A brief biography of Pogorelsky is the most important thing. Brief biography of Anthony Pogorelsky (Perovsky Alexey Alekseevich) Anthony Pogorelsky works

Antony Pogorelsky, a short biography of a Russian writer, a member of the Russian Academy, is included in this article.

Anthony Pogorelsky short biography

The real name of the writer is Aleksey Alekseevich Perovsky. The exact date of his birth has not been established. It is known that he was born in 1787 and came from a very famous family. He was the illegitimate son of Count Alexei Kirillovich Razumovsky. Alexey Perovsky spent all his childhood in the estate of Count Razumovsky in Ukraine, where he received his primary education.

In 1805 he entered Moscow University, and graduated two years later with a doctorate in philosophy and verbal sciences.

From a young age he had the ability to write, he was familiar with many writers - Karamzin, Zhukovsky, Turgenev. But at that time he saw his purpose only in the public service.

From 1808 to 1812 he was in the service (various positions) in the provinces and in St. Petersburg. When the Patriotic War began in 1812, Pogorelsky, against the will of his father, leaves the post of Secretary of the Minister of Finance and goes to the army. He served in the third Ukrainian Cossack regiment and took an active part in partisan raids and major battles.

Until 1816 he served in Saxony, occupied by the Allies, as an adjutant of Princess N. G. Repnina. Here Pogorelsky gets acquainted with creativity, which in the future had a significant impact on him.

In 1816, the future poet leaves the service and returns to St. Petersburg, where he continued to carry out civil service. During this period, the circle of his literary acquaintances rapidly expanded. Pogorelsky enters the Arzamas circle and meets. In addition to all this, he becomes an educator for his nephew - whose mother was Pogorelsky's sister, left her husband shortly after the birth of their common son.

In 1822, the writer's father died and Pogorelsky inherited, in which he lived for a long time, and from whose name he took a pseudonym. Under such a pseudonym as Pogorelsky, in 1825, the writer's first significant work of art was published - a story called "Lafertovskaya poppy seed". By the way, Pushkin got the highly valued Pogoreltsy estate in Ukraine after the death of the owner.

Later, in 1828, a collection called "The Double, or My Evenings in Little Russia" was published.

Pogorelsky's children's fantastic story "The Black Hen" also dates back to 1829, and in 1830 the publication of the most famous and major work of the poet, the novel "Monastyrka", began.

All the published works of Anthony Pogorelsky turned out to be too innovative for their time and caused a storm of extensive discussions.

In 1830, Pogorelsky decided to finally retire. The writer lived on his estate, Pogoreltsy, traveled to Russia and Europe, and devoted much time to raising his nephew. Died Anthony Pogorelsky 1836 on the way to Nice for treatment for tuberculosis.

POGORELSKY, ANTONY(pseudo; real name and surname Perovsky, Alexei Alekseevich) (1787–1836), Russian writer. The bastard son of Count A.K. Razumovsky. He was educated at home, in 1805-1807 he successfully graduated from Moscow University, receiving a doctorate in philosophy and verbal sciences for three lectures (later published as a separate brochure), read in German, French and Russian. For five years he served in various departments; organized at Moscow University the Society of Russian Literature Lovers (1811–1830), which published collections of literature and folklore and took part in organizing literary and musical evenings and popular lectures. During the Patriotic War of 1812 he was in the army, showing extraordinary courage in the battles near Dresden and Kulm. From 1816 he served for several years as an official for special assignments at the Department of Spiritual Affairs. Since 1820, a member of the Free Society of Lovers of Russian Literature.

In 1822, after the death of his father, he inherited the village of Pogoreltsy, Chernigov province. and, having retired, settled in it with his sister, Countess A.A. Tolstoy, and her son, the future writer A.K. Tolstoy. In 1825–1830 he was a trustee of the Kharkov educational district, who contributed a lot to the improvement of the educational process.

In 1825 the fantastic story of Pogorelsky was published in the March issue of A.F. Lafertovskaya poppy-bowl - the first in Russian literature, where the characteristic of romanticism expressed the desire to recreate the national-poetic element, perceived through the living life of the people and fabulous fiction. In Lefortovo, inhabited by small Moscow people, in the wretched house of the retired postman Onufrich, the reader meets the image of the Lafertovian poppy-woman - an old witch who chooses a postman for her daughter, and for her granddaughter, Masha, the bridegroom, Aristarkh Falaleevich (Faleleevich's beloved cat) grandmothers-sorcerers. Having destroyed the witchcraft and abandoned the unrighteous wealth left by her grandmother, Masha marries a beloved inmate, who turns out to be a rich heir as a reward for the girl. Humorous features in the guise of an official cat, the motive of the evil power of money, characteristic of the romantics of the "mercantile" era, anticipate the poetics of Nikolai Gogol in Pogorelsky. A.S. Pushkin wrote to his brother about this story: “What a lovely Grandmother's Cat! I read it twice and in one breath the whole story, and now I only rave about Aristarkh Falaleevich Murlykin. I speak smoothly, closing my eyes, turning my head and arching my back. "

In 1828 the collection of Pogorelsky was published Double, or My evenings in Little Russia (besides Makovnitsy, included stories Isidor and Anyuta, The harmful effects of unbridled imagination and Stagecoach travel), largely inspired by the writer's interest in these years in the issues of education, directed against the egoism and emptiness of the "generally accepted" style of noble life, revealing the plot and psychological ingenuity of the author and bearing obvious traces of the influence of ET A. Hoffman's fiction, with that However, the difference is that in Pogorelsky's problem of the supersensible, the skeptical Twin, the second “I” of the narrator, seeks to solve the problem of natural science.

