kaskelainen Oleg

Teacher: Prechistenskaya Ekaterina Anatolyevna

Chapter 1. Introduction page 3

Chapter 2. Theater of Karabas-Barabas p. 4

Chapter 3. The image of Karabas-Barabas p. 6

Chapter 4. Biomechanics page 8

Chapter 5. The image of Pierrot p. 11

Chapter 6. Malvina p. 15

Chapter 7. Poodle Artemon p. 17

Chapter 8. Duremar p. 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 Buratino."

The tale was written by Alexei Tolstoy in 1935 and is dedicated to his future wife Lyudmila Ilyinichna Krestinskaya - later Tolstoy. Aleksey 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 for 75 years it has not left the shelves of bookstores.

Since childhood, I was interested in the question why there are no clearly expressed positive characters in this fairy tale, if a fairy tale is for children, it should be educational in nature, but here Buratino gets a whole magical country-theater just like that, for nothing, without even dreaming about it ... negative characters: Karabas - Barabas, Duremar - the only heroes who really work, benefit people - maintain the theater, catch leeches, that is, treat people, but they are displayed in some kind of parody color ... Why?

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

Chapter 2. Theater of Karabas-Barabas

The Karabas-Barabas theater, from where the puppets run away, is a parody of the theater of the famous director - "despot" Vsevolod Meyerhold (who, according to A. Tolstoy and many of his other contemporaries, treated his actors as "puppets" ). But Buratino, with the help of the 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 his book My Life in Art, Stanislavsky wrote about the experiments of Meyerhold: "A talented director tried to close with himself the artists who in his hands were simple clay for modeling beautiful groups, mise-en-scènes, with the help of which he realized his interesting ideas." In fact, all contemporaries point out that Meyerhold treated the actors as “puppets” performing his “beautiful play”.

The Karabas-Barabas theater is characterized by the alienation of dolls 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 a well-fed life and friendship between the actors, but also the opportunity to play themselves, that is, to coincide with their true role and to act as creators themselves ... Oppression and compulsion reign in one theater, in another Buratino is going to "play himself."

At the beginning of the last century, Vsevolod Meyerhold revolutionized the art of theater and proclaimed: "Actors should not be afraid of light, and the viewer should see the play of their eyes." In 1919, Vsevolod Meyerhold opened his own theater, which was closed already in January 1938. Two incomplete decades, but this time frame became the real era of Vsevolod Meyerhold, the creator of the magical "Biomechanics. He groped the basics of theatrical biomechanics back in the Petersburg period, in 1915. Work on the creation new system human movement on stage was a continuation of the study of the technique of movement of the Italian comedians of the times of the commedia dell'arte.

There should be no chance 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 paintings to eight, because this was how the actor's imagination and the desire to live within this framework were played out. "I have not seen a greater incarnation of theater in a person than the theater in Meyerhold" - this is how Sergei Eisenstein wrote 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 it can be done, we do not make sense of it, and do not feel it properly," wrote the actor Alexei Levinsky.

Many critics point out that in the emblem of the Meyerhold Theatera seagull is visible in the form of a lightning, created by F. Schechtel for the curtain of the Moscow Art Theater. In contrast to the new theater, in the theater « Karabas-Barabas ", from which the dolls are running away," on the curtain were painted dancing men, girls in black masks, terrible bearded people in caps with stars, the sun, like a pancake with a nose and eyes, and other entertaining pictures. " This composition is made of elements, and in the spirit of real-life, moreover, loudly known theater curtains. This, of course, is a romantic stylization that goes back to Gozzi and Hoffmann, inextricably linked in the theatrical consciousness of the beginning of the century with the name of Meyerhold.

Chapter 3. The image of Karabas-Barabas

Karabas-Barabas (V. Meyerhold).

Where did the name Karabas-Barabas come from? Kara Bash on many Turkic languages this is the Black Head. 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 villain, a swindler ("barabba") or a beard ("barba") - both are quite consistent with the image. The word Barabas is the biblical sound of the name of the robber Barrabas, who was released from custody instead of Christ.

In the image of the Doctor of Puppet Science, the owner of the Karabas-Barabas puppet theater, one can trace the features of the theatrical director Vsevolod Emilievich Meyerhold, whose stage name was Doctor Dapertutto. The lash - the seven-tail, with which Karabas never parted - is a Mauser that Meyerhold began to wear after the revolution and which he used to put in front of him during rehearsals.

In his tale of Meyerhold, Tolstoy implies beyond portrait likeness. 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 puppetry, director of a famous theater, holder of higher orders, closest friend of the Tarabar king” - so strikingly corresponds to the notions 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 up, he says, the general, the capital and the entire Russian people. “Yes, your majesty,” the general replies, throwing himself into the sleigh and marching through the theaters. And in the theater, they will present everything as it is - to the prince's Bove, the fire of Moscow. That's what kind of person "

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

Karabas-Barabas, the ruler of the puppet theater, has his own "theory" corresponding to practice and embodied in the following "theater manifesto":

Puppet lord

This is who I am, come on ...

Dolls in front of me

They spread in the grass.

Even if you are pretty

I have a whip

Seven-tailed lash

I will only sink a whip

My people are meek

Sings songs ...

There is nothing surprising that artists run from such a theater, and it is the "beauty" Malvina who runs away first, Pierrot runs after her, and then, when Buratino and his companions, with the help of the golden key, find new theater, all the puppet actors are already joining them, and the theater of the "puppet master" 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 motion of an actor 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 an actor is the creation of plastic forms in space;
- the art of an actor is the ability to use correctly expressive means your body;
- the path to the image and to the feeling must begin not with experience and not with understanding the role, not with an attempt to assimilate the psychological essence of the phenomenon; not "from within" at all, but from the outside - to start with movement.

