Who is author?
The question of who wrote "Pinocchio": the Italian Collodi or the Russian writer Alexei Tolstoy, has been discussed for a long time in literary circles. On the one hand, the plot was completely identical; the storyline was repeated in both works. On the other hand, the Russian author of "Pinocchio" added new characters and endowed them with character traits that Carlo Collodi's heroes did not have.
In addition, Alexey Tolstoy tried to give the story about the wooden man as much kindness as possible. Even the negative characters of the fairy tale are presented by the writer as not devoid of spiritual qualities and capable of repentance.
In the end, the question of who wrote Pinocchio was resolved in an unexpected way. The popularity of Tolstoy's work was tens of times higher than the tale of Pinocchio by Carlo Collodi. This became an argument in favor of the Russian version.
New reading
Since the story of the wooden boy was not a simple translation into Russian, the author of “Pinocchio” tried to remove from the original text the heaps of morality that plagued Collodi’s work, and then rewrote the entire tale in a new way. The result is a fun, good work with an intricate plot and a happy ending. The book went through 182 editions, with a total circulation of more than 14 million copies. The tale was loved by readers all over the world and was translated into 47 languages.
The author of "Pinocchio" Alexey Tolstoy, meeting with readers, admitted that the work about a wooden man with a long nose was the best thing he managed to write in his creative life. And this despite the fact that the writer already had such literary masterpieces as “The Hyperboloid of Engineer Garin”, “Aelita”, “Walking in Torment”.
Fairy tale "The Adventures of Pinocchio"
The story of the wooden man began in the workshop of the carpenter Giuseppe, nicknamed Gray Nose. One day he picked up a log and began to chop it with a hatchet. Suddenly the log squeaked and one could clearly hear: “Why are you pinching?..”
The dumbfounded Gray Nose hurried to get rid of the talking log and handed it to his friend, who just at that moment entered the workshop. Carlo (that was his friend’s name) took the log to his home and carved a little man out of it.
As soon as Pinocchio stood up and took a few unsteady steps, his incredible adventures began. Papa Carlo sold his jacket in order to buy the alphabet for his long-nosed son, since he had to study.
Pinocchio went to school, but on the way he wanted to watch a show in a booth. So I had to sell the alphabet. With the proceeds, Pinocchio bought a ticket and entered the theater, whose owner was Karabas-Barabas, an angry fat man with a long black beard.
Meeting with the Villain
The dolls playing the play suddenly recognized Pinocchio, although they had never seen him. He jumped onto the stage to say hello, and then Karabas-Barabas grabbed him. From Buratino’s confused story, the villain realized that in Papa Carlo’s closet, behind the wall, there was a magic puppet theater, which he, Karabas-Barabas, had been trying to find for many years.
The bearded man gave Pinocchio five gold coins and told him to tell Papa Carlo not to leave the closet under any circumstances. After that, he released the wooden man, who skipped out of the theater and on the street met the robbers, Basilio the cat and Alice the fox, who had already learned that Pinocchio had gold coins in his pocket.
Further adventures brought the whole trio to the Field of Miracles, where Pinocchio, on the advice of his new “friends,” buried gold coins, said the magic words “krex, fex, pex” and sat down waiting for a tree strewn with money to grow. The treacherous deceivers the cat and the fox, who wanted to take possession of the gold, made sure that Pinocchio was arrested on false charges.
At Malvina's
After all sorts of ordeals, running away from pursuit, the wooden man ended up near a dollhouse, in which lived a girl with blue hair named Malvina with her faithful poodle Artemon. Not long ago, Malvina was one of the Karabas-Barabas dolls, but she ran away from the theater, unable to bear the bullying. Pinocchio managed to take refuge in her house, but the next morning he was forced to brush his teeth and do many other terrible things, for example, study while sitting at his desk.
Epilogue
Meanwhile, Karabas-Barabas hired detectives who tracked down the escaped dolls. Pinocchio, Malvina, Pierrot (the author of heart-warming poems dedicated to the girl with blue hair) and the faithful poodle Artemon are in danger. Fleeing, they headed to Swan Lake, where they asked for protection from the forest inhabitants.
Tortila the turtle gave Pinocchio a golden key, which he had once dropped into Lake Karabas-Barabas. At this time, Artemon entered into a fight with police bulldogs and emerged victorious.