Together with his nephew, the young A. K. Tolstoy, Pogorelsky visited Italy; judging by some evidence, he met with J.V. Goethe. In a fairy tale for children, as the author defined its genre, Black chicken, or Underground inhabitantswritten for a ten-year-old nephew, charming in its artless instructiveness and brightness of a naive fiction about a wonderful bird that helps a kind and honest boy - and leaves him when he became a frivolous and vain sloth, the life of old Petersburg is truly depicted, the inner world of a child is convincingly revealed, for the first time in Russian literature after The knight of our time N.M. Karamzin, who became the main character of the work, unobtrusively deduced morality and subtly displayed the organic interweaving of everyday life, humor and fantasy, characteristic of Pogorelsky. Subsequently, the fairy tale was especially loved by Leo Tolstoy, entered the golden fund of Russian children's literature, having withstood dozens of reprints in many languages \u200b\u200bof the world.

In 1830, Pogorelsky became an employee of A.A. Delvig's Literaturnaya Gazeta, published in it excerpts from the unfinished novel Magnetizer and the beginning of the novel Monastyrka, in which sentimental didactics and adventurous romantic effects are combined with a realistic description of the stagnant life of the provincial nobility in Ukraine and the difficult fate of the pupils of the Smolny Monastery who returned here, to their homeland, full of illusions and impulses for the ideal. In liberal literary circles, this work was favorably opposed to the naturalistically moralistic novels of F.V. Bulgarin and V.T.Narezhny, and "Literaturnaya Gazeta" called Monastery "A real and probably our first novel of manners."

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The 19th century is called the Golden Age of Russian literature. In the development of children's literature, there was no abrupt transition from one century to the next. All the main trends in the development of literature for children, noted for the previous era, are mainly observed at the beginning of the new century, changing, developing in order to move into a new quality. This characterizes the literary situation of the first two decades, when V.A. Zhukovsky and A.S. Pushkin made a significant contribution to the development of Russian literature. In the 30s, new authors appeared - professional children's writers, new genres, varieties of children's books developed, talented writers appeared, whose works became classics of children's reading - A. Pogorelsky, V.F. Odoevsky.

Romantic writers discovered the genre of fairy tales for "high" literature. In parallel with this, in the era of romanticism, childhood was discovered as a unique, inimitable world, the depth and value of which attracts adults. The researcher of Russian romanticism N. Berkovsky wrote that romanticism established the cult of the child and the cult of childhood. In search of the ideal, romantics turned to an unclouded childish view of the world, opposing it to the sometimes selfish, roughly material world of adults. The world of childhood and the world of fairy tales are ideally combined in the works of A. Pogorelsky and V. Odoevsky.

So, theme our work: "The creativity of A. Pogorelsky and V. Odoevsky for children."

goal our work is to study the artistic features of the tales of A. Pogorelsky, V. Odoevsky.

Tasks:

1. Get acquainted with interesting facts from the biographies of writers.

2. To reveal the peculiarities of the tales of A. Pogorelsky, V. Odoevsky.

1. Anthony Pogorelsky - Life and art

Anthony Pogorelsky (1787-1836) - the pseudonym of Alexei Alekseevich Perovsky. As a child, A. Perovsky received a versatile education at home, and then graduated from Moscow University in two years. He graduated from the university with the title of Doctor of Philosophy and Verbal Sciences. During the war of 1812, Perovsky was a military officer, participated in the battles at Dresden, Kulm, served in Saxony. Here he met the famous German musician and romantic writer T. Amadeus Hoffmann.

The ironic pseudonym "Anthony Pogorelsky" is associated with the name of the estate of the writer Pogoreltsy in the Chernigov province and the name of St. Anthony of Pechersky.

A. Pogorelsky wrote poetry, articles on literature, in prose he largely anticipated the appearance of Gogol, stood at the origins of the fantastic trend in Russian literature. Pogorelsky contributed to the development of Russian literature by contributing to the upbringing and literary development of his nephew, Alexei Konstantinovich Tolstoy.

Fame for Pogorelsky was brought by the story "Lafertovskaya poppynitsa" (1825), the collection of stories "The Double, or My Evenings in Little Russia" (1828), the moralistic novel "Monastyrka" (1830-1833). His works are characterized by a combination of the mysterious, mystical with a realistic depiction of everyday life, the customs of Russian life. Pogorelsky's lively, witty, ironic manner of narration makes his works attractive. His first fairy tale "Lafertovskaya poppy seed", along with "The Black Chicken", is included in collections for children's reading. The story attracted Pushkin's attention. He was especially admired by one of the characters, who exists now in the guise of a titular advisor, now in the guise of a grandmother's cat. Pushkin wrote to his brother: “I reread the whole story twice and in one breath, now I just rave about Trifon (in Pogorelsky's - Aristarkh.) Falaleich Murlykin. I speak smoothly, closing my eyes, turning my head and arching my back. "

2. Vladimir Fedorovich Odoevsky- "living encyclopedia"

artistic tale odoevsky pogorelsky

The famous cultural figure of the first half of the 19th century V.F. Odoevsky made a significant contribution to the development of literature for children. "Perfectly developed man", "living encyclopedia" - so spoke about him who knew him. V.F. Odoevsky (1803-1869) - an original philosopher, talented writer, musicologist, teacher, propagandist of folklore, publisher of the almanac "Mnemozina" and the magazine "Moskovsky Vestnik", co-editor of Pushkin's "Contemporary". As an assistant to the director of the Public Library in St. Petersburg, director of the Rumyantsev Museum (whose book depository became the basis of the Russian State Library), he contributed to the development of the book business in Russia. Children's literature was also in the sphere of his versatile interests.