Hence, the main requirements for the actor followed: only such an actor who is perfectly trained, has musical rhythm and slight reflex excitability can start with movement. For this, the natural data of the actor must be developed by systematic training.
The focus is on the rhythm and tempo of the 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 a new theater to perform any of the most difficult game tasks.
Biomechanics' motto is this "new" actor - "anything can", this is an almighty actor. Meyerhold argued that an actor's body must be perfect musical instrument in the hands of the actor himself. The actor must constantly improve the culture of bodily expressiveness, developing the sensations of his own body in space. Reproaches to Meyerhold that biomechanics educates a "soulless" actor who does not feel, does not worry, an actor, an athlete and an acrobat, the master completely rejected. The path to the "soul", to experiences, he argued, can be found only with the help of certain physical positions and states ("points of excitability"), fixed in the score of the role.

Chapter 5. Image of Pierrot

The genius Russian poet Alexander Blok became the prototype of Pierrot. A philosopher and poet, he believed in the existence of the Soul of the world, Sophia, the Eternal Femininity, designed to save humanity from all evils, and believed that earthly love has high meaning only as a form of manifestation of the Eternal Femininity. It was in this spirit that Blok's first book, Poems about the Beautiful Lady, embodied his “romantic experiences” - his infatuation with Lyubov Dmitrievna Mendeleeva, the daughter of a famous scientist, who soon became the poet's wife. Already in earlier poems, later united by the Bloc under the name "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 exalted service, prayers (this is the name of the whole cycle), offered up not to an ordinary woman, but to the "Lady of the Universe."Talking about his youth in his autobiography, Blok said that he entered 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 favorable "biographical data", as the idyll will crumble to smithereens, and prosperity will turn into disaster:

"Dear friend, and in this quiet house

The fever hits me.

Can't find a place for me in a quiet house

Near a peaceful fire!

I am afraid of comfort ...

Even over 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 of a universal scale.

The figurative structure of the poems is full of 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 "hums", the blizzard "whispers". Often a metaphor develops into a symbol.

Poems in honor Of the lovely lady are distinguished by moral purity and freshness of feelings, sincerity and sublimity of the young poet's confessions. He praises not only the abstract embodiment of the "eternal feminine", but also a real girl - "young, with a golden braid, with a clear, open soul", as if she came out of folk tales, from whose greetings "the poor oak staff will shine with a gem tear ...". 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 either in the Italian primary source or in the Berlin "alteration and processing". This is a purely Tolstoyan creation. Collodi does not have Pierrot, but there is Harlequin: he recognizes Pinocchio among the audience during the performance, and it is Pinocchio that saves him his puppet life later. Here the role of the Harlequin in the Italian fairy tale ends, and Collodi no longer mentions him. This is the only mention that the Russian author seizes and pulls onto the stage the natural partner of the Harlequin - Pierrot, because Tolstoy does not need the mask "lucky lover" (Harlequin), but he needs - "the deceived husband" (Pierrot). Calling Pierrot on the stage - the Harlequin has no other function in the Russian fairy tale: Buratino is recognized by all the dolls, the scene of Harlequin's rescue is omitted, he is not occupied in other scenes. Pierrot's theme is introduced immediately and decisively, the game is played 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: “From behind a cardboard tree, a small man appeared in a long white shirt with long sleeves. His face was sprinkled with powder, white as tooth powder. He bowed to the respectable audience and said sadly: Hello, my name is Pierrot ... Now we are going to play a comedy in front of you called: "The Girl with Blue Hair, or Thirty-Three Cuffs." will be pounded with a stick, slapped and slapped on the back of the head. This is a very funny comedy ... Another man jumped out from behind another cardboard tree, all checkered, like Chess board.
He bowed to the most respectable audience: - Hello, I am the Harlequin!

After that, he turned to Pierrot and gave him two slaps in the face, so resonant that powder fell from his cheeks. "
It turns out that Pierrot is in love with a girl with blue hair. The 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, for Pierrot to love her selfless love. The novel by Pierrot and Malvina is one of the essential differences between The Adventures of Pinocchio and The Adventures of Pinocchio, and it is easy to see from the development of this novel that Tolstoy, like his other contemporaries, was initiated into Blok's family drama.
Pierrot of Tolstoy's fairy tale is a poet. Lyric poet. The point is not even that Pierrot's relationship with Malvina becomes a poet's romance with an actress, the point is what poems he writes. He writes poems like this:
The shadows are dancing on the wall

Nothing is scary to me.

Let the stairs be steep

Let the darkness be dangerous

It's still an underground path

Will lead somewhere ...

"Shadows on the Wall" is a regular feature of Symbolist poetry. "Shadows on the Wall" are danced 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 that Blok often repeats, but a fundamental metaphor for his poetics, based on sharp, cutting and tearing contrasts of white and black, anger and kindness, night and day.

Pierrot is parodying not one or another Blok text, but precisely the poet's work, the image of his poetry.

Malvina fled to foreign lands,

Malvina is gone, my bride ...

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

Isn't it better to part with your doll life?

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

Pierrot spends time longing for his missing lover and suffering from everyday life. Due to the transcendental nature of aspirations, it gravitates towards the blatant theatricality of behavior, in which it sees a practical meaning: for example, it 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 the sandy path." Involved by Pinocchio in the fight against Karabas, he turns into a desperate fighter, even begins to speak “in a hoarse voice, as 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 which is given in the new theater.

Chapter 6. Malvina

Malvina (O.L. Knipper-Chekhova).