The dolls left the hospitable lake and, together with dad Carlo who came up, went together to the closet under the stairs. There they tore off the canvas with the painted hearth, and Pinocchio opened the treasured door with a golden key, behind which there was a magic puppet theater.
Kaskelainen Oleg 9th grade
"The Mystery of Alexei Tolstoy's Fairy Tale
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Literature Research Paper
The mystery of Alexei Tolstoy's fairy tale
"The Golden Key, or the Adventures of Pinocchio"
Completed by: student of class 9 “A”
GBOU secondary school No. 137 of Kalininsky district
St. Petersburg
Kaskelainen Oleg
Teacher: Prechistenskaya Ekaterina Anatolyevna
Chapter 1. Introduction page 3
Chapter 2. Karabas-Barabas Theater page 4
Chapter 3. The image of Karabas-Barabas page 6
Chapter 4. Biomechanics page 8
Chapter 5. Image of Pierrot page 11
Chapter 6. Malvina page 15
Chapter 7. Poodle Artemon page 17
Chapter 8. Duremar page 19
Chapter 9. Pinocchio page 20
Chapter 1. Introduction
My work is dedicated to the famous work of A.N. Tolstoy “The Golden Key or the Adventures of Pinocchio.”
The fairy tale was written by Alexei Tolstoy in 1935 and dedicated to his future wife Lyudmila Ilyinichna Krestinskaya - later Tolstoy. Alexey Nikolaevich himself called The Golden Key “a new novel for children and adults.” The first edition of Buratino in the form of a separate book was published on February 28, 1936, was translated into 47 languages, and has not left bookstore shelves for 75 years.
Since childhood, I have been interested in the question of why there are no clearly expressed positive characters in this fairy tale. If a fairy tale is for children, it should be educational in nature, but here Pinocchio gets a whole magical country-theater just like that, for no reason, without even dreaming about it... The most negative characters: Karabas - Barabas, Duremar - the only heroes who really work, benefit people - they maintain a theater, catch leeches, that is, treat people, but they are presented in some kind of parody color... Why?
Most people believe that this work is a free translation of the Italian fairy tale Pinocchio, but there is a version that in the fairy tale “The Golden Key” Tolstoy parodies the theater of Vsevolod Meyerhold and the actors: Mikhail Chekhov, Olga Knipper-Chekhova, Meyerhold himself, the great Russian poet Alexander Blok and K. S. Stanislavsky - director, actor. My work is devoted to the analysis of this version.
Chapter 2. Karabas-Barabas Theater
The Karabas-Barabas Theater, from where the dolls escape, is a parody of the famous theater of the 20-30s by the director - “despot” Vsevolod Meyerhold (who, according to A. Tolstoy and many of his other contemporaries, treated his actors as “puppets” ). But Buratino, with the help of the golden key, opened the most wonderful theater where everyone should be happy - and this, at first glance, is the Moscow Art Theater (which A. Tolstoy admired).Stanislavsky and Meyerhold understood theater differently. Years later, in the book “My Life in Art,” Stanislavsky wrote about Meyerhold’s experiments: “The talented director tried to cover up the artists, who in his hands were mere clay for sculpting beautiful groups, mise-en-scenes, with the help of which he realized his interesting ideas.” In fact, all contemporaries point out that Meyerhold treated the actors as “puppets” performing his “beautiful play.”
The Karabas-Barabas theater is characterized by the alienation of puppets as living beings from their roles, the extreme conventionality of the action. In “The Golden Key” the bad theater of Karabas-Barabas is replaced by a new, good one, whose charm is not only in a well-fed life and friendship between the actors, but also in the opportunity to play themselves, that is, to coincide with their true role and act as creators themselves. . In one theater there is oppression and coercion, in another Pinocchio is going to “play himself.”
At the beginning of the last century, Vsevolod Meyerhold made a revolution in theatrical art and proclaimed: “Actors should not be afraid of the light, and the viewer should see the play of their eyes.” In 1919, Vsevolod Meyerhold opened his own theater, which was closed in January 1938. Two incomplete decades, but this time frame became the real era of Vsevolod Meyerhold, the creator of the magical “Biomechanics.” He found the foundations of theatrical biomechanics back in the St. Petersburg period, in 1915. The work on creating a new system of human movement on stage was a continuation of the study of the movement techniques of Italian comedians of the times commedia dell'arte.