V.F. Odoevsky was born in Moscow. On his father's side, he belonged to an old princely family, dating back to the legendary Rurik. The mother of the future writer was from serfs. After his father's death, he was brought up in his uncle's house, and from 1816 to 1822 he studied at the Moscow University Noble Boarding School. Odoevsky owes his systematic knowledge of the humanities and natural sciences to the boarding house. Here his interest in independent scientific research was formed. Passion for philosophy led Odoevsky to the creation of the Society of Wisdom, which brought together talented young people, later famous figures of literature and culture. This society included poet D. Venevitinov, critic I. Kireevsky, poet A. Khomyakov. Young poets F. Tyutchev, S. Shevyrev, historian M. Pogodin, journalist and publisher N. Polevoy were close to the circle of all-wise people. The purpose of the society was defined by its members by the very name - love of wisdom, deep study of ancient and German philosophers (Kant, Fichte, Schelling), reflections on the connection between philosophy and literature. Wise people proclaimed: literature is not only the field of feelings, but also thoughts, and science requires not only logic, but also imagery. "In our age, science should be poetic," Odoevsky argued and implemented this principle in artistic creation, in particular, addressed to children.

The heyday of Odoevsky's literary glory fell on the 30s-40s. In 1833, his collection "Colorful fairy tales with a red word" was published. It is remarkable for the fact that it included a number of romantic stories told on behalf of the master of philosophy and a member of various scientific societies, Iriney Modestovich Gomozeiko. The master of philosophy in books for children will turn into a charming storyteller - Irenaeus's grandfather. Odoevsky defines the genre of the works included in this collection as "fairy tales", which characterizes the peculiarities of his style - the combination of fantastic situations with accurate ironic, and sometimes satirical reproduction of details of everyday life and customs. The poetics of these tales is close to the poetics of Gogol in his Petersburg stories.

Belinsky, characterizing one of Odoevsky's stories, noted "an uncommon expression", that is, the unusual manifestation of didacticism and humor. The "idea of \u200b\u200bthe invisible" got a peculiar expression in the fairy tale "Igosha" from this collection. It is sometimes referred to as children's reading. Igosha is a kind of fantastic creature, without arms, without legs, acting contrary to logic. Adults do not believe in his existence and punish the boy for all the leprosy (scattered toys, a tablecloth pulled off the table). The modern reader will immediately have associations with the now popular brownie Kuzey, Karlson. And for Odoevsky's contemporaries, parallels with Hoffman's tale "The Unknown Child" were obvious.

Odoevsky's tale was created at the intersection of a fantastic, mystical and completely scientific interest in the secrets of the human psyche. Concluding the story of a half-forgotten fairytale episode of childhood, Odoevsky writes: “Little by little, teaching, service, everyday occurrences alienated me even from the memories of that half-asleep state of my infant soul, where the play of imagination merged so wonderfully with reality, but sometimes at the moment of awakening, the strange creature that appeared to me in infancy is renewed in my memory, and its appearance seems to me natural and understandable. "

Odoevsky continued the Igoshi line in the "mysterious" stories "Sylphide", "Salamander", "Cosmorama". Readers-contemporaries enjoyed great success his "secular" moralistic stories "Princess Mimi", "Princess Zizi". Odoevsky's main book, Russian Nights (1836-1844), is unique in genre: it is both a philosophical novel and a collection of romantic stories. Among the heroes of the stories are remarkable musicians and artists, from Bach, Beethoven to the unknown improviser Cypriano. Here Odoevsky's talent as a writer and a musician, musicologist was organically combined.

Science fiction works occupy a special place in Odoevsky's work. Shortly before his death, he wrote: “But there will be a time - if only it would come as soon as possible - when the conviction penetrates into everyone and everyone that everything is in Russia, and only three things are needed: science, science and science”. He expressed his idea of \u200b\u200bthe future of Russia in the unfinished science fiction novel "Year 4338". The visionary writer predicts flights to the moon, the ability to influence the climate, new ways of transmitting information ("the invention of a book in which letters are changed into several books by means of a machine", "printing houses will be used only for newspapers and for business cards").

Odoevsky has been an active participant in the literary process for several decades. By ties of friendship, he was associated with many representatives of Russian literature - from Griboyedov, Zhukovsky, Pushkin, Belinsky to Tolstoy, Goncharov, Dostoevsky, Leskov. In parallel with literary creativity, he pays attention to science, is actively involved in educational, pedagogical and philanthropic activities. On his initiative, two hospitals, a number of orphanages were founded in St. Petersburg, and the Society for Visiting the Poor was created, a charitable organization that provided practical assistance to tens of thousands of families in need.