The fate depicted by Tolstoy is a very ironic person: how else to explain that Buratino falls into the walled forest, fenced off from the world of troubles and adventures, Malvina's house of beauty? Why Pinocchio, who does not need this beauty, and not in love with Malvina Pierrot? For Pierrot, this house would become the coveted "Nightingale Garden", and Buratino, concerned only with how well the poodle Artemon chases birds, can only compromise the very idea of the "Nightingale Garden". That's why he gets into 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 major phenomena of Russian culture: the Moscow Art Theater and Anton Pavlovich Chekhov.

She gave almost all of her long life, from the moment the theater was founded and almost until his death. She perfectly knew English, French, German languages... She possessed great tact, taste, was noble, refined, femininely attractive. 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 was always a lot of flowers in the apartment, they were everywhere in pots, baskets and vases. Olga Leonardovna loved to look after them herself. Flowers and books replaced her with any collections that she had never interested in: Olga Leonardovna was not at all a philosopher, but she was characterized by an amazing breadth and wisdom of understanding life. She somehow in her own way distinguished in her the main from the secondary, what is important only today, from what is generally very important. She did not like false wisdom, 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 by his essence. And to the "smooth", "correct" she treated suspiciously or with humor.

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

What kind of Malvina appears before us? Malvina is the most beautiful doll from the theater of Karabas Barabas: "A girl with curly blue hair and pretty eyes", "Her face is freshly washed, there is pollen on her 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 turns into a decent bore. Defenseless, weak, "coward". It is these qualities that help to reveal 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 the wooden man.

In the work "The Golden Key" Malvina has similar character with Olga. Malvina tried to teach Buratino - and in life Olga Knipper tried to help people, she was disinterested, kind and sympathetic. She was captivated not only by the charm of her stage talent, but also by her love of life: lightness, young curiosity for everything in life - for a book, a picture, music, a play, dance, the sea, stars, for smells and colors, and, of course, for a person. When Pinocchio gets into Malvina's forest house, the blue-haired beauty immediately begins raising a mischievous person. 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 the wooden man.

Chapter 7. Poodle Artemon

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

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

In his notebook, AP Chekhov once remarked: "Then a person will become better when you show him what he is." The features of the Russian national character were reflected in Chekhov's work - softness, sincerity and simplicity, with a complete absence of hypocrisy, posture and hypocrisy. Chekhov's behests of love for people, responsiveness to their grief and mercy to their shortcomings. Here are just a few of his phrases that characterize his views:

"Everything in a person should be beautiful: face, clothes, soul, and thoughts."

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

Chekhov seeks not only to describe life, but also to remake it, to build it: now he is busy with the organization in Moscow of the first people's house with a reading room, a library, a theater, then he seeks that a clinic for skin diseases be built right there in Moscow, then he is busy with Crimea of the first biological station, then he collects books for all Sakhalin schools and sends them there in whole lots, then he builds three schools for peasant children near Moscow, and at the same time a bell tower and a fire shed for peasants. When he started to set up a public library in his hometown of Taganrog, he not only donated more than a thousand volumes of his own books for her, but also sent her 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, announcing to them: "I am not a master, I am a doctor."His biography is a textbook on literary modesty.“You have to train yourself,” Chekhov said. To train, to impose high moral requirements on himself and strictly ensure that they are fulfilled - this is the main content of his life, and this role he loved most of all - the role of his own educator. Only in this way did he acquire his moral beauty - through persistent work on himself. When his wife wrote to him that he had a compliant, gentle character, he answered her: “I must tell you that by nature I have a harsh character, I am hot-tempered and so on, so on, but I am used to restrain myself, for a decent person does not dissolve myself. befits. " 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 take care of him.Devotion, modesty, a sincere desire to help others in everything - these are the features that unite the hero of the 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 stage and in The Love for Three Oranges magazine (where the poetry department was led by Blok), had a journal pseudonym Voldemar (Volmar) Luccinius, who apparently gave Tolstoy “an idea "Named after Duremar. "Similarity" can be traced not only in the 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 the portrait of V. Solovyov, painted by the memoirist: "A tall, thin man with a beard, in a long black coat."

Duremar in the work of Tolstoy is a leech dealer, himself similar to a leech; kind of a medic. Selfish, but in principle not evil, can benefit society, say, as a theatrical janitor, which he dreams of when the population that has recovered after the opening of the Buratino theater stops buying his leeches.

Chapter 9. Pinocchio

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

Alexey Tolstoy describes the appearance of his character Pinocchio in the following words: "A wooden man with small round eyes, a long nose and mouth to ears." Buratino's long nose in the fairy tale acquires a slightly different meaning than that of Pinocchio: he is curious (in the spirit of Russian phraseological unit “to poke your nose into your own business”) and naive (having pierced the canvas with his nose, he has no idea what can be seen behind the door there, i.e. that is, "does not see beyond its own nose"). In addition, Buratino's perky protruding nose (in Collodi's in no way connected with the character of Pinocchio) in Tolstoy began to denote a hero who does not hang his nose.