There should be no room for any randomness in this system. However, within a clearly defined framework there is a huge space for improvisation. There were cases when Meyerhold reduced the performance from eighteen scenes to eight, because this was how the actor’s imagination and desire to live within these limits were played out. “I have never seen a greater embodiment of theater in a person than the theater in Meyerhold,” Sergei Eisenstein wrote about Vsevolod Emilievich. On January 8, 1938, the theater was closed. “The measure of this event, the measure of this arbitrariness and the possibility that this can be done, is not comprehended by us and not felt properly,” wrote actor Alexei Levinsky.
Many critics note that in the emblem of Meyerhold's theatera seagull is visible in the form of lightning, created by F. Shekhtel for the curtain of the Art Theater. In contrast to the new theater, in the theater « Karabas-Barabas”, from which the dolls are running away, “on the curtain were drawn dancing men, girls in black masks, scary bearded people in caps with stars, a sun that looked like a pancake with a nose and eyes, and other entertaining pictures.” This composition is made from elements in the spirit of real-life, and well-known, theater curtains. This, of course, is a romantic stylization dating back to Gozzi and Hoffmann, inextricably linked in the theatrical consciousness of the beginning of the century with the name of Meyerhold.
Chapter 3. The image of Karabas-Barabas
Karabas-Barabas (V. Meyerhold).
Where did the name Karabas-Barabas come from? Kara Bash in many Turkic languages is the Black Head. True, the word Bas has another meaning - to suppress, to press (“boskin” - press), it is in this meaning that this root is part of the word basmach. “Barabas” is similar to the Italian words meaning scoundrel, swindler (“barabba”) or beard (“barba”) - both of which are quite consistent with the image. The word Barabas is the biblical sounding name of the robber Barrabas, who was released from custody in place of Christ.
In the image of the Doctor of Puppet Science, the owner of the Karabas-Barabas puppet theater, one can trace the features of the theater director Vsevolod Emilievich Meyerhold, whose stage name was the name Doctor Dapertutto. The seven-tailed whip that Karabas never parted with is the Mauser that Meyerhold began to wear after the revolution and which he used to place in front of him during rehearsals.
In his fairy tale by Meyerhold, Tolstoy implies beyond portrait resemblance. The object of Tolstoy's irony is not the true personality of the famous director, but rumors and gossip about him. Therefore, the self-characterization of Karabas Barabas: “I am a doctor of puppet science, the director of a famous theater, a holder of the highest orders, the closest friend of the Tarabar King” - so strikingly corresponds to the ideas about Meyerhold of naive and ignorant provincials in Tolstoy’s story “Native Places”: “Meyerhold is a complete general. In the morning, his sovereign emperor calls: cheer up, he says, the general, the capital and the entire Russian people. “I obey, Your Majesty,” the general answers, throwing himself into a sleigh and marching through the theaters. And in the theater they will present everything as it is - Bova the prince, the fire of Moscow. That's what a man is"
Meyerhold tried to use acting techniques in the spirit of the ancient Italian comedy of masks and rethink them in a modern space.
Karabas-Barabas - the ruler of the puppet theater - has his own “theory”, corresponding to practice and embodied in the following “theatrical manifesto”:
Puppet lord
This is who I am, come on...
Dolls in front of me
They spread like grass.
If only you were a beauty
I have a whip
Whip of seven tails,
I'll just threaten you with a whip
My people are meek
Sings songs...
It is not surprising that actors run away from such a theater, and it is the “beauty” Malvina who runs away first, Pierrot runs after her, and then, when Pinocchio and his companions find a new theater with the help of the golden key, all the doll actors join them, and the theater of the “puppet lord” collapses.
Chapter 4. Biomechanics
V. E. Meyerhold paid a lot of attention to the harlequinade, Russian booth, circus, and pantomime.
Meyerhold introduced the theatrical term “Biomechanics” to designate his system of actor training: “Biomechanics seeks to experimentally establish the laws of movement of an actor on the stage, working out training exercises for the actor based on the norms of human behavior.”
The main principles of biomechanics can be formulated as follows:
“- the creativity of an actor is the creativity of plastic forms in space;
- the art of an actor is the ability to correctly use the expressive means of one’s body;
- the path to an image and a feeling must begin not with an experience or with an understanding of the role, not with an attempt to assimilate the psychological essence of the phenomenon; not from the inside at all, but from the outside - start with movement.
This led to the main requirements for an actor: only an actor who is well trained, has musical rhythm and slight reflex excitability can begin with movement. To do this, the actor’s natural abilities must be developed through systematic training.