In order to educate the people, Prince Odoevsky writes and publishes popular books. In cooperation with A.P. Zablotsky-Desyatovsky, he publishes the almanac "Rural reading", in which he publishes articles on various branches of knowledge, advice on agricultural management.

Odoevsky is a teacher and children's writer. For a long time, Odoevsky was a member of the Scientific Committee of the Ministry of State Property, was involved in the organization of the educational process in various educational institutions - from orphanages, rural parish schools to the Mariinsky Institute for Noble Maidens. He has written a number of student study guides, teacher guides.

In the years 1834-1835, he published an unusual manual for educational homes where orphans were staying - "Children's Books for Sundays." It contained pedagogical instructions for educators, didactic materials, as well as stories and fairy tales for children to read.

Odoevsky was one of the first in Russia to become interested in pedagogy as a science. He conceived a great essay on pedagogy called Science before Science. During the life of the writer, only a small part of it was published. Many articles on school teaching and notes on education contain a number of ideas that later became key in Russian pedagogy.

Odoevsky's pedagogical ideas are interconnected with his philosophical views. The main thought of the writer is directed towards integral knowledge, towards the necessity of a culture of thought and feeling. The teacher saw the main task of upbringing in "teaching the student to be human first of all." He understood general education as universal, prior to any special education. His thoughts about the holistic perception of the world by a child ("a child is a notorious encyclopedist; give him everything without crushing objects artificially"), about the ways of educational influence on a person, about the art of talking with children.

Odoevsky writes: “There are three ways to act on a child: rational conviction, moral influence, aesthetic harmonization for whom conviction is inaccessible (a most difficult matter), one can act on moral influence; the child will yield to you, because you want it, out of love for you; you have not achieved love from a child, try to develop him with aesthetic harmonization - music, paintings, poetry ... ”.

Many pedagogical ideas of Odoevsky were embodied in his works for children reading. The very appeal to children's literature naturally followed from his pedagogical and philanthropic activities. Odoevsky places his first works for children in periodicals, most often in the Children's Library by A. Ochkin and Lvov.

In his creativity directed to children, Odoevsky, first of all, set the task of developing the mental abilities of the child, “to strengthen his mental strength”. In general, Odoevsky sees the task of literature in awakening the "unawakened" child's mind, in promoting the spiritual growth of the child. At the same time, the writer sets the task of developing "gracious" feelings in the soul of a child.

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

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

In artistic terms, Odoevsky's stories are traditional - sentimental, frankly didactic. More original stories and sketches of Odoevsky's scientific and educational plan. The informative essays "Two Trees", "Anecdotes about ants", a documentary story-essay "Carpenter" about the son of a craftsman, later a famous architect, who achieved success and fame by hard work, were often reprinted and highly appreciated by critics.

Odoevsky approved in the literature for children the genres of a scientific and artistic fairy tale, a scientific and educational story, an essay. He successfully wrote fairy tales, stories, poems, plays. The works combine elements of romantic, realistic and sentimental storytelling. Fiction and propaganda of science, education, realism and direct didactism are intertwined in his work. He was one of the first to create works, focusing on readers of primary school age.

3. Artistic features of fairy talesA. Pogorelsky and V... Oneinsky

3 .1 "Black Chicken, or Underground Dwellers"

The Black Hen (1828) is subtitled A Magic Tale for Children. It has two lines of narration - real and fabulous. Their bizarre combination determines the plot, style, imagery of the work. Pogorelsky wrote a story for his ten-year-old nephew. He calls Alyosha the main character. But in it one can feel the echoes not only of the childhood of Alyosha Tolstoy, but of the author himself (also Alexei). As a child, he was placed in a closed boarding house for a short time, suffered from separation from his home, fled from it, broke his leg. The high wooden fence that encloses the boarding yard and the living space of its pupils is not only a realistic detail in The Black Hen, but also a symbolic sign of the author's “childhood memory”.

“The gates and gates that led to the alley were always locked, and therefore Alyosha never managed to visit this alley, which greatly aroused his curiosity. Whenever he was allowed to play in the yard during his leisure hours, his first move was to run up to the fence. "

Round holes in the fence are the only connection with the outside world. The boy is lonely, he feels especially bitterly in the "vacant time", when he is separated from his comrades.

A sad, nagging note permeates Pogorelsky's story. The narration is conducted on behalf of the author-narrator, with frequent appeal to imaginary listeners, which gives special warmth and confidence. The time and place of the events that took place are specified: "Forty years ago, in St. Petersburg on Vasilievsky Island, in the First Line, there lived a keeper of a men's boarding house ..." dull and with a long braid, his wife, powdered and pomaded, with a whole greenhouse of different colors on her head. Alyosha's outfit is detailed.

All descriptions are bright, picturesque, convex, given taking into account children's perception. For a child, detail, detail is important in the overall picture. Having found himself in the kingdom of underground inhabitants, “Alyosha began to look attentively at the hall, which was very richly decorated. It seemed to him that the walls were made of marble, as he had seen in the mineral study of the boarding house. The panels and doors were solid gold. At the end of the room, under a green canopy, on a raised place, there were chairs of gold. Alyosha admired this decoration, but it seemed strange to him that everything was in the smallest form, as if for small dolls. "

Realistic objects, everyday details in fairy-tale episodes (tiny lighted candles in silver shandals, porcelain Chinese dolls nodding their heads, twenty little knights in golden armor, with crimson feathers on their hats) bring the two narrative plans together, make Alyosha's transition from the real world to the magical fantastic.

Almost all events of a fairy-tale plan can be explained, say, by the hero's tendency to daydreaming, to fantasizing. He loves romance of chivalry and is often ready to see the ordinary in a fantastic light. The director of the schools, for whose admission they are excitedly preparing in the boarding house, in his imagination seems to be "a famous knight in shiny armor and a helmet with shiny feathers", but, to his surprise, instead of a "feathered helmet" Alyosha sees "just a small bald head, powdered, the only decoration of which was a small bun. " But the author does not seek to destroy the delicate balance between fairy tale and life, leaves it unsaid, for example, why Chernushka, as a minister, appears in the form of a chicken and what connection the underground inhabitants have with old Dutch women.

Developed imagination, the ability to dream, fantasize constitute the wealth of a growing person's personality. That is why the main character of the story is so charming. This is the first living, non-schematic image of a child, a boy in children's literature. Alyosha, like any ten-year-old child, is inquisitive, mobile, impressionable. His kindness and responsiveness manifested itself in the rescue of his beloved chicken Chernushka, which served as the beginning of the fairy tale plot. It was a decisive and courageous act: a little boy threw himself on the neck of the cook, who instilled in him "horror and disgust" with her cruelty (the cook at that moment, with a knife in her hands, grabbed Chernushka by the wing). Alyosha does not hesitate to part with the imperial precious to him, donated by his kind grandmother. For the author of a sentimental children's story, this episode would have been enough to reward the hero a hundredfold for a kind heart. But Pogorelsky depicts a living boy, childishly spontaneous, playful, who could not resist the temptation of idleness and vanity.

Alyosha makes the first step to his troubles unintentionally. To the king's tempting offer to name his desire, Alyosha "hurried with an answer" and said the first thing that could come to mind of almost every schoolchild: "I would like that, without studying, I always knew my lesson, whatever I was asked."

Everything that happened to the hero makes the reader think about many serious issues. How do you feel about success? How not to be proud of unexpected great luck? What can happen if you don't listen to the voice of your conscience? What is word fidelity? Is it easy to overcome the bad in yourself? After all, "vices usually enter the door, and go out through the crack." The author poses a complex of moral problems without condescending either to the age of the hero or to the age of the reader. Children's life is not a toy version of an adult: everything in life happens once and in earnest.

Is Black Chicken didactic? The educational pathos is obvious. Aside from the artistic fabric of the narrative, it can be expressed in words: be honest, hardworking, modest. But Pogorelsky was able to clothe the educational idea in such a romantically uplifted and at the same time vitally convincing, truly magical and fabulous form that the child-reader perceives a moral lesson with his heart.

The denouement of the story - the scene of Chernushka's farewell to Alyosha, the noise of the little people leaving their kingdom, Alyosha's despair from the irreparability of his rash act is perceived by the reader as an emotional shock. For the first time, perhaps, in his life, he experiences the drama of betrayal together with the hero. It is no exaggeration to speak of catharsis - the rise of the enlightened soul of a young reader who succumbed to the magic of Pogorelsky's story-tale.

"Black chicken" is easily perceived by the modern reader. There is practically no archaic vocabulary, outdated turns of speech. And at the same time, the story is structured stylistically diverse. There is an epic slowness of the exposition, an emotional story about the rescue of Chernushka, about miraculous incidents associated with underground inhabitants. The author often resorts to lively, casual dialogue.

The organic combination of a humane pedagogical idea, a heartfelt tone of narration, an artistically expressive form, and amusement for the reader makes Pogorelsky's story a classic work of children's literature, equal to which there are few in the history of not only domestic but also foreign literature.

3 .2 "Town in a snuffbox"

Odoevsky's main discovery as a children's writer is scientific and cognitive works. He has an unconditional priority in the development of the genre of scientific and artistic fairy tales. The fairy tale "Town in a Snuffbox" is the best and most famous work of Odoevsky for children. “A fairy tale should entertain, amuse the child, stirring up his imagination, his curiosity,” said Odoevsky, grandfather Iriney. Materials for the storyteller, according to the writer, are “everywhere: on the street, in the air”. The material for his first fairy tale was a music box, a thing in the life of the last century that was quite common and at the same time arouses the curiosity of a child. It is no coincidence that the author-musician himself is interested in it, who, by the way, has created a musical instrument called "Sebastianon".

Little Misha is fascinated by the appearance of the snuff-box, the lid of which depicts a gate, a turret, golden houses, golden trees with silver leaves, a sun with diverging rays. The boy is even more interested in the inner structure of a wonderful toy - the origin of music. The natural desire of an inquisitive boy to enter this toy town and see everything himself is fulfilled in a dream. Accompanied by a companion, "a bell with a gold head and a steel skirt," the hero travels around the town of Tinker Bell. In essence, Odoevsky acquaints young readers with the device of the winding mechanism of a musical toy. Enveloping the story in a light fairy-tale veil, he avoids boredom and rationality. Scientific material is “cleverly adapted to children's imagination” (Belinsky).