As soon as he was born, Buratino is already mischievous and mischievous. Such a carefree, but full of common sense and tirelessly active, conquering his enemies "with the help of wit, courage and presence of mind" - he is remembered by the readers as a devoted friend and warm-hearted, kind man. In Buratino - the features of many favorite heroes of A. Tolstoy, inclined rather to action than to thinking, and here, in the sphere of action, finding and embodying themselves. Pinocchio is infinitely charming even in his sins. Curiosity, innocence, naturalness ... The writer entrusted Buratino to express not only his most cherished convictions, but also 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 his boyish passion for "terrible adventures", his frivolity, based on the life position "What else could you think of?" He reincarnates without the help of fairies and sorceresses. The helplessness of Malvina and Pierrot helped to reveal the best traits of his character. If we begin to list the character traits of Pinocchio, then dexterity, courage, ingenuity, and a sense of camaraderie will be blown into the very first place. Of course, throughout the entire work, first of all, the self-praise of Pinocchio is striking. During the "terrible battle at the edge of the forest," he sat on a pine tree, and it was mainly the forest fraternity who fought; victory in battle is the business of Artemon's paws and teeth, it was he who “emerged victorious from the battle”. But then Buratino appears at the lake, behind him barely trudges bleeding Artemon, laden with two bales, and our “hero” declares: “They also wanted to fight with me! .. What is a cat for me, what is a fox for me, what are police dogs for me, what I myself Karabas Barabas - ugh! … ”It seems that, in addition to such shameless appropriation of other people's merits, he is also heartless. Choking in the story with admiration for himself, he does not even notice that he puts himself in a comical position (for example, while fleeing): “No panic! Let's run! " - commanded Pinocchio, "bravely walking ahead of the dog ..." Yes, here is no longer a fight, you no longer need to sit on the "Italian pine", and now you can absolutely "walk bravely over the bumps", as he himself describes his next feat. But what forms does this "courage" take when danger appears: "Artemon, throw off the bales, take off your watch - you will fight!"

Having analyzed 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. Distinctive feature character Pinocchio at the beginning of the work is rudeness, bordering on rudeness. His expressions such as "Pierrot, roll to the lake ...", "What a fool girl ..." "I am the owner 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. “Buratino sat down at the table, twisted his leg under him. He stuffed almond cakes whole into his mouth and swallowed without chewing. Then we observe “politely thanked the turtle and the frogs ...” “Buratino terribly wanted to boast 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 ... ”; “… I was in charge of the situation…” “I am a very reasonable and prudent boy…” “What am I going to do now? How can I get back to Papa Carlo? " “Beasts, birds, insects! Ours are beaten! " As the plot develops, Buratino'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 excuse for the adventure with the Field of Miracles is to cover Dad Carlo with jackets. Poverty, which forced Carlo to sell his only jacket for the sake of Pinocchio, gives rise to the last dream of getting rich quickly in order to buy Carlo a thousand jackets ..

In Pope's closet, Carlo Buratino 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 Buratino, according to many authors, was the actor Mikhail Aleksandrovich Chekhov, the nephew of the writer Anton Pavlovich Chekhov.From his youth, Mikhail Chekhov was seriously engaged in philosophy; subsequently, there was an interest in religion. Chekhov was interested not in social problems, but in “a lonely Man facing Eternity, Death, Universe, God”. The main feature that unites Chekhov and his prototype is "Contagion". Chekhov had a huge impact on the audience of the twenties of all generations. Chekhov had the ability to infect the audience with his feeling. “His genius as an actor is primarily the genius of communication and unity 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 the performances "Twelfth Night" (new, different from the previous edition), "Cricket on the stove", "King Lear" by Shakespeare were prepared.

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

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

Since 1947, due to the exacerbation of the disease, Chekhov limited his activities mainly to teaching, taught acting courses in the studio of A. Tamirov.

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

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

Elena Tolstaya. The Golden Key to the Silver Age

V. A. Gudov The Adventures of Pinocchio in a semiotic perspective, or What can be seen in the well from the golden key.

Internet networks.

The work is dedicated to the memory of the teacher of the 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. In this obligatory list, in our deep conviction, the story of the adventures of a wooden boy named Pinocchio.

In 2015, eighty years have passed since the day when the fairy tale came out from under the pen 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 revision of "Pinocchio" Carla Collodio and the magnificent play of not only the meters of Soviet cinema by Vladimir Etush, Rina Zelena, Elena Sanaeva, Rolan Bykov, Nikolai Grinko and others, but also young artists Dima Iosifov, Tanya Protsenko, Buratino firmly entered the consciousness 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 of injustice.

Alexey Tolstoy not only Russified the Italian fairy tale by Carlo Collodi, full of moral maxims (i.e. edifications), 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, deception, cunning and resourcefulness are alien to him. Yes, he himself, his main attribute (long nose) turned from a symbol of lies into a symbol of curiosity inherent in all creative personality... It is a creative person who is capable of transforming and cultivating 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 subjects have parallels with Christian theology. At first glance, posing the problem may seem far-fetched, but is it? Let's try to comprehend the tale from a Christian point of view.

Let's make a reservation right away that we do not share the point of view of some literary scholars that Tolstoy's 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 to the performance "The Girl with Blue Eyes, or Thirty-Three Cuffs", which is a mockery of the age of Christ, and Karabas Barabas- generally a parody of priests wearing beards in accordance with the canons of the Church.

Following this "far-fetched" logic, you can play the heroes of the cult cartoon "Well, wait a minute!" accuse of propaganda of violence against animals, drunkenness and hooliganism, and Uncle Fyodor from "Three 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 into the dialogue between Pinocchio and Talking Cricket in the closet daddy Carlo:

“Buratino saw a creature a bit like a cockroach, but with a head like a grasshopper. It sat on the wall above the hearth and quietly crackled - krri-kri - looked with bulging, as if made of glass, rainbow eyes, wiggled its antennae.

- Hey, who are you?

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

- Here I am the master, get out of here.

“Okay, I’ll leave, although I’m sad to leave the room where I have lived for a hundred years,” the Talking Cricket replied, “but before I leave, listen to some useful advice.

- I really need advice from an old cricket ...

- Ah, Pinocchio, Pinocchio, - said the cricket, - give up self-indulgence, listen to Carlo, don't run away from home idle and start going to school tomorrow. Here's my advice. Otherwise, terrible dangers and terrible adventures await you. For your life, I will not give even a dead dry fly.