The main attention is paid to the rhythm and tempo of the acting.
The main requirement is the musical organization of the plastic and verbal drawing of the role. Only special biomechanical exercises could become such training. The goal of biomechanics is to technologically prepare the “comedian” of the new theater to perform any of the most complex gaming tasks.
The motto of biomechanics is that this “new” actor “can do anything,” he is an omnipotent actor. Meyerhold argued that the actor's body should become an ideal musical instrument in the hands of the actor himself. An actor must constantly improve the culture of bodily expressiveness, developing the sensations of his own body in space. The master completely rejected reproaches to Meyerhold that biomechanics brings up a “soulless” actor who does not feel, does not experience, an athlete and an acrobat. The path to the “soul,” to experiences, he argued, can only be found with the help of certain physical positions and states (“excitability points”) fixed in the role’s score.
Chapter 5. The image of Pierrot
The prototype of Pierrot was the brilliant Russian poet Alexander Blok. A philosopher and poet, he believed in the existence of the Soul of the world, Sophia, the Eternal Feminine, called upon to save humanity from all evils, and believed that earthly love has a high meaning only as a form of manifestation of the Eternal Feminine. In this spirit, Blok’s first book, “Poems about a Beautiful Lady,” was translated into his “romantic experiences” - his passion for Lyubov Dmitrievna Mendeleeva, the daughter of a famous scientist, who soon became the poet’s wife. Already in earlier poems, later united by Blok under the title “AnteLucem” (“Before the Light”), as the author himself puts it, “it continues to slowly take on unearthly features.” In the book, his love finally takes on the character of sublime service, prayers (this is the name of the whole cycle), offered not to an ordinary woman, but to the “Mistress of the Universe.”Talking about his youth in his autobiography, Blok said that he entered life “with complete ignorance and inability to communicate with the world.” His life seems normal, but as soon as you read any of his poems instead of prosperous “biographical data”, the idyll will crumble to pieces, and prosperity will turn into disaster:
"Dear friend, and in this quiet house
The fever hits me.
I can't find a place in a quiet house
Near the peaceful fire!
I'm afraid of comfort...
Even behind your shoulder, friend,
Someone's eyes are watching!"
Blok's early lyrics arose on the basis of idealistic philosophical teachings, according to which, along with the imperfect real world, there is an ideal world, and one should strive to comprehend this world. Hence the detachment from public life, mystical alertness in anticipation of unknown spiritual events on a universal scale.
The figurative structure of the poems is full of symbolism, and extended metaphors play a particularly significant role. They convey not so much the real features of what is depicted, but rather the emotional mood of the poet: the river “hums,” the blizzard “whispers.” Often a metaphor develops into a symbol.
Poems in honor of the Beautiful Lady are distinguished by moral purity and freshness of feelings, sincerity and sublimity of the young poet’s confessions. He glorifies not only the abstract embodiment of the “eternally feminine”, but also a real girl - “young, with a golden braid, with a clear, open soul”, as if she came out of folk tales, from whose greeting “the poor oak staff will sparkle with a semi-precious tear...”. Young Blok affirmed the spiritual value of true love. In this he followed the traditions of 19th century literature with its moral quest.
There is no Pierrot either in the Italian original source or in the Berlin “remake and processing”. This is a purely Tolstoyan creation. Collodi does not have Pierrot, but he does have Harlequin: it is he who recognizes Pinocchio among the audience during the performance, and it is Pinocchio who later saves his puppet life. Here the role of Harlequin in the Italian fairy tale ends, and Collodi does not mention him again. It is this single mention that the Russian author seizes on and drags onto the stage Harlequin’s natural partner - Pierrot, because Tolstoy does not need the mask of a “successful lover” (Harlequin), but rather a “deceived husband” (Pierrot). Calling Pierrot onto the stage - Harlequin has no other function in a Russian fairy tale: Pinocchio is recognized by all the dolls, the scene of Harlequin's rescue is omitted, and he is not busy in other scenes. Pierrot's theme is introduced immediately and decisively, the play is carried out simultaneously on the text - a traditional dialogue between two traditional characters of Italian folk theater and on the subtext - satirical, intimate, full of caustic allusions: “A small man in a long white shirt with long sleeves appeared from behind a cardboard tree. His face was sprinkled with powder, white as tooth powder. He bowed to the most respectable audience and said sadly: Hello, my name is Pierrot... Now we will perform in front of you a comedy called: “The Girl with Blue Hair, or Thirty-three Slaps.” Me They will hit you with a stick, slap you in the face and slap you upside the head. This is a very funny comedy... From behind another cardboard tree, another man jumped out, all checkered like a chessboard.