An inquisitive newcomer sees many different-sized boys-bells (“whoever of us is bigger, has a thicker voice”), they are constantly tapped by evil uncles-hammers, overseen by a fat Roller, turning from side to side on the sofa. And the graceful princess Pruzhinka “in a golden tent with a pearl fringe” rules all. She explains to Misha the well-coordinated work of the musical mechanism. With surprise, Misha discovers a similarity between the principles of a music box and the laws of a social structure: everything is interconnected and a violation in one link puts the entire system out of action, violates the wonderful harmony. As soon as Misha pressed the spring, "everything fell silent, the roller stopped, the hammers fell, the bells curled to the side, the sun hung, the houses broke ...". The small town in the snuffbox turns out to be a kind of micromodel of the world.

Traveling around the fabulous town, Misha, and therefore a little reader, along the way, discovers the laws of perspective in painting, the musical theory of counterpoint. And all of this simply and naturally fits into the narrative. The tale also carries an educational charge. The thought that everything in the world moves with labor, and that idleness seems attractive only from the outside, passes latently. The bell boy also teaches Misha an important lesson: do not rush to conclusions, do not judge anything hastily. At the same time, morality is unobtrusive, it follows from action.

In "Town in a Snuff-Box" Odoevsky fully demonstrated the art of speaking with children about complex things in a clear, simple and convincing language, to which he urged educators. The author's intonation is lively, emotional, natural. Dialogues play an important role:

“- Madam princess! Why are you pushing the overseer by the side?

Zits-zits-zits, - answered the princess. “You stupid boy, you stupid boy. You look at everything, you see nothing! .. "

Fairy-tale characters, despite their "mechanicalness", have their own appearance, demeanor, their own language. "Ding-ding-ding," the bell boys are ringing. Hammers, “gentlemen on thin legs, with long noses,” whisper among themselves: “Knock-knock-knock! lift up! touch! Knock-Knock!" "Hanky \u200b\u200bpanky! hanky panky!" - Roller rustles, staying "in the ward and in the dressing gown."

Misha is polite, curious, somewhat naive. The rather conventional character of the protagonist fully corresponds to the artistic and pedagogical task of the author: the main role of the boy is to ask questions and listen to answers. The image of a boy gives the fairy tale compositional integrity and completeness. He connects two planes of narration: realistic and fantastic.

“Town in a Snuffbox” is the first science fiction tale in Russian children's literature. She still remains an example of a figurative, artistic solution of a scientific topic in a work for the youngest readers. A social analogy (birth - death - romantic resurrection of a person) sounds distinctly in "Town in a Snuffbox".

Zconcluding

The works of V.F. Odoevsky and A. Pogorelsky adequately crowned the development of literature for children in the first half of the 19th century. Originally presented in a few works addressed to young readers, by the middle of the last century it had established itself as an independent branch of Russian literature. For young readers, dozens of magazines and almanacs were published, in which the works of professional children's writers were published. Literature for children begins to develop as fiction and scientific and educational literature. At the intersection, the genre of scientific and artistic fairy tale and story appears.

The most popular and most artistically developed genre of this period is the literary tale. She grew up on the foundation of a folk tale. Enriched with the traditions of romanticism, the literary fairy tale contributed to the further development of literature for children: this is how a fairy tale ("Black Hen" by A. Pogorelsky), a science fiction fairy tale ("A Town in a Snuffbox" by V. Odoevsky), which laid the foundation for scientific and fiction literature.

FROMlist of used literature

1 Arzamastseva I.N. Children's literature: textbook. for stud. higher. and Wednesday teacher. study. institutions / I.N. Arzamastseva, S.A. Nikolaev. - 3rd ed. - M., 2005.

2. Children's literature: textbook. for stud. Wed prof. education / ed. HER. Zubareva, Moscow, 2004.

3. Mineralova I.G. Children's literature: textbook. manual for stud. universities / I.G. Mineralova - M., 2002.

4. Russian literature for children: textbook / ed. Etc. Polozova. - M., 1997.

5. Reader on children's literature: textbook. manual for stud. Wednesday study. institutions / comp. I.N. Arzamastseva, E.I. Ivanova, S.A. Nikolaeva, 2nd ed., Stereotype, Moscow, 2000.

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Anthony Pogorelsky (1787–1836)
Russian writer, prose writer, statesman. One of the first Russian writers turned to the fantasy genre.

Real name - Alexey Alekseevich Perovsky. The exact date of birth has not been established. Came from a very famous family. Illegitimate son of Count Alexei Kirillovich Razumovsky, brother of statesmen of Counts Perovsky, uncle of A. K. Tolstoy and the Zhemchuzhnikov brothers. He spent his childhood in the Razumovsky estate in Ukraine, where he received his primary education. In 1805 he entered Moscow University, which he graduated two years later with a doctorate in philosophy and verbal sciences.

Since childhood, he had the ability to write and was familiar with many famous writers of that time (Karamzin, Zhukovsky, Turgenev), but he saw his purpose in public service. From 1808 to 1812 he served in various positions in the provinces and St. Petersburg. When the Patriotic War of 1812 began, Pogorelsky, against the will of his father, left the post of secretary to the Minister of Finance and went into the active army. He served in the third Ukrainian Cossack regiment, took part in partisan actions and major battles (near Leipzig and at Kulm). Until 1816 he served in the allied-occupied Saxony as adjutant of the prince. N. G. Repnina. Here Pogorelsky became acquainted with the work of Hoffmann, which had a significant influence on him.