- Why why? - asked Buratino.

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

- Oh, you, a hundred-year-old insect-cockroach! - Buratino shouted. - More than anything, I love scary adventures. Tomorrow I’ll run away from home a little light - climb fences, destroy bird nests, tease boys, drag dogs and cats by the tails ... I’ll think of something else! ..

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

- Why why? Buratino asked again.

“Because you have a stupid wooden head.

Then Buratino jumped on a chair, from a chair to a table, grabbed a hammer and launched it at the Talking Cricket's head.

The smart old cricket sighed heavily, moved his mustache and crawled behind the hearth - forever from this room. "

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

Old Testament the prophet Hosea, lamenting Ephraim, says: "Soodole Ephraim of his rival, trample on judgment, as if she began to follow the vain ones" (Hos. 5:11). The rival, according to the interpretation of the Monk Abba Dorotheos, is conscience. "But why is conscience called a rival?" - asks the holy father. - “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 ought not to do, we do, and for this she condemns us "(Abba Dorotheos. Soulful teachings and epistles. Teaching 3. About conscience).

How does Buratino react to the instructions of the Talking Cricket? Just like a person stricken by sin 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 arises threat to life and inevitability of death:

“Now Buratino was frightened, let go of the cold rat's tail and jumped onto a chair. The rat follows him.

He jumped from the chair to the windowsill. The rat follows him.

From the windowsill, he flew across the closet to the table. The rat followed him ... And here, on the table, she grabbed Buratino by the throat, knocked him down, holding him in her teeth, jumped to the floor and dragged him under the stairs, underground.

- Papa Carlo! - only managed to squeak Buratino.

The door flew open and Daddy Carlo entered. He pulled a wooden shoe off his leg and threw it at the rat. Shushara, releasing the wooden boy, gritted her teeth and disappeared. "

The only hope- to Pope Carlo, so Buratino is in a seemingly critical situation, when, by his own lightheadedness, as Alexei Tolstoy himself notes, he almost died. Pinocchio calls dad Carlo for help, although he realizes that he is in the police station, and not next to him. And yet, Carlo's dad suddenly comes to the rescue. You can see an artistic intention in this plot. However, it is easy to see parallel with To God's man, in a desperate situation and calling on Him for help.

As the Lord takes care of his creation, so Pope Carlo creates a comfortable environment for Pinocchio - feeds and clothes him, and 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,” Carlo said and scratched his stubbled chin. - You're right, kid!

He lit a lamp, took scissors, glue, and scraps of colored paper. Cut and glued a brown paper jacket and bright green pants. He made shoes from an old bootleg and a cap - a cap with a tassel - from an old sock. He put all this on Buratino. "

Doesn't this plot resemble dialogue Adama with By god that he was naked and felt a sense of shame and that “... the Lord God made for Adam and his wife coats of skins, and clothed them” (Genesis 3:21)?

As well as Creator gives a person The Book of Life, reading which, he learns to communicate with God and the world around him, so dad Carlo gives Buratino 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 trades school for theater.

Getting out of the way indicated by Pope Carlo, leads to the fact that Buratino's life is filled with danger and, at times, exciting adventures. But, despite the winding road, Buratino 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 Karabas Barabas theater, whom he strives to help. But first it was necessary to meet with the swindlers who invited him to Country of Fools.

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

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

- Clever, prudent Buratino, would you like your money to be ten times more?

- Of course I want! How is this done?

The fox sat on her tail, licked her lips:

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

Pinocchio, like defrauded depositors of financial pyramids the end of the 20th and the beginning of the 21st centuries, is failing. But Alexey Tolstoy leads his hero through trials to understand that vain and perishable the world is deceiving, but it is there that he receives the golden key from the tortoise Tortilla.

Reflecting on the episode of the transfer of the golden key by the tortoise Tortila Buratino, let us pay attention to the motive of her act. In Tolstoy's text, this is represented as follows:

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

- So I wanted to get more gold coins for Papa Carlo ... I am a very good and sensible 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 them ... Oh, you brainless, gullible fool with short thoughts! ..

- You shouldn't swear, - Buratino grumbled, - here you need to help a man ... What am I going to do now? Oh-oh-oh! .. How do I get back to dad Carlo? Ah ah ah!..

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

- Uh-uh ... Tortila, help the man.

The turtle looked at the moon for a long time, recalled something ...

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

The frogs whispered:

- The tortoise Tortila knows a great secret.

It's been a long, long time.

The moon was already leaning over the hills ...

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

She put it on a sheet at Buratino's feet.

- A brainless, gullible fool with short thoughts, - said Tortila, - do not worry that the fox and the cat stole your gold coins. I give you this key. He 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 walk. 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 did not help him, I was very angry then at people for my grandmother and my grandfather, from whom they made tortoiseshell combs. The bearded man talked a lot about this key, but I forgot everything. I only remember that you need to open some door for them and this will bring happiness ...

Tortilla 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 scriptwriter managed to convey the main idea of why Pinocchio receives the key to happiness. We will also think about it.

We perfectly understand that neither Karabas Barabas, personifying evil in the fairy tale, nor his henchmen Duremar, earning the misfortune of others, no scammers cat Basilio and the fox Alice cannot be fully happy because they are immoral. But why is not Pinocchio in place Malvina, not Pierrot, not Artemon or Harlequin? After all, they, like no one else, need to find happiness, become free, free themselves from the shackles of Karabas Barabas. But this is the key to unraveling the action of the tortoise Tortilla. And Malvina, and Harlequin, and Pierrot, and Artemon are puppets. The beautiful, at first glance, appearance of the puppets of the Karabas Theater is hidden by masks.