He bowed to the most respectable audience: - Hello, I am Harlequin!
After that, he turned to Pierrot and gave him two slaps in the face, so loud that powder fell from his cheeks.”
It turns out that Pierrot loves a girl with blue hair. Harlequin laughs at him - there are no girls with blue hair! - and hits him again.
Malvina is also the creation of a Russian writer, and she is needed, first of all, to be loved by Pierrot with selfless love. The novel of Pierrot and Malvina is one of the most significant differences between The Adventures of Pinocchio and The Adventures of Pinocchio, and from the development of this novel it is easy to see that Tolstoy, like his other contemporaries, was initiated into Blok’s family drama.
Pierrot of Tolstoy's fairy tale is a poet. Lyric poet. The point is not even that Pierrot’s relationship with Malvina becomes a poet’s romance with an actress, the point is what kind of poetry he writes. He writes poems like this:
Shadows dance on the wall,
I'm not afraid of anything.
Let the stairs be steep
Let the darkness be dangerous
Still an underground route
Will lead somewhere...
“Shadows on the wall” is a regular image in Symbolist poetry. “Shadows on the wall” dance in dozens of poems by A. Blok and in the title of one of them. “Shadows on the wall” is not just a detail of lighting often repeated by Blok, but a fundamental metaphor for his poetics, based on sharp, cutting and tearing contrasts of white and black, anger and kindness, night and day.
Pierrot is parodied not by this or that Blok text, but by the poet’s work, the image of his poetry.
Malvina fled to foreign lands,
Malvina is missing, my bride...
I'm sobbing, I don't know where to go...
Isn't it better to part with the doll's life?
Blok's tragic optimism implied faith and hope in spite of circumstances that inclined towards disbelief and despair. The word “despite”, all the ways of conveying the masculine meaning contained in it were at the center of Blok’s stylistics. Therefore, even Pierrot’s syntax reproduces, as befits a parody, the main features of the parodied object: despite the fact that... but... let... anyway...
Pierrot spends his time longing for his missing lover and suffering from everyday life. Due to the supermundane nature of his aspirations, he gravitates towards blatant theatricality of behavior, in which he sees a practical meaning: for example, he tries to contribute to the general hasty preparations for the battle with Karabas by “wringing his hands and even trying to throw himself backwards onto the sandy path.” Involved in the fight against Karabas, Pinocchio turns into a desperate fighter, even begins to speak “in a hoarse voice like large predators speak,” instead of the usual “incoherent verses” he produces fiery speeches, in the end it is he who writes that very victorious revolutionary play in verse, which is given in the new theater.
Chapter 6. Malvina
Malvina (O.L. Knipper-Chekhova).
Fate, drawn by Tolstoy, is a very ironic person: how else can one explain that Pinocchio ends up in the house of the beautiful Malvina, surrounded by a wall of forest, fenced off from the world of troubles and adventures? Why Pinocchio, who doesn’t need this beauty, and not Pierrot, who is in love with Malvina? For Pierrot, this house would become the coveted “Nightingale Garden,” and Buratino, concerned only with how well the poodle Artemon chases the birds, can only compromise the very idea of the “Nightingale Garden.” This is why he ends up in Malvina’s “Nightingale Garden”.
The prototype of Malvina, according to some researchers, was O.L. Knipper-Chekhov. The name of Olga Leonardovna Knipper-Chekhova is inextricably linked with two most important phenomena of Russian culture: the Moscow Art Theater and Anton Pavlovich Chekhov.
She devoted almost her entire long life to the Art Theater, from the moment the theater was founded and almost until her death. She knew English, French, and German perfectly. She had great tact and taste, was noble, refined, and femininely attractive. She had an abyss of charm, she knew how to create a special atmosphere around herself - sophistication, sincerity and tranquility. She was friends with Blok.
There were always a lot of flowers in the apartment, they stood everywhere in pots, baskets and vases. Olga Leonardovna loved to look after them herself. Flowers and books replaced any collections that never interested her: Olga Leonardovna was not a philosopher at all, but she was characterized by an amazing breadth and wisdom of understanding of life. She somehow, in her own way, distinguished the main from the secondary, what is important only today, from what is generally very important. She did not like false wisdom, did not tolerate philