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. Their similarity is manifested not only in appearance, but also in the ability to get into incredible stories, under any circumstances, get out of the water dry and not lose their cheerful disposition, generously seasoned with boyish mischief. Of course, you can distinguish these naughty from each other if you carefully read the books describing their adventures.
Comparison
Pinocchio- a revived wooden doll, the hero of A. Tolstoy's fairy tale "The Golden Key, or the Adventures of Pinocchio." The prototype for him was another fairy-tale hero - Pinocchio, about whom readers learned from the pages of the children's book by C. Collodi about the adventures of a wooden man.
Pinocchio- the character of the fairy tale "Pinocchio, or the Adventures of a Wooden Doll", to whom the Italians, as a sign of universal love, erected a monument with the inscription: "To the immortal Pinocchio - grateful readers aged from four to seventy years."
About the characters
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 childhood tendencies to leprosy and a lack of a sense of danger. Pinocchio turned out to be so charming that the reader easily forgives his stupidity and even selfishness, because spontaneity and resourcefulness turn out to be more important, thanks to which he copes with any difficulties and unforeseen situations.
By the time of publication in Russian, the tale had gone through 480 editions. In 1906, the novice writer A. Tolstoy was so carried away by this wonderful work that later, having gained creative experience and literary fame, he created his own version of the adventures of a wooden man, who received the name Pinocchio.
The plot of the fairy tale about the golden key largely repeats the idea of K. Collodi. Pinocchio, like Pinocchio, runs away from home and ends up in a puppet theater instead of school. Pinocchio enjoys the patronage of a young fairy - the Girl with Azure Hair. Malvina becomes Pinocchio's girlfriend, who diligently educates the stubborn and tries to teach him the wisdom of life. Both Pinocchio and Pinocchio become victims of a cunning cat and a fox, naively waiting for a miracle tree to grow from coins buried in the ground.
But still, in the adventures of Pinocchio, much more difficulties arise. He ends up on the island of industrious bees; turns out to be in the service of a peasant and, like a guard dog, guards his chicken coop; turns into a donkey, from the skin of which they are going to make a drum. Pinocchio does not pass such tests, but he meets the turtle Tortila and learns the secret of the golden key. He has to cope with the greed of Duremar, escape from the persecution of Karabas, protect Malvina and Pierrot, rescue dolls from trouble.
At the end of the tale, Pinocchio turns into a boy. With Pinocchio, such a transformation does not occur, although it is understood that, having returned to Papa Carlo, he also became an ordinary child.
Pinocchio did not erect a monument in Italy, but the interest and touching feelings of our readers for this fairy-tale hero are no less than those expressed by Italian readers to their literary favorite.
Findings site
- Pinocchio is a character in a fairy tale by the Italian writer C. Collodi. Pinocchio is a fairy tale character created by the Russian writer A. Tolstoy.
- The adventures of Pinocchio became known to readers at the end of the 19th century. The Tale of Pinocchio was first published in 1936.
- In the Tuscan dialect, "Pinocchio" means "pine nuts". Pinocchio is translated from Italian into Russian as "wooden doll".
- Some adventures of Pinocchio were not included in the author's version of A. Tolstoy's fairy tale. Stories happened to Pinocchio that were different from those in which the character of K. Collodi got into.
Of all the fairy-tale heroes of the Soviet era, Pinocchio is probably one of the most popular. The hero of many songs, films, cartoons, jokes, this hewn (that's right!) Wooden blockhead turned out to be in tune with our mentality, which welcomes cute and energetic slobs and forgives all their antics for their spontaneity and kind soul (recall the same Carlson). And the images and phrases from the fairy tale have long been included in everyday speech. Let's remember: “Country of Fools”, “Field of Wonders”, “three crusts of bread”, “rich Pinocchio”, “crex, pex, fex”, “you are your own enemy”, “I will be smart, prudent”, “plow like Papa Carlo ”, “venerable orphan”, etc., etc., etc.
At the same time, most readers also know that our Pinocchio is, in general, hewn out of someone else's "log", and the most zealous critics in the heat of the moment begin to apply the bad word "plagiarism" to Alexei Tolstoy. In fact, everything was much more complicated ...
Trying to get rid of accusations of plagiarism, Alexei Tolstoy in 1936 preceded the text of his Golden Key with the following preface: “When I was little, I read one book: it was called I often told my comrades the entertaining adventures of Pinocchio. But since the book was lost, he told it differently each time, inventing such adventures that were not in the book at all. Now, after many, many years, I remembered my old friend Pinocchio and decided to tell you, girls and boys, an extraordinary story about this wooden man.
The Red Count was cunning: the first Russian-language edition of Pinocchio was published only in 1906, when Tolstoy was already far from small (23 years old), and he never knew the Italian language. And the writer began the first “official” retelling of the history of Pinocchio much earlier - in 1922, while still in exile. It was then that an edition of the Russian-language “The Adventures of Pinocchio” was published in Berlin, which read: “Translated from Italian by N. Petrovskaya; altered and edited by Alexei Tolstoy. Even then, the "remodeler" did his best, cutting Collodi's book in half and making the narrative more lively and concise.
However, the “retelling” of the fairy tale about the wooden man did not end there. Exactly ten years later, being already a Soviet writer favored by the authorities, Tolstoy was walking along the streets of a nomenklatura settlement near Leningrad and met there another "elite" Soviet person - the wife of the famous and then respected commander Tukhachevsky - Natalia Sats. They say that it was she who asked Tolstoy to compose a children's fairy tale for a theatrical production.
So Tolstoy began to retell the story of Pinocchio again. Perhaps the physical condition of the writer, who suffered a heart attack in 1934, also played a certain role here. The “patient” postponed all serious “ideological” literary projects for a while, and until it became clear that he was “rather alive than dead”, the fairy tale “The Golden Key, or the Adventures of Pinocchio” appeared.
From the memoirs of N. Nikitin:
“...Something like a blow happened to him. They were afraid for his life. But a few days later, lying in bed, holding the folder on his lap like a music stand, he was already working on The Golden Key, making a fairy tale for children. Like nature, he did not tolerate emptiness. He was already into it.
"It's terribly interesting," he assured me. - This Pinocchio ... Excellent story! We must write before Marshak does it.
He laughed."
Pinocchio's success in the Soviet country was not inferior to the foreign success of his Italian counterpart. In 1936, the fairy tale was published on the pages of the Pionerskaya Pravda newspaper, after which it was immediately published as a separate publication, in 1938 Tolstoy reworked it into a play, and in the same year the central children's theater was opened with its production.
However, it is not so much the success of this book that is surprising, but the fact that Tolstoy retold Collodi's tale in such a way that it acquired quite clear features of an original and independent author's work. It can even be said that the spirit of The Golden Key was almost the opposite of the spirit of Pinocchio.