Pierrot, as a typical lover, suffering from unrequited love, is in constant despondency and depression and resembles a representative of the direction of the modern youth subculture emo. Pinocchio calls Pierrot a crybaby and a molester. Harlequin, on the other hand, is a model of carelessness and being in eternal joy. And even the poodle Artemon in the fairy tale looks dandy and dandy. Malvina's pride is so great that in dealing with Buratino, 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. I recall the words of the Apostle Peter: “They promise them freedom, being themselves slaves of corruption; for whoever is defeated by whom is also a slave (2. Peter 2:19). And the strings from the dolls are in the hands of Karabas Barabas.

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

The motive of the transfer of the golden key by the tortoise Tortila Pinocchio is very subtly reflected in the film "The Adventure of Pinocchio".

Let's get a grasp of their dialogue:

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

I'm charming.

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

Recall that the film appeared in 1975 year when atheistic propaganda raged. Consciously or not, but, nevertheless, in this dialogue, the commandments about love for God and for your neighbor sound 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 her: Take love your neighbor as yourself. On these two commandments all the law and the prophets are established (Matt. 22: 37-40).

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

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

"Fox Alice smiled crookedly:

- Allow me to break the necks of these impudent people?

Another minute, and everything would be over ... Suddenly, the swifts rushed with a whistle:

- Here, here, here! ..

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

- Rather, rather, rather! ..

And at the top of the hillside old dad Carlo appeared. 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 with his club, threw Basilio towards the cat with his boot ...

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

- My son, Pinocchio, rogue, you are alive and well - come to me soon!

Let us 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 came to life, was lost and is found” (Luke 15:23).

The final scenes of the tale also have Christian motives. 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 with gorgeous poetry.

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

- Wait, guys, but when will you study? Dad asked Carlo.

All at once answered:

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

- Well, then, kids, - said dad Carlo, - and I, kids, will play the barrel organ for the amusement of the respectable audience, and if we travel around Italy from city to city, I will drive a horse and cook some bar-stew with garlic ... ".

Happiness finds not only Pinocchio, but also his friends. A rebirth is taking place in their hearts: Malvina turns from capricious and arrogant into a modest girl, Pierrot 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 Buratino the day before.

The tale "The Golden Key, or The Adventures of Pinocchio" has deep Christian meaning. Its main idea, in our opinion, is that being in a temporary life, through virtues and the struggle with temptations, a person acquires a "golden key" for a happy 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. Problems

5. Main characters

7. Book addressee

Alexei Nikolaevich Tolstoy (1882 / 83-1945) - Russian writer, extremely versatile and prolific writer who wrote in all kinds and genres (two collections of poems, more than forty plays, scripts, processing of fairy tales, journalistic and other articles, etc.) , above all a prose writer, a master of captivating storytelling. Academician of the USSR Academy of Sciences (1939).

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

Among the best stories in world literature by Alexei Tolstoy for children belongs to "The Golden Key, or the Adventures of Pinocchio" (1935), a very thorough and successful adaptation of the tale of the Italian writer K. Collodi "Pinocchio".

2. Problems

For the first time, the tale of the Italian writer K. 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 "Heartfelt 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 with the aim of gaining 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 in the Berlin publishing house "On the Eve", he published the book "The Adventures of Pinocchio". The title says: "Redesigned and processed by Alexey Tolstoy." Apparently, the writer was doing his paraphrase by word-for-word. 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 sentimentality and moralizing. Here the impulse 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 masterpiece fairy tale, surpassing the source in its cultural significance. The plots break after the escape of Buratino from the Country of Fools. In addition, magic (transformations) is excluded. A year later, Tolstoy wrote the play "The Golden Key".

In the fairy tale, the writer again turns to "childhood memory", this time recalling his fascination with S. Collodi's book "Pinocchio, or the Adventures of a Wooden Doll". Collodi (Carlo Lorenzini, 1826-1890) wrote a moralistic book about a wooden boy in 1883. In it, after long adventures and misadventures, the mischievous and lazy Pinocchio corrects himself 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 its motives. Already in the preface, the author says that in childhood he told the book he loved in different ways every time, invented 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 a Soviet child good feelings for the oppressed and hatred for the oppressors.

Speaking about his idea to Yu. Olesha, A.N. Tolstoy emphasized that he would not write an edifying work, but an entertaining and funny memory of what he read in childhood. Olesha later wrote that he wanted to evaluate this plan "as a crafty plan, of course, since the author is still going to build his work on someone else's basis, and at the same time as an original, adorable idea, since the borrowing will take the form of a search 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 Buratino" turned out to be a great success for A.N. Tolstoy and a completely 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 between Buratino (burattino - "doll" in Italian) and his friends with Karabas-Barabas, Duremar, the fox Alice, the cat Basilio. At first sight. it seems that the struggle is for mastering the golden key. But the motive of mystery, traditional in children's literature, in the book by A. 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, Pope Carlo, the poodle Artemon, Pierrot 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 fairy tale is inevitable and irreconcilable; the action unfolds in it dynamically; the author's sympathies are clearly expressed.

"The Dark World", starting with Karabas-Barabas and ending with a general sketch of the Country of Fools, is given satirically throughout the tale. The writer knows how to show vulnerable, funny traits in the characters of "Doctor of Puppet Science" Karabas, the seller of leeches Duremar, the fox Alice and the cat Basilio, the governor of the Fox, police dogs. The hostile world of the exploiters was exposed by A.N. Tolstoy, the legend about the omnipotence of the "seven-tailed whip" has been debunked, the humanistic principle wins. 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 tale of Buratino's adventures is still so noticeable.