In 1816, Pogorelsky left the army and returned to St. Petersburg where he continued his civil service. At this time, the circle of his literary acquaintances expanded significantly, Pogorelsky entered the Arzamas community, got acquainted with Pushkin. In particular, Pogorelsky actively defended Pushkin's poem Ruslan and Lyudmila from criticism. In addition, Pogorelsky becomes the tutor of his nephew A.K. Tolstoy, whose mother (Pogorelsky's sister) left her husband shortly after the birth of her son. In 1822, the writer's father died and Pogorelsky inherited the Pogoreltsy estate in Ukraine, in which he lived for a long time and from whose name he took a pseudonym. Under this pseudonym, in 1825, the first significant artistic work of Pogorelsky was published - the story "Lafertovskaya poppy seed", highly appreciated by Pushkin, and then the collection "The Double, or My Evenings in Little Russia" (1828). By 1829, the children's fantastic story "The Black Chicken" belongs, and in 1830 the publication of Pogorelsky's largest work, the novel "Monastyrka", began. All of Pogorelsky's works turned out to be innovative for their time and caused extensive discussions. In 1830, Pogorelsky finally resigned. The writer lived on his estate Pogoreltsy (although he traveled a lot in Europe and Russia), devoting a lot of time to raising his nephew. Pogorelsky died of tuberculosis on the way to Nice to the place of his treatment.

(real name - Alexey Alekseevich Perovsky)
1787 - 21.07.1836, Warsaw

The village of Perovo near Moscow and the village of Pogoreltsy, the Sosnitsky district, the Chernigov province, like many other lands with fifty-three thousand serfs, at one time belonged to Count Alexei Kirillovich Razumovsky - the grandson of the register Cossack Grigory Rozum, the son of the last Ukrainian hetman, the son of the last Ukrainian hetman freemason. The surname "Perovskie" was given to the illegitimate children of Count Razumovsky and Maria Mikhailovna Sobolevskaya, who later achieved the title of nobility for them.
Being in the house of their father in the position of pupils, the Perovskys received an excellent education. There is evidence that Count Alexei Kirillovich was especially fond of the eldest - Alexei.
In August 1805, Alexei entered Moscow University and graduated from it in October 1807 with a doctorate in philosophy and verbal sciences. In the same 1807, he made his literary debut: he translated into German the story of NM Karamzin "Poor Liza" and published his translation with a dedication to his father.
For two years he led the life of a diligent official: he served in the Senate, traveled with audits to the Russian provinces, and then, settling in Moscow, became a good friend of V.A. Zhukovsky, P.A. Vyazemsky, V.L. Pushkin and other writers of the "friendly artel" and one of the founders of the "Society of Lovers of Russian Literature". As for his own achievements in this field, several poems in the "amphiguri" genre are known, recorded in the album of S.A. Neelov. For instance:

Minister Pete
Sitting in the corner
And plays on the dial tone.
But pop comes in
And, taking off the cloak,
Squats politely.
Voltaire is an old man,
Taking off your wig
Beats eggs in it,
And Jean Racine,
Like a good son
Sobbing with pity.

("Amfiguri," by definition, is literary nonsense.)

Then the young Perovsky wished to join the Masonic lodge, but was refused: "It is too early for Aleksey Alekseevich to deal with our conversations, but he needs to look ahead to the world with its beauties."
During the Patriotic War of 1812, the head captain of the Third Ukrainian Regiment, Oleksiy Perovskiy, took part in the battles of Tarutin, Losets, Dresden and Kulm, and then remained for some time in Dresden as an adjutant to the governor-general of Saxony N.G. Repnin-Volkonsky.
He returned to St. Petersburg in 1816 and changed his military uniform for an official - court councilor. However, soon circumstances turned out to be such that a sister with a one and a half month old nephew, whom he took to his hereditary Little Russian estate, Pogoreltsy, was in his care.
Here, doing gardening, supplying ship timber to the Nikolaev shipyards, the duties of the trustee of the Kharkov educational district and - most of all - the upbringing of Alyosha's nephew, Perovsky composed the first fantastic stories in Russia.
First, in 1825, in the Petersburg magazine Novosti literatury, he published - under the pseudonym Anthony Pogorelsky - Lafertovskaya poppynitsa. It is known that she completely charmed A.S. Pushkin, so that he read it "twice and in one breath." All four novellas (except for Lafertovskaya Makovnitsa - Isidor and Anyuta, The Pernicious Consequences of Unbridled Imagination, Journey in a Stagecoach) were published three years later in the form of the book The Double, or My Evenings in Little Russia. This followed the "Double" was followed by "Evenings on a Farm near Dikanka" by NV Gogol, "Evenings on Khopr" by MN Zagoskin and "Russian Nights" by VF Odoevsky.
Finally, it's time to talk about the "Black Chicken". Aleksey Alekseevich Perovsky invented and wrote down the magic story "The Black Hen, or Underground People" for his nephew when Alyosha (nephew) was no more than nine or ten years old, like Alyosha, the hero of the tale. Of course, this is a didactic - to put it simply, instructive - fairy tale. But its content is by no means exhausted by reasoning that only what is obtained by labor is reliable, that it is not good to betray comrades and that it is terrible to commit irreparable deeds. First, Pogorelsky happily invented one of the most elegant literary subjects. Secondly, now you can be as surprised as you like that he spoke so clearly and wisely about the almost elusive movements of the soul of an immature person: at that time, before the appearance of Leo Tolstoy's "Childhood", there were still twenty-six years left, "Tema's Childhood" G. Garin-Mikhailovsky - sixty-six, and "Childhood Luvers" by BL Pasternak - ninety-six.
If "The Double" is a collection of the first Russian science fiction stories, and "The Black Hen" is the first Russian author's fairy tale in prose for children, then "Monastyrka", according to P.A. Vyazemsky, "is a real and, probably, our first novel of mores ". In the early thirties of the XIX century "Monastyrka" brought Pogorelsky literary glory, which was not given to him by previous books.
But, apart from the above, and even the novel "Visitor to Magic", allegedly translated from English, not a single finished work of Anthony Pogorelsky is known. True, the writer's archive has sunk into oblivion. And How?! The manager in Pogoreltsy was a great gourmet; he used up all of Perovsky's papers for making "cutlets in papillots."
In the summer of 1836, A.A. Perovsky went to Nice for the treatment of "chest disease" and, on the way there, died in Warsaw. With him were his sister Anna and nephew Alexei.
Perovsky's nephew, having matured, himself became a wonderful and famous writer. This is Alexei Konstantinovich Tolstoy.

Svetlana Malaya

WORKS OF A. POGORELSKY

FAVORITES. - M .: Sov. Russia, 1985 .-- 432 p.
Contents: Double, or My Evenings in Little Russia; Monastery; Visitor magic; Magnetizer; Poems; Articles; Letters.

FAVORITES: Prose; Poems. - M .: Pravda, 1988 .-- 399 p.
Contents: Double, or My Evenings in Little Russia; Black Hen, or Underground inhabitants; Monastery; Visitor magic; Magnetizer; Poems.
"TWIN, or MY EVENINGS IN MALORUSSIA".
One fine summer evening, the bored landowner of the village of P *** was visited by none other than his double, and after the first conversation about this and that, he suggested that they continue to tell each other different stories in the evenings.

Among these stories "LAFERTOVSKAYA MAKOVNITSA" is especially notable.
In the Lafertovskaya (that is, Lefortovo) part of Moscow, this old woman was nicknamed Makovnitsa, since her trade consisted of selling poppy cakes. But the neighbors called her a witch and a witch behind her back; True, they bowed low to her eyes and called her a grandmother.
"BLACK CHICKEN, or UNDERGROUND RESIDENTS. A magic story for children".
Once on Christmas the boy Alyosha saved the chicken Chernushka from the cook's knife, and she suddenly turned out to be the minister of the underground kingdom. As a reward for his service, Alyosha received a hemp seed from the little king, which he wrapped in a piece of paper and put it in his pocket ...
"MONASTERY".
This, as one literary critic said more than a century ago, is the story of twenty-year-old Anyuta, "her youth, her love for a handsome neighbor, a brilliant officer, persecution she experienced from an evil guardian, an escape from the house of unkind people and a blissful meeting with her Vladimir."

Other editions of A. Pogorelsky's works:

MAGIC TALES / Fig. B.A. Dekhtereva. - M .: Det. Lit., 1992 .-- 125 p.: Ill.
Contents: Lafertovskaya Makovnitsa; Black hen, or Underground inhabitants.
DOUBLE, or MY EVENINGS IN MALORUSSIA. - M .: Kniga, 1987 .-- 363 p .: ill.
Miniature edition.
BLACK CHICKEN, or UNDERGROUND RESIDENTS / Fig. N. Golts. - M .: Rus. book., 1992. - 56 p .: ill.

Svetlana Malaya

LITERATURE ABOUT THE LIFE AND WORK OF A. POGORELSKY

Stafeev G.I. In the Fatherland, flames and words: (A.A. Perovsky and A.K. Tolstoy in the Red Horn): Lit.-regional historian. essays. - Tula: Priok. book publishing house, 1983. - 188 p .: ill.
Tikhomirov B.N. Pogorelsky, Anthony // Russian writers XI - early XX century. - M .: Education, 1995.S. 326-330.
Shelaeva A.A. Anthony Pogorelsky and his works // Pogorelsky A. Selected works. - M .: Pravda, 1988.S. 373-389.

SCREENING OF WORKS OF A. POGORELSKY

- FEATURE FILM -

Black hen, or Underground inhabitants. Scenes T. Zulfikarova. Dir. V.Gres. Comp. O. Karavaichuk. USSR, 1980. Cast: V. Sidletsky, A. Livanov, V. Gaft, E. Evstigneev, L. Kadochnikova, A. Filozov, V. Kashpur and others.

- CARTOONS -

Lafertovskaya poppy-bowl. Belarusfilm, 1986. Black chicken (puppet). Dir. Yu. Trofimov. Comp. A. Rybnikov. USSR, 1975. The roles are voiced by: Z. Gerdt, K. Rumyanova and others.