A. Tolstoy, from a letter to M. Gorky, February 1935:
“I am working on Pinocchio, at first I only wanted to write the contents of Collodi in Russian. But then he refused it, it turns out boring and fresh. With the blessing of Marshak, I am writing on the same topic in my own way.
The first six chapters of Tolstoy's fairy tale could still be called a free retelling, but already at the meeting of Pinocchio with Karabas Barabas, a mysterious door appears in the fairy tale, changing the whole structure of the narrative. Collodi has neither a secret, nor a door, nor the Golden Key - the main spring of the plot in Tolstoy. The last intersection of the storylines of the two books takes place on the Field of Miracles, where the Cat and the Fox "surrender" Pinocchio/Pinocchio to the police. After that, the "Golden Key" finally becomes the fruit of Tolstoy's own imagination. This is not to mention the purely authorial "Tolstoy" style - simple, concise, and at the same time apt and exhaustive. Where another author would spend a whole paragraph on a description, Tolstoy fits into one sentence.
As for the metamorphoses of Collodi's characters in the hands of the Russian writer, it is better to analyze them separately. What will I do in
Comparative analysis of "Pinocchio" by K. Collodi and "The Golden Key, or the Adventures of Pinocchio" by A.N. Tolstoy
Content
- 1. Author (brief information)
- 2. Issues
- 5. Main characters
- 7. Addressee of the book
Alexey Nikolaevich Tolstoy (1882/83-1945) - Russian writer, extremely versatile and prolific writer, writing in all genres and genres (two collections of poems, more than forty plays, scripts, adaptation of fairy tales, journalistic and other articles, etc.) , first of all, a prose writer, a master of fascinating narration. Academician of the Academy of Sciences of the USSR (1939).
In 1918-23 in exile. Tales and stories from the life of the estate nobility (cycle "Zavolzhye", 1909-11). The satirical novel "The Adventure of Nevzorov, or Ibicus" (1924). In the trilogy "Walking through the torments" (1922-41), A. Tolstoy seeks to present Bolshevism as having a national and popular soil, and the Revolution of 1917 as the highest truth comprehended by the Russian intelligentsia; in the historical novel "Peter I" (books 1-3, 1929-45, not finished) - an apology for a strong and cruel reformist government. He also owns science fiction novels "Aelita" (1922-23), "Hyperboloid engineer Garin" (1925-27), stories, plays.
Among the best stories in world literature by Alexei Tolstoy for children is The Golden Key, or the Adventures of Pinocchio (1935), a very thorough and successful reworking of the fairy tale by the Italian writer C. Collodi "Pinocchio".
2. Issues
For the first time, the fairy tale of the Italian writer C. Collodi "The Adventures of Pinocchio. The Story of a Puppet", which was published in 1883, was translated into Russian in 1906 and published in the journal "Soulful Word". In the preface to The Golden Key (1935), the hero of which was Pinocchio (Italian Pinocchio), it is said that the writer allegedly heard the tale as a little boy. The author clearly mystified the reader, perhaps in order to gain greater freedom in self-expression, filling the tale with the subtexts of his time. In fact, back in 1924, together with the writer N. Petrovskaya, he published the book The Adventures of Pinocchio in the Berlin publishing house Nakanune. The title says: "Remade and edited by Alexei Tolstoy". Apparently, the writer did his retelling by interlinear. The desire to preserve the somewhat old-fashioned aesthetics of the fairy tale, sentimentality and humor collided with the desire to give the text a more modern rhythm, to get rid of excessive sententiousness and moralizing. Here the impetus was laid for a radical revision of the text, which was carried out twelve years later in Russia. In 1935, first following the text of "Pinocchio", the author created a completely original work, a fairy tale masterpiece, surpassing the source in its cultural significance. The break in the plots occurs after the flight of Pinocchio from the Country of Fools. In addition, magic (transformation) is excluded. A year later, Tolstoy wrote the play "The Golden Key".
In the fairy tale, the writer again refers to the "memory of childhood", this time recalling his passion for S. Collodi's book "Pinocchio, or the Adventures of a Wooden Doll". Collodi (Carlo Lorenzini, 1826-1890) wrote in 1883 a moralistic book about a wooden boy. In it, after long adventures and misadventures, the mischievous and lazy Pinocchio is corrected under the influence of a fairy with blue hair.
A.N. Tolstoy does not follow the source literally, but creates a new work based on it. Already in the preface, the author reports that in childhood he told the book he loved in different ways each time, inventing such adventures that were not in the book at all. The writer focuses on the new reader; it is important for him to instill in the Soviet child good feelings for the oppressed and hatred for the oppressors.
Telling Yu. Olesha about his idea, A.N. Tolstoy emphasized that he would not write an instructive work, but an entertaining and cheerful recollection of what he read in childhood. Yu. Olesha wrote later that he wanted to evaluate this idea "as an idea, of course, crafty, since the author still intends to build his work on someone else's basis - and at the same time as an original idea, charming, since borrowing will take the form of searching for someone else's plot in memory, and from this the fact of borrowing will acquire the value of a genuine invention.
The fairy tale "The Golden Key, or the Adventures of Pinocchio" turned out to be a great success for A.N. Tolstoy and quite original work. When creating it, the writer paid the main attention not to the didactic side, but to the connection with folk motives, to the humorous and satirical depiction of the characters.
3. Plot, conflict, composition
The plot is based on the struggle of Pinocchio (burattino - in Italian "doll") and his friends with Karabas-Barabas, Duremar, the fox Alice, the cat Basilio. At first sight. it seems that the struggle is for the mastery of the golden key. But the motive of mystery, traditional in children's literature, in the book by A.N. Tolstoy sounds different. For Karabas-Barabas, Duremar, the fox Alice and the cat Basilio, the golden key is a symbol of wealth, power over the poor, over the "meek", "stupid people". For Pinocchio, Papa Carlo, the poodle Artemon, Piero and Malvina, the golden key is a symbol of freedom from oppression and the opportunity to help all the poor. The conflict between the "light and dark world" of the tale is inevitable and irreconcilable; the action in it unfolds dynamically; The author's sympathies are clearly expressed.
The "Dark World", beginning with Karabas-Barabas and ending with a general sketch of the Land of Fools, is given satirically throughout the entire tale. The writer knows how to show vulnerable, funny features in the characters of the "doctor of puppet science" Karabas, the seller of leeches Duremar, the fox Alice and the cat Basilio, the governor Fox, police dogs. The hostile world of the exploiters is exposed by A.N. Tolstoy debunked the legend of the omnipotence of the "lash in seven tails", wins the humanistic principle. Social concepts and phenomena are embodied by the writer in living images full of emotional power, which is why the beneficial effect on children of the fairy tale about the adventures of Pinocchio is still tangible.
4. Narrator (lyric hero). Figurative systematics of the work
Of course, the narrator in a work of art should by no means be identified with the author of this work. Moreover, in this case it is clearly visible that the narrator is endowed by Tolstoy with his own, moreover, a very specific psychology; therefore, he is a character, one of the heroes of the tale.
The somewhat feigned familiarity towards the reader with which the story is being told is striking: “But Pinocchio’s long nose pierced through the pot, because, as we know, the hearth, and the fire, and the smoke, and the pot were drawn by poor Carlo on a piece old canvas. However, the reader just did not know that all this was drawn by poor Carlo. Or again: "We already know that Pinocchio has never even seen a pen and an inkwell" - although we are hearing (reading) about this for the first time. It is also characteristic that the lyric poet Pierrot in the fairy tale is ridiculed not only by Pinocchio, but also by the narrator. For example: "Pierrot, at the sight of Malvina, began to mutter words - so incoherent and stupid that we do not give them here."
There are also facts of frank empathy for the events described in the narrator's story. Or maybe he himself is an active participant in these events, if he brings his own emotional moment to them? In addition, this participant does not have a sufficient level of literacy, although he is narrating. From this it becomes clear that the work contains vulgar narrative techniques and numerous logical inconsistencies at the plot level, which A. Tolstoy, as a high-class professional, could not allow. Here, apparently, it is worth remembering that the character-narrator is an artistic means of the writer, to whom he "instructs" to lead the story, therefore the level of his intelligence and literacy leaves its mark 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. Pinocchio is somewhat close to the reckless Petrushka from the folk theater. It is outlined with humorous strokes, given in combination of positive and negative. It costs nothing for a wooden boy to show his tongue to Papa Carlo, to hit a talking Cricket with a hammer, to sell the alphabet to buy a ticket to the theater.
Pinocchio had to endure many adventures from the first day of his birth, when his thoughts were "small, small, short, trifling, trifling", until the moment when he realizes: "you need to save your comrades - that's all."
Pinocchio's character is shown in constant development; the heroic element in the wooden boy is often seen through the outwardly comic. So, after a brave fight with Karabas, Malvina forces Pinocchio to write a dictation, but he immediately comes up with an excuse: “They didn’t take writing materials.” When it turned out that everything was ready for classes, Pinocchio wanted to jump out of the cave and run wherever his eyes looked. And only one consideration held him back: "it was impossible to abandon helpless comrades and a sick dog." Pinocchio enjoys the love of the guys because he is not only fabulously lucky, but also has truly human weaknesses and shortcomings.
We can assume that the meaning of the country of children as a true country of happiness in the "Golden Key" embodies Malvina's glade. Children-dolls independently staged their lives, and did not turn it into chaos (in "Pinocchio" dolls are presented as toys in the hands of a puppeteer, in "Golden Key" - dolls are completely independent characters. In this temporary paradise, "rehearsing" the final scene of "Golden key", the contradiction "play-work", as noted, is removed in the aesthetics of the role-playing game and the theatricality of puppet life, which is directly inscribed in the open space of nature. The description of nature, in turn, acquires theatrical features: "... the moon hung over the mirror 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 tediousness, parodic exaggerating the moralizing of her predecessor. Especially straightforward phrases: "Now I will take care of your education" and "She took him to home to educate, "introduced by Tolstoy in the last version of the manuscript, did not leave hope for an educational effect gradually. Bust in education is motivated in the fairy tale by the immaturity of child puppets: in a role-playing game, everything is just like in adults. Playing as a teacher, Malvina dictates to Pinocchio a phrase from Fet: "And the rose fell on Azor's paw", which is read the same way from left to right - and vice versa. The bewitching serenity of this palindrome is consonant with the mood of Malvina's meadow, on which "azure flowers" grow, and it is consonant literally: "Rose", "Azore" - "azure". And isn’t the beautiful country of “Azor” encrypted in Fet’s phrase (along with other subtexts identified by researchers), and it still has the same dream of happiness? In the "Golden Key" the curtain opens - and this is the curtain of the new theater. The door of Papa Carlo's father's closet opens into the endless space of the big world. From here, the heroes begin their journey, because happiness is "not a state", but "free movement forward", as L.I. Tolstoy wrote. Barsheva, to whom he dedicated his book. The heroes of the fairy tale descend the stairs (the author himself recreates the symbolic procession along the steps for the first time in the poem "Creativity" ("Lyric", 1907), fall into a round room, lit up like a temple (associations involuntarily reach for the ideal "glades" and "islands" ) and see a “wonderful beauty puppet theater.” Suddenly there is a “stop-disappointment”, inevitable and psychologically exceptionally reliable on the way to the Absolute: the theater in the eyes of the adult Pope Carlo is just an “old toy”. At worst, it would be better to have a bunch of gold and silver! But the degree of disappointment is not so great as to destroy the tense expectation of a miracle, and only makes it more convincing. The "substitution" of points of view occurs unmotivated and imperceptibly for the reader: the stairs down turn out to be the way up, the old toy - a theater of wonderful beauty, on the dimensionless 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 motives. As already mentioned, the motive of labor "falls out" when the Cricket appears. The author crosses out the admonition: "You will earn bread" as superfluous in the main ideas - "play-creativity" and "childhood-happiness". And even more so, the motive of labor is impossible as a punishment, which is hard to trace in the old fairy tale. Cruelty is unthinkable in the Golden Key, where no one even kills enemies (the exception is the rat Shushara). Instead of "Poor Cricket squeaked for the last time - kri-kri - and fell upside down with his paws," the author wrote in the margin: "Heavy sigh, wiggled his mustache and crawled forever over the edge of the fireplace."
Pinocchio not only became more harmless and closer to children's perception, along with this, the whole concept of the fairy tale changed. The motives of guilt and remorse are strongly muffled in it. Pinocchio's adventures are more likely not a violation of morality ("do not steal" - preserved only for the Cat and the Fox), but a violation of the rules due to Pinocchio's "short" thoughts.
pinocchio pinocchio thick collodi
6. Word in a work: details, repetition of details, figurative structure of speech
The text of The Golden Key is a completely different fairy tale than The Adventures of Pinocchio, and its hero not only has a different character, he is the bearer of a different aesthetics and other attitudes that have absorbed the dynamic experience of his era. However, at the same time, the late text is polemically pointed in relation to Pinocchio and literally grows through it. Before us is a unique case when the text of one work is a draft version for another. This is not just a set of outlines; on the margins and between the lines of one of the copies of Pinocchio, the Golden Key is outlined and lined up. Crossing out large chunks of text, the writer sets a new rhythm for the tale, removes endless moralizing maxims: "naughty children cannot be happy in this world", comically sharpens many scenes, for example, in the scene of the hero's healing, recklessly introduces expressive words like: "stuck" instead of “hit”, “hit what the spirit has” instead of “run with what the spirit has” (about the rooster) ... This continues until the “resistance” of the material of the early text, apparently giving new ideas, becomes insurmountable. The plot of the tales finally diverge "in the meadow of Malvina (Sorceress)", any marks on the copy of the book disappear. But the internal polemic is preserved to the end, just as hints, reminiscences and compositional parallels are preserved and realized. And at the end, a scene of a meeting with Cricket is written, by analogy with the early text, summing up the adventures of the heroes. Various phrases that sounded in the early text of 1906 (“bats will eat him”, “pull the dog by the tail”, etc.) are used in The Golden Key, giving rise to new images in a completely different context. Many details are consistently converted from text to text. In The Golden Key, the pine tree is replaced by an oak tree, on which Pinocchio was hanged, rather conditionally, because his enemies were "tired of sitting on wet tails" (a detail indicated by the author in the text of "Pinocchio"). But the "pine tree" is not forgotten and was already useful to the author in another scene - the battle scene at the edge of the forest, in order to decide its outcome, when the savvy Pinocchio (again, conditionally, as in a children's game) wins by wrapping the opponent's beard on a resinous tree, which immobilizes him . If the differences between the two texts of "Pinocchio" are mainly in the field of style, then between "Pinocchio" and "The Golden Key" they certainly turn into polemics.
In The Golden Key, in the image of Carlo the organ grinder, the gaiety and artistry of his predecessors - the fair and redhead - were polemically revealed. The hurdy-gurdy, being associated with the game, art, theater, wanderings, becomes the central and positive ... image of the "Golden Key". It is no coincidence that in the final chapter, at the stage of the last editing of the text, the writer introduced the epithet "hurdy-gurdy" ("organ-organ music played") into the description of the theater, uniting the entire fairy tale with the theme of play and theater. In "Pinocchio" play and fun lead only to sad consequences... The theater removed the opposition between work and play within the text, but sharpened it polemically in the text of "Pinocchio".
The comparisons can be represented in the form of a diagram:
|
"Golden Key, or the Adventures of Pinocchio" |
"The Adventures of Pinocchio" |
|
|
The plot is good and quite childish. Although there are several deaths in the story (Shushara the rat, old snakes, Governor Fox), there is no emphasis on this. At the same time, all deaths occur through no fault of Pinocchio (Shushara was strangled by Artemon, snakes voluntarily died a heroic death in a battle with police dogs, badgers dealt with the Fox). |
The book contains scenes of gore and violence. Pinocchio hit the Talking Cricket with a hammer, then lost his legs, which burned on the brazier. Then he bit off a cat's paw. The cat killed a thrush that tried to warn Pinocchio. |
|
|
Malvina with the poodle Artemon, who is her friend. There is clearly no magic in the book. |
A fairy with the same appearance, who then changes her age several times. The poodle is a very old servant in livery. |
|
|
There is a Golden Key, for information about which Karabas gives Pinocchio money. |
The Golden Key is missing (while Majafoko also gives money). |
|
|
Karabas-Barabas is an unambiguously negative character, the antagonist of Pinocchio and his friends. |
Majafoko is a positive character, despite her ferocious appearance, and sincerely wants to help Pinocchio. |
|
|
Pinocchio does not change his character and appearance until the end of the story. He stops all attempts to re-educate him. Remains a doll. |
Pinocchio, to whom morality and notations are read throughout the book, first turns into a real donkey (this motif was then clearly borrowed by N. Nosov in "Dunno on the Moon" when describing the Fool's Island), but then he is re-educated, and in the end from a nasty and naughty wooden boy turns into a living virtuous boy. |
|
|
Dolls behave like independent animated beings. |
It is emphasized that the puppets are just puppets in the hands of the puppeteer. |
The books vary considerably in atmosphere and detail. The main plot coincides quite closely until the moment when the cat and the fox dig up the coins buried by Pinocchio, with the difference that Pinocchio is much kinder than Pinocchio. Further plot coincidences with Pinocchio do not occur.
7. Addressee of the book
Excluding from the text of "The Golden Key" the moral moralizing maxims that overwhelm "Pinocchio", the writer at the same time makes a "nod" in the direction of modern pedagogical criticism, also focused on the "moral lesson". Behind all this is a different attitude towards the child and towards the person in general. Childhood for Tolstoy is not a degraded version of adulthood, but a valuable game world in itself, in which human individuality is especially clearly manifested. In Pinocchio, the child is initially quite vicious (which means that he needs to be radically remade). In addition to the need to "climb trees and destroy bird nests," he is obsessed with laziness: "I want to eat, drink and do nothing," but does it agree with the active curiosity of a little man with a long nose? Therefore, apparently, in the "Golden Key" the motive of laziness is completely excluded (a healthy child cannot be lazy), and a long nose symbolizes only restlessness and curiosity, and does not act, as in "Pinocchio", a criterion of correct (wrong) behavior.
Both Pinocchio and Pinocchio change, but Pinocchio remains a "naughty man" to the end, who, according to the definition of our contemporary teacher and psychologist A. Amonashvili, is the "engine of progress." It is the scoundrel, who first "climbs trees" and then wins "with the help of cunning and ingenuity", is capable of making an independent, creative choice in life, and he does not need to be in the shoes of a "circus donkey" to become a man. In Pinocchio, only after going through a series of successive transformations does the hero become a "real" boy: the doll disappeared, a man appeared; play and fun are over - life has begun. In The Golden Key, the antithesis is removed: the doll is the person; play, creativity, fun is life. This simultaneity contains infinity and relativity, as in a theater where the characters will "play themselves."
List of sources used
1. Gulyga A.V. Art in the age of science. - M.: Nauka, 1978.
2. Zamyatin E.I. Martyrs of Science // Lit. studies. 1988. No. 5.
3. Urnov D. M.A.N. Tolstoy in the dialogue of cultures: the fate of the "Golden Key" // A.N. Tolstoy: Materials and research / Ed. ed.A.M. Kryukov. - M.: Nauka, 1985. - S.255.
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term paper, added 05/20/2008
Brief information about the life path and activities of Leo Tolstoy, an outstanding Russian writer and thinker. His childhood and period of education. The heyday of Tolstoy's creativity. Travel in Europe. Death and funeral of the writer in Yasnaya Polyana.
presentation, added 05/02/2017
Comparative approach to the study of Russian and Tatar literature of the 19th-20th centuries. Analysis of the influence of Tolstoy's creative activity on the formation of Tatar culture. Consideration of the tragic theme in Tolstoy's novels "Anna Karenina" and Ibragimov's "Young Hearts".
With whom I would like to introduce Tanya in 2017. But I have a strict rule set to myself - if I haven’t read a book, then I’ll read it first, and not at the same time as Tanya. Because as long as I can control her life, I will do it in every little thing.
Everyone knows who Pinocchio is. This is the one from which Alexei Tolstoy literally copied Pinocchio. The beginning of the book literally repeats Buratinov's plot one to one. I even put our Pinocchio in front of me ( I recommend this edition! ) and compared line by line. The only difference was in the names.
The first harbingers of the "wrong literature" appeared almost immediately, but there were not so many of them yet that my hair on my head began to stir.
The scene of communication between Pinocchio / Pinocchio with the Talking Cricket:
Poor fool! Don't you understand that in this way you will turn into a real donkey and no one will put you down for a penny?
- Shut your throat, you sinister old Cricket! - not a little angry Pinocchio.
But Cricket, full of patience and wisdom, was not offended and continued:
“And if you don’t like going to school, then why don’t you learn some trade and honestly earn your bread?”
- Tell you why? - answered Pinocchio, gradually losing his patience. - Because of all the crafts in the world, only one I really like.
- And what is this craft?
- Eat, drink, sleep, enjoy and wander from morning to evening.
“Note to yourself,” said Talking Cricket with his usual calm, “that everyone who practices this trade always ends up in a hospital or in prison.
- Take it easy, the old sinister Cricket ... If I get angry, it will be bad for you!
- Poor Pinocchio, I really feel sorry for you!
- Why do you feel sorry for me?
"Because you're a Wooden Man and worse than that, you have a wooden head!"
At the last words, Pinocchio jumped up, furious, grabbed a wooden hammer from the bench and threw it at the Talking Cricket.
Perhaps he did not think that he would hit the target, but, unfortunately, he hit the Cricket right in the head, and the poor Cricket, having only managed to say “cree-cree-cree” at the end, was left hanging on the wall as if dead.
And the same scene from Pinocchio:
Oh, Pinocchio, Pinocchio, - said the cricket, - quit pampering, obey Carlo, do not run away from home without work 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? - Pinocchio asked.
- But you will see - why, - said the Talking Cricket.
- Oh, you, a hundred-year-old insect-cockroach! - Buratino shouted. - More than anything, I love scary adventures. Tomorrow, at dawn, I’ll run away from home - climb fences, destroy bird nests, tease boys, drag dogs and cats by the tails ... I can’t think of anything else! ..
- I feel sorry for you, sorry, Pinocchio, you will shed bitter tears.
- Why? - Pinocchio asked again.
Because you have a stupid wooden head.
Then Pinocchio jumped on a chair, from a chair to the table, grabbed a hammer and launched it into the head of the Talking Cricket.
The smart old cricket sighed heavily, wiggled its whiskers, and crawled away behind the hearth - out of this room forever.
Did you find a difference? Disappearing from a room is not at all the same as being "dead" hanging on the wall. Further more. Our Pinocchio is an ordinary cheerful hooligan. Pinocchio is an evil lazybones. At the same time, Tolstoy's fairy tale is kind, morality in it permeates the text with a light canvas and does not climb out of every paragraph. "Pinocchio" is soul-searching, moralizing and malice. And okay, only malice. Death on every page.
If in “Pinocchio” Karabas pities the wooden man and does not throw it into the fire, then in “Pinocchio:
Thank you. However, I, too, deserve pity. You see that I have no firewood to fry the mutton, and you - I tell you the truth - would be very useful to me. But I took pity on you. Well! In that case, I will burn someone from my troupe instead of you. Hey cops!
At this command, two long, long, skinny, skinny wooden policemen with naked sabers in their hands immediately appeared.
And the owner of the theater ordered them in a rude voice:
- Grab the Harlequin, tie him up well and throw him into the fire. My lamb should be fried and crispy.
Imagine the state of health of the poor Harlequin! He was so frightened that his legs buckled and he fell to the floor.
But so far both tales unfold according to the same scenario. The only difference is in the manner of presentation. The moment when the wooden man escapes from the Fox and the Cat looks like this in fairy tales:
It is hard to imagine what they just did not do to make Pinocchio open his mouth. If during the chase they had not dropped a knife and a pistol, it would have been possible to end the story about the unfortunate Pinocchio at this place.
Finally, the robbers decided to hang him upside down, tied a rope to his legs, and Pinocchio hung on an oak branch ... They sat under the oak, stretching out their wet tails, and waited for the golden ones to fall out of his mouth ...
At dawn, the wind picked up, the leaves rustled on the oak. Pinocchio swayed like a piece of wood. The robbers got tired of sitting on wet tails.
- Hang, my friend, until the evening, - they said ominously and went to look for some roadside tavern.
Are you pretending to be deaf? Wait, we'll make you spit!
Indeed, one of them grabbed Pinocchio by the tip of his nose, the other by his chin, and they pushed and pulled with all their might to force him to open his mouth. But it was all in vain. The Wooden Man's mouth looked riveted and sewn shut.
Then the smaller of the robbers grabbed a huge knife and tried to insert it in the form of a chisel between Pinocchio's teeth. But Pinocchio, with lightning speed, seized his hand with his teeth, bit it off completely and spat it out. And imagine his astonishment when he noticed that instead of a hand he spat out a cat's paw on the ground!
…….
But they didn't give up. They piled a huge pile of brushwood under a tree and set it on fire. In an instant, the pine caught fire and flared up like a torch fanned by the wind. Pinocchio watched the flames rise higher, and, not wanting to end his life with a roasted pheasant, he made a magnificent jump from the top of the tree down and again rushed to run through the fields and vineyards. And the robbers follow him.
…..
“It’s all clear to me,” said one, “I must hang him.” So, we'll hang it!
- We'll hang him! - repeated the other.
And so they dragged him into the forest, tied his hands on his back, threw a noose around his neck and tied a rope to a branch of a tall tree, which was known in the neighborhood as the "Big Oak".
…..
Then they sat down on the grass and waited for the Wooden Man to stop fidgeting. But even after three hours, Pinocchio's eyes were still open, and his mouth was closed, and he fluttered even more than before.
Finally, the robbers got tired of waiting, they got up and mockingly said to Pinocchio:
- So, see you tomorrow! By the time we get back tomorrow, you'll have done us such a favor and you'll be pretty, dead, and your mouth will be very, very wide open.
And they left.
Great hanging tutorial.
There are no more similarities with Pinocchio in the book. Pinocchio deceives, suffers from moral scourging of himself, listens to moralizing from every second person and is still lazy. He has no Pinocchio kindness at all. Stumbles upon the grave of the Blue-haired Fairy (great children's story, don't you think?)
He serves as a guard dog, sitting in a kennel on a leash, he is swallowed by a shark, he fights with classmates, one of whom almost died, regularly strays from the true path, being mistaken for a fish, he is almost fried in oil (an almost ready-made recipe on the pages presented). As a result, Pinocchio, having once again escaped from those who instructed him on the true path, finds himself in the Land of Entertainment and turns into a donkey. This scene was copied by Nosov in "Dunno on the Moon", sending Dunno with Kozlik to the Island of Fools. But on the Island of Fools, too, there was more "childhood". And you won't envy Pinocchio. And when the time comes to skin him, the owner, so as not to suffer with cutting his throat:
I give you one lyre. Don't think that I need this donkey. I only want his skin. He has such a beautiful strong skin that I want to make a drum out of it for the village orchestra.
Can you imagine how Pinocchio felt when he heard that he would become a drum!
Anyway, the buyer paid one lira and immediately led the donkey to the seashore. There he hung a large stone around his neck, tied a rope to his leg, the other end of which remained in his hand, and with an unexpected strong push pushed the donkey into the water.
Pinocchio, with a huge stone around his neck, immediately sank to the very bottom. And the buyer, still holding the rope tightly in his hand, sat down on a rock and patiently waited until the donkey drowned, in order to then skin him.
That's right, why fast? Better let him suffer.
A happy ending, not a boring one. And - I will not read this book to Tanya. I want her to read it herself. When he learns to read and grows up five years. I will even tell her about this book myself and take it from the library. But I do not want to look for "similarities and differences" of fairy tales, as we usually do with her. Too much anger. Too many boring lectures. Too many words "death" and "die". Pinocchio turned out to be too "non-Buratini". And I do not regret at all that this book passed me by during my distant childhood. This is a horror book for tough kids.
And finally, one more quote:
They had not gone a hundred steps when they saw two disgusting faces begging for alms on the side of the road.
It turned out to be the Cat and the Fox, but it was difficult to recognize them. Imagine that the Cat, pretending to be blind, because of this, eventually became blind. And the aged, completely shabby and bald Fox lost her tail. It happened in this way: this unfortunate thief fell into great need and one fine day was forced to sell her magnificent tail to a traveling merchant, who made a stove broom out of it.
- Oh, Pinocchio! - Lisa exclaimed in a pained voice. - Give us, poor cripples, a little alms!
- ... alms! repeated the Cat.
- Farewell, hypocrites! replied the Wooden Man. “You fooled me once, you won’t be able to do it the second time.
- Believe us, Pinocchio, now we are really poor and unhappy.
- ... unhappy! repeated the Cat.
- If you are poor, then on merit. Remember the proverb: "You can't build a house with stolen goods." Farewell, hypocrites!
- Have pity on us!
- …us!
- Farewell, hypocrites! Remember the proverb: "Stolen wheat is not good for food."
- Have mercy!
- ... en! repeated the Cat.
- Farewell, hypocrites! Remember the proverb: "He who grabs his neighbor's jacket, he will lie in a coffin without a shirt."
There is no puppet theater at Pinnochio in the finale. There is a reformed wooden boy who plows like a slave. And as a result, he becomes a real teenager.
I (I think not only me) like Tolstoy's fairy tale much more. Everything is too gloomy at Collodi. Not childish.
For those who want to read both stories:
Both fairy tales are published and republished, publishing houses compete with each other in price and framing.
Who are they - distant relatives or twins?
In the shadow of the powerful popular figure of Pinocchio, the slender image of Pinocchio has been completely lost for us, being relegated by him to the periphery of Russian culture.
Apparently, this assessment will seem incorrect to the Italians. This is how the director of the Italian Institute of Culture in Moscow Alberto Di Mauro assesses the image of Pinocchio. He is convinced of the universality of Pinocchio: "This is a symbol of the evolution of a person who comprehends the world through mistakes and strives to become better." // Novaya Gazeta No. 138 of December 11, 2009
Why did this happen, although the first Russian translation of the fairy tale by Carlo Collodi, as we have already noted, was made back in 1906, that is, almost three decades (!!!) before the wide publication of his young brother? And now there are already dozens of editions of Collodi's tale, both metropolitan and provincial publishers! There were feature and animated films about Pinocchio.
And yet, nevertheless...
Why do such superficially similar characters have such a different attitude?
Let's compare the main characteristics of Pinocchio and Pinocchio (unfortunately the table had to be "broken"):
Pinocchio
The volume of the text - 36 chapters;
Number of words - 34.7 thousand.
Pinocchio
The number of characters is 177.7 thousand. The volume of the text is 29 chapters;
Words - 18.4 thousand (or 53% of Pinocchio),
Signs - 105.8 thousand (or 59.5% of Pinocchio)
Pinocchio
The time interval of the plot: about 2 years have passed since Christmas (before hitting the shark) + 5 months of dragging water, i.e. approximately 2.5 years
Pinocchio
Time interval of the plot: only 6 days have passed, and the beginning of the 7th day has come (the eternal holiday of Sunday, which never, never ends). This is a very important detail, a multiple of (7 ± 2). More on this later in the text.
Pinocchio
A doll that really wants to become a human. His woodenness is the seal of rejection and his curse, which he strives to remove with all his might, to beg, to suffer, to atone. At the end of the text, he is "liberated" from the old body, turning into a beautiful boy, looking with disgust at his former appearance.
Pinocchio
A doll, but which is quite satisfied with its current state, there is no inferiority complex. He is quite self-sufficient.
He is a free puppet (M. Lipovetsky). The main result of his activity is a NEW social conquest - a new type of theater in which puppets play a performance about themselves (theater within the theater).
Pinocchio
Passive, his situations “involve”, drag him in against his will.
He is the plaything of circumstance. Submission to fate, fate.
He is the victim, the object.
Pinocchio
Active, he himself creates situations or makes moves that are unexpected for the opponent. He gradually becomes a strategist.
Rebel, rebel, revolutionary, doer.
Pinocchio
Pinocchio is consumed by doubts and heartbreaking remorse, he is sadly reflective.
Often crying, tearful.
Pinocchio
There is no repentance at all, but only promises (often imaginary) to improve someday, complete self-confidence - no sadness. There are no tears at all.
Pinocchio
Tests as punishments, as a chain of cruel instructive and educational lessons for correction.
Pinocchio
Trials are the most exciting adventures, as the opportunity to lead such an interesting, simply wonderful lifestyle of a lucky tomboy.
Pinocchio
Stylistic mix - the motifs of Italian folk tales, the realities of Italian life, the author's fantasies, Christian motifs - for example, being swallowed by a huge shark, like the prophet Jonah by a whale (Jonah, ch. 2. st. 1-11), etc.
Pinocchio
The laconicism of the text, but each phrase "plays", they are sets of algorithms, aphorisms, nothing more. Adequate to children's perception.
A small number of main characters that act throughout the text:
7 positive and 7 negative.
Pinocchio
There are many different miracles, transformations into animals and back, there is a Fairy, etc.
Pinocchio
In addition to fistfighting - no miracles (except for the very fact of the appearance of a wooden man, the speech of animals and dolls).
Pinocchio
The adult world is cold, indifferent, even hostile. Fighting it is impossible - you can only adapt to it or die.
Pinocchio
The adult world is harsh, but it can (and should!) be overcome. He does not hide in a cave with Malvina, but goes on reconnaissance - “Karabas himself goes into my hands!” (film by L. Nechaev, 1975)
Pinocchio
No patterns of gender behavior
Pinocchio
Different levels of pubertal gender behavior in a boy:
puppy "service" to the girl - Artemon,
tearful worship - Pierrot,
ironically critical - Pinocchio
He “despises” girls in a boyish way, like a future macho, dominant male. After all, it is precisely for this reason that I associate all the erotic jokes with Pinocchio, and not with Pierrot, and even more so with some kind of Artemon
Pinocchio
Existential total loneliness in a cold world.
Pinocchio
Always in the center of communication, sociable.
Creation of an energetic youth team (groups, brigades, gangs) with a clear specialization and occupation of a high rank in it. Papa Carlo acts as a "roof".
Pinocchio
Intrusive edification from all sides - the whole world gives continuous cruel lessons in behavior, everyone constantly teaches and educates.
Pinocchio
There are very few edifications, and even then these so-called "educators" (cricket, Giuseppe, Malvina) can be easily ignored. And in an annoying cricket mentor, you can even throw a hammer. This is how he evaluates his upbringing: “When dad is Carlo, and when no one.” That is, he is aware of himself as the subject of self-education: “Teach your spiderlings!”
Pinocchio
He is a weak child, aware of his weakness, requiring constant care, guardianship, and instructions.
Pinocchio
An independent subject, personality (he is ready for resistance, criticism, rebuff, fight). He beats Giuseppe, provokes him into a fight with Carlo - that is, a fight is his normal environment.
Pinocchio
Lack of any cunning, ingenuity.
Pinocchio
Inescapable cunning, even total roguery, although still very “childish”.
Pinocchio
Integrity, naivety, impracticality.
Pinocchio
Common sense, practicality, the ability to stand up for yourself ("... even though he fights!")
Pinocchio
He studied diligently at school, he can read and write.
Pinocchio
Difficult attitude to learning, especially to the parodic scholasticism of Malvina, although he recognizes the need to go to school and learn. Truth in words. There was not a day at school.
Pinocchio
A completely bookish creation, an escheat homonculus, a character in children's edifying (and, it should be noted, rather boring!) Literature.
Pinocchio
He is a living phenomenon of culture, incl. "adult" (as a trade brand, as a hero of jokes, cartoons, films, etc.)
He is in development. Therefore, each era has its own image and its own interpretation of Pinocchio.
Pinocchio
The character of the past tense of childhood, the "leaving" nature. I don't want to read this book as an adult.
Pinocchio
He is contemporary, he is relevant - here and now.
We return to it again and again, first with the children, and then, with pleasure, with the grandchildren. And who will be lucky - and with great-grandchildren!
Pinocchio
A book written by an adult for children to be obedient. The goal is the preservation, conservation of social norms of the 18th-19th centuries.
Pinocchio
A book written relatively recently with the realities of the twentieth century by a big child Alexei Tolstoy for the same desperate tomboys.
The goal is the transformation of norms, their violation or ridicule by the "trickster", with the help of his anti-behavior (M. Lipovetsky).
Pinocchio
He eventually gets better. He accepts the norms of adults, adapts to the world, becomes like everyone else. He is a consummate conformist.
Pinocchio
Pinocchio is incorrigible, well, or almost incorrigible. At least not very soon!
He changes the world for himself. He is a consistent TOTAL nonconformist.
Pinocchio
The path of his correction is the path of continuous misfortunes, the bitterest sufferings, this is his thorny little Golgotha. Therefore, the book resembles either the lives of the martyrs or an instructive sentimental tearful novel.
Pinocchio
A daring and reckless adventurer, an adventurer, seeking adventure for the sake of adventure itself, like Indiana Jones. The subtitle of the book reads: "... or the adventures of Pinocchio": ("The road runs far / there is a lot of fun ahead / it's very good / / even very good").
Pinocchio
Fearful, timid, timid.
Pinocchio
Bold to the point of desperation, audacious. Even a little cheeky. His motto is "Dying is so much fun!"
Pinocchio
Many cruel scenes, beatings, death, deaths (cricket, thrush, donkey, etc.) Even the Fairy dies.
Pinocchio
A very kind book, no one dies, bad characters only portray evil ones, they just scare. And we are not afraid!
Considering these differences, we immediately draw attention to the density of the plot of Tolstoy's fairy tale - there is simply no "water", no "voids". Each line leads to the development of the plot.
In addition, the time continuum of action is completely different - in the first case it lasts about 2.5 years or about 1000 days, then in the "Golden Key ..." it is only 7 days, that is, time is "compacted" 146 times (!! !). Such a thickening of the flow of time keeps the young reader in suspense and it is simply difficult to break away from the text. And this is very important for the little reader - he is easily distracted, gets bored with the notations of adults, loves dynamic events.
Moreover, the pace of the action of the plot is constantly increasing - if the first day (To) occupies three whole chapters (“the day dragged on and on”), then it went on (t> 0), and after Malvina’s house it already started galloping (t>\u003e 0). And then suddenly it stopped completely - (tconstant) ...
In addition, it is necessary to pay attention to the biblical time period - on the seventh day the action ends when time stops (tconst.), The “finish” comes - an eternal holiday, the long-awaited eternal “paradise” of summer endless holidays.
Valery Podoroga in his work "Mimesis" notes that the indicator (7 ± 2) is a kind of "capture window", characterizing the optimal size of a person's RAM or the Miller number. That is, the book is built in real-time perception of the child.
By the way, this is also the divine duration of the creation of the world - 6 days plus Sunday rest (Bible, Genesis, chapter 2, verse 1), the heaven of Paradise is the seventh heaven, etc.
The very name "Pinocchio" is multi-layered and multi-valued, it in itself is a kind of normalizing code.
Even its sound design directly “cuts” into perception, right along the syllables:
Boo-ra-ti-but.
With a rolling, roaring, triumphant childish sound "R - R - R - R". After all, children have only recently learned to pronounce this sound and with great pleasure demonstrate it to everyone that they are already almost completely, completely adults. It's like a small puppy or kitten can not squeak with pity, but, finally, portray a huge strong creature. Like his dad, for example.
This is well demonstrated by the final song (lyrics by Y. Entin) from the musical (directed by L. Nechaev, 1975), where the main characters sing, and the chorus is precisely the repeated chanting of Pinocchio's name, as at the beginning of the film, and in the final scene by the whole audience, Moreover, it sets the audience a certain cheerful perky rhythm:
B U - a challenge, resistance, even some kind of teaser is heard;
R A - rolling "u-ra", according to Mikhail Zadornov - "the joy of being";
T I - long, lingering, flying, melodious, soft, melodious "i-i-i-i";
H O - a clear articulated sharp ending, with a strong exhalation, a kind of phonetic equivalent of an exclamation mark. This is a certain energy release, like the completion of a strike in martial arts.
This is an almost clear musical scale "do-re-mi-fa", which is fervently shouted out by young healthy children's throats.
That is, these "chants", "shouts", "sniffles" children need for their own self-affirmation, demonstrating to themselves and the world their power, adulthood. Which is easier to demonstrate with the power of your still childish lungs. Show how "there are many" in this world, how big they are already!
And try to shout the name of Pinocchio in the same way. And what will we get?
The beginning is some kind of chicken, miserable, humiliated, squeaking - “PI”. So the child embarrassingly asks to go to the toilet, "I need to pee." With the transition to timid whining apologies - "NO".
In the middle of the name, a kind of “stuck” occurs, instead of sonority, we hear the muffled sound of the double “K - K” and, as it were, we cough it up, it turns out some kind of “KICK”. Which "kicks out" - the continuation of "I - O" helps.
The latter is more like the cry of a donkey, which he actually almost turned into in a fairy tale. Moreover, the lingering ending “O - O - O” folds our lips into a tube, with jaw dropping.
And this corresponds to the facial expressions of surprise, confusion. Even some pathetic stupidity.
As you can see, the phonetic energy of the names is completely different, which is reflected in the attitude towards them. And the name largely affects our perception of its bearer.
In playful alternative zoology, the now very popular writer Dmitry Bykov came up with a prophetic bird "karkoon". She had a vocabulary of all possible misfortunes with the sound "R":
Scuffle, fight, battle, robbery, robbery, death, shooting, nightmare, disgrace, grief, accident, explosion, catastrophe, crash, alarm, revolution, tragedy, execution, arrest, bankruptcy, compromising evidence, corruption, growth of the dollar, heart break , coronary artery bypass grafting, myocardial infarction, cholera, sale of the Motherland - and so on.
We add that it is especially easy to shout about corruption (2 eras), but the sale of the Motherland (3 eras) is cooler. Less than triple r-asst-r-r-el will not do!
As Clothaire Rapaille (2006) points out, “... every culture has its own interpretation and its own code for these words. Together, all these different codes for all kinds of images form a coordinate system, which, without realizing it, is used by representatives of a particular culture. Such coordinate systems determine the paths that each culture follows.
In The Golden Key, as M. Lipovetsky noted, there is a certain pairing, duality of all characters, but, in our opinion, this is a natural emerging duality of the children's world: father-mother, heaven-earth, children - adults, black - white, good - Badly.
The simple antinomic structure of the world is like yang-yin, the Manichaean opposition of good and evil. They will grow up and they will keep this opposition: I - You, We - They, friends - enemies, Ours - not ours, Others, Others. That is, the binarity of the world is laid as its basis.
And on the other hand, the antinomic Soviet mentality is a continuous binary opposition. It can be assumed that such types (schemes) of development are characteristic only at the lower levels of the development of society, and over time should be replaced by more complex ones.
So, Yuri Mikhailovich Lotman in his posthumous work "Culture and Explosion" (1993) proposed the following types of development:
Binary, for a relatively simple (alternative-dichotomous) level of the sociocultural environment;
Ternary - for complex multidimensional systemic socio-cultural environments.
In binary types, development goes from the minimum expression of quality to the maximum through a series of intermediate states. But both lie entirely in the order of simple increase, simple arithmetic increase in quality.
With his inherent humor, Yu.M. Lotman proposed to call this type of development as "fool" - "smart". That is, a "fool" differs from a "smart" one in less successful orientation in various changing social situations, less adequate to a dynamic environment.
The ternary type of development includes the possibility of the appearance of uncertainty, a “fork” in the development process, or, as they say now, bifurcation points.
Lotman named this type as a triad "fool" - "smart" - "crazy". But, in our opinion, it is more correct to call this third element rather as "STRANGE" when it "jumps" into "smart-2".
It should be noted that the level of sociogenesis and the appearance of the ternary type of development is a THRESHOLD for development, since it is after it that the process of SELF-development can begin, and the role of reflection becomes very important.
And in binary types, an external source of development prevails, as students say - "pink craving", which is in the nature of slow evolutionary changes. Naturally, the transition from one type to another does not occur immediately, but through a stage when both are present at the same time - that is, a mixed type of development.
Now, in our era, when a mixed type of development begins to appear, this is experienced by the former Soviet people very hard. For previous generations, such a sharp change in the development paradigm entails a huge cultural shock.
Remember, in the film “Belarusian Station” (1971, directed by A.S. Smirnov), the former intelligence officer, and now an accountant Dubinsky, or, as he is affectionately called, “Dubinushka” (actor A. Papanov) says: “Earlier everything was clear - the enemy is ahead, friends are nearby, victory will be ours!” An involuntary echo with our wooden hero and with the wooden "blocks" of Oorfene Djus A. Volkov.
As in any fairy tale about Pinocchio and Pinocchio, there is a place for miracles.
But how do these two texts differ? It should be noted that in the book about Pinocchio there are many different miraculous transformations: bad boys into donkeys, Pinocchio himself into a living child, even the Fairy herself takes on several forms, etc.
And in Tolstoy's text, everything is relatively realistic, with the small exception of the appearance of the hero himself from the log and the ability to speak to animals and puppets.
Apparently, this assessment will seem incorrect to the Italians.
Here is how they characterize them. The Briciole Theater (teatro delle briciole) participated in the International Festival for Children in 2009. And he opened it with the main performance - "Pinocchio". The head of the theater, Flavia Armentioni, argues this choice with the idea of the Russian audience about who Pinocchio is and how he fundamentally differs from the Russian brother Pinocchio. But the tale of Collodi and its free retelling of Alexei Tolstoy differ like the sea and the river, even the most picturesque - the scale is incomparable.
"Pinocchio" - says F.Armentioni in an interview with "Novaya Gazeta" - is not at all about how to find a door to a magical land, but about how to become a man from an insensitive piece of wood, how to overcome your weaknesses, stop indulging in false joys and temptations. Pinocchio is not Pinocchio at all, despite the resemblance: a long nose. Another country, another time, another temperament... Tolstoy's hero does not fall into the belly of a shark, does not run away from the Land of Entertainment, almost turned into a donkey, does not twist the heavy gate of a gardener for a glass of milk for his father. And, finally, for his good deeds, he does not turn into a "smart, handsome boy with brown hair, with a cheerful, joyful face." This cannot be found in the "Adventures of Pinocchio".//Novaya Gazeta No. 138 of December 11, 2009.
Well, everyone is right in their own way.
But, of course, I'm closer to OUR ugly - Pinocchio. Whatever the Italians say about their wooden countryman ...
See page.