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

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

What is striking is the somewhat feigned familiarity towards the reader with which the narration is conducted: "But Buratino's long nose pierced the bowler hat, because, as we know, the hearth, fire, smoke, and the bowler hat were drawn by poor Carlo on a piece old canvas. " However, the reader did not even know that all this was drawn by poor Carlo. Or again: "We already know that Buratino never even saw a pen and inkwell" - although this is the first time we hear (read) about it. It is also characteristic that the poet-lyric poet Pierrot in the fairy tale is ridiculed not only by Pinocchio, but also by the narrator. For example: "At the sight of Malvina, Pierrot began to mutter words - so incoherent and stupid that we do not quote 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 leads the story. Hence, 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 narrator character - artistic medium the writer, whom he "instructs" to lead the story, therefore the level of his intellect and literacy leaves its imprint on literally the entire narrative.

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. Buratino is somewhat close to the reckless Petrushka from the folk theater. It is outlined with humorous strokes, given in a combination of positive and negative. It doesn't cost a wooden boy anything to show his tongue to dad Carlo, hit the talking Cricket with a hammer, sell the alphabet to buy a ticket to the theater.

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

The character of Pinocchio is shown in constant development; the heroic beginning in the wooden boy is often seen through the outwardly comic. So, after a courageous fight with Karabas, Malvina forces Pinocchio to write a dictation, but he immediately comes up with an excuse: "The writing instruments were not taken." When it became clear that everything was ready for classes, Buratino wanted to jump out of the cave and run wherever his eyes were looking. And only one consideration held him back: "it was impossible to leave the helpless comrades and the sick dog." Pinocchio enjoys the love of the guys because he is not only fabulously lucky, but also has truly human weaknesses and shortcomings.

It can be considered that the meaning of the country of children as a true country of happiness in the "Golden Key" is embodied by the Malvina glade. Children-dolls independently orchestrated 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. key ", the contradiction" play-work ", as noted, is removed in the aesthetics of role-playing and theatricality of puppet life, which is directly inscribed in open space nature. The description of nature, in turn, acquires features of theatricality: "... the moon hung over the mirror-like water, like 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 boring, parodically 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 educate", introduced by Tolstoy in the last version of the manuscript, did not leave hopes for an educational influence gradually. Excessive upbringing is motivated in a fairy tale by the immaturity of children's dolls: in a role-playing game, everything is just like in adults. Playing as a teacher, Malvina dictates to Buratino a phrase from Fet: "And the rose fell on the paw of Azor", which reads the same from left to right - and vice versa. The mesmerizing serenity of this palindrome is in tune with the mood of Malvina's meadow, on which "azure flowers" grow, and it is literally consonant with: "Rose", "Azore" - "azure". And isn't the beautiful country "Azora" encrypted in the Fetov phrase (along with other subtexts identified by the researchers), but in it there is still the same dream of happiness? In the Golden Key, the curtain opens - and this is the curtain of the new theater. The door of the father's house-closet of Pope Carlo opens into endless space big world... From here the heroes begin their journey, for happiness is "not a state," but "free movement forward," as LI Tolstoy wrote. Barsheva, to whom he dedicated his book. The heroes of the fairy tale descend the stairs (the author himself first recreates the symbolic procession on the steps in the poem "Creativity" ("Lyrics", 1907), find themselves in a round room illuminated like a temple (associations involuntarily reach for ideal "glades" and "islands" ) and see a “wonderfully beautiful 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 adult dad 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 imperceptible for the reader: the stage of which "tiny" worlds are replaced, 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 motifs. As already mentioned, the motive of labor "drops out" when the Cricket appears. The author crosses out the admonition: "You will earn bread" as superfluous in the main ideas - "creative play" and "childhood happiness". Moreover, the motive of labor is impossible as a punishment, which is clearly traced in the old tale. Cruelty is inconceivable in The Golden Key, where no one even kills enemies (the only exception is Shushar's rat). Instead of "Poor Cricket squeaked for the last time - kri-kri - and fell up with his paws", in the margin by the author's hand it is written: "He sighed heavily, moved his mustache and crawled away 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 muted in it. The adventures of Buratino are more likely not a violation of morality ("don't steal" - preserved only for the Cat and the Fox), but violation of the rules due to "short" thoughts of Buratino.

pinocchio pinocchio tolstoy 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 has not only a different character, he is the bearer of a different aesthetics and different 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. We have before us a unique case when the text of one work is a draft for another. It is not just a collection of sketches; in the margins and between the lines of one of the copies of "Pinocchio" the "Golden Key" is outlined and built. 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: "got stuck" instead of "hit", "beat what is to the spirit" instead of "run what is to the spirit" (about the rooster) ... This continues until the "resistance" of the material of the early text, apparently giving new ideas, becomes insurmountable. In terms of plot, the fairy tales finally diverge "in the meadow of Malvina (The Magician)", any markings on the copy of the book disappear. But the internal controversy persists to the end, as hints, reminiscences and compositional parallels are preserved and realized. And at the end, a scene of the 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 it", "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 sequentially converted from text to text. In The Golden Key, the pine tree is replaced by an oak tree, on which, rather conditionally, Pinocchio was hanged, since his enemies “got bored of sitting on wet tails” (a detail indicated by the author in the text “Pinocchio”). But the "pine" was not forgotten and came in handy for the author already in another scene - the scene of a battle at the edge of the forest, in order to decide its outcome, when the savvy Buratino (again conventionally, as in a child's game) wins by winding his opponent's beard on a resinous tree, thereby immobilizing him ... If the differences between the two texts of "Pinocchio" are mainly in the sphere of stylistics, then between "Pinocchio" and "Golden Key" they will certainly turn into polemics.

In The Golden Key, in the image of Karlo the organ-grinder, the gaiety and artistry of his predecessors - light and red - were polemically revealed. The barrel organ, associated with play, art, theater, wandering, 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 "organ-organ" ("organ-organ music began to play") into the description of the theater, uniting the whole fairy tale with the theme of play and theater. In Pinocchio, play and fun lead only to sad consequences ... The theater has removed the opposition labor-play within the text, but polemically sharpened it in the text of Pinocchio.

Mappings can be represented as 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 plot (Shushara's rat, old snakes, Governor Fox), there is no emphasis on this. At the same time, all deaths occur through no fault of Buratino (Shushara was strangled by Artemon, the snakes voluntarily died a heroic death in a battle with police dogs, badgers dealt with the Fox). The book contains scenes of cruelty and violence. Pinocchio hit Talking Cricket with a hammer, then lost his legs, which burned out on the brazier. And then he bit off the cat's paw. The cat killed the blackbird trying 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 Buratino money. There is no Golden Key (while Majafoko also gives money). Karabas-Barabas is an unambiguously negative character, the antagonist of Buratino and his friends. Majafoko is a positive character, despite his ferocious appearance, and sincerely wants to help Pinocchio. Pinocchio does not change his character and appearance until the end of the plot. He stops all attempts to re-educate him. Remains a doll. Pinocchio, to whom the whole book is read morals and notations, at first turns into a real donkey (this motif was then clearly borrowed by N. Nosov in "Dunno on the Moon" when describing the Foolish Island), but then he is re-educated, and finally from a nasty and naughty wooden boy turns into a living virtuous boy. Dolls behave like independent animate beings. It is emphasized that the dolls are just puppets in the hands of the puppeteer.

The books vary greatly 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 significantly kinder than Pinocchio. Further, plot coincidences with Pinocchio do not occur.

7. Book addressee

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

Both Pinocchio and Buratino change, but Buratino remains to the end a "rascal" who, according to the definition of our contemporary teacher and psychologist A. Amonashvili, is "the engine of progress." It is the mischievous person who first "climbs trees" and then gains victories "with the help of cunning and ingenuity" who is capable of making independent, creative choices in life, and he does not have to be in the shoes of a "circus donkey" to become a man. In "Pinocchio" only after passing through a series of successive transformations, the hero becomes a "real" boy: the doll has disappeared, a man has appeared; the game and the 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.E.I. Zamyatin 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 / Otv. edited by A.M. Kryukov. - M .: Nauka, 1985. - P.255.

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

The book contains many allegories and double meanings that refer to the familiar adventures of the "wooden hero" to the book of "all times and peoples" - the Bible.

The 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 share from his father, went to the big city. There he "squandered" all the inheritance of his father and fell into poverty, not disdaining to eat with the pigs. Unable to withstand such a life, the son returned to his father and asked for forgiveness. The father did not harbor a grudge against his son, but arranged a great holiday upon his return: “this one was dead and came to life, was lost and was found”.

Parallels

Pinocchio, like the prodigal son, fled from Pope Carlo, seduced by a theatrical poster. At the same time, he managed to mislead in order: to pierce the hearth on the canvas and quarrel with the cricket. We are faced with a typical lost son - stubborn, curious and nasty.

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

Malvina as soon as she did not try to reason with the foolish Buratino: exhortations and reproaches had no effect on the naughty boy. As a result, Buratino finds himself locked in a dark closet, where evil spiders turn out to be his neighbors ... Is it not a familiar picture when a person, showing excessive persistence in his pride or greed, finds himself in such a psychological “closet”.

Country of fools! “In this city, the famous jackets on hare fur for Papa Carlo are sold,” the fox sang, licking his lips, “ABCs with painted pictures… Oh, what sweet pies and candy canes on sticks are sold! You haven't lost your money yet, lovely Pinocchio? " - this is how the fox Alice lured the trusting 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 is topical not only in biblical times, but also in the time of A. Tolstoy, and even more so in our time ... But the same Bible says: “ IN sweat faces your will you there is bread”(Genesis, 3, 19), which instructs a person not to look for easy ways.

Like the prodigal son, seduced by temptations, Buratino does not pass the test of strength. Only by finding friends and acting for their salvation, Buratino takes the path of correction and returns to his father's house.

Who enters the house with a kind fairy tale?

In the popular 1976 film "The Adventures of Pinocchio" for the first time a song to the poems of Yu. Entin "Bu-ra-ti-no!" I don’t know if it was intentionally or not laid down by the author, but the biblical theme is also traced in the song. On the face of either a mockery of the Savior or a subtly laid allusion to the Easter nature of the plot of "Buratino".

Who enters the house with a kind fairy tale?
Who is everyone familiar with from childhood?
Who is not a scientist, not a poet,
And conquered the whole world,
Who is recognized everywhere
Tell me what is his name?

Of course, everyone knows the Savior from childhood, who is neither a scientist nor a poet, but conquered the whole world. Gospel events can be understood as a "good fairy tale".

His cap is on his head,
But the enemy will be fooled,
He will show his nose to villains
And make friends laugh to tears,
He'll be here very soon
Tell me what is his name?

What kind of cap did the Savior have? A crown of thorns, of course. Who will laugh and rejoice at the end times? Those who follow Christ, that is, in the language of 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 rumor,
He's not a toy - he's alive!
He holds the key from happiness in his hands,
And that's why he's so lucky
All songs about him sing
Tell me what his name is!

Christ is really surrounded by human rumor - everyone knows and speaks about him. But, like the Pharisees, not everyone believes in him, perceiving him for 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 someone who is familiar to everyone from childhood ...

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

If anyone is offended by these parallels, then I apologize in advance.

Music from the movie "The Adventures of Buratino" 1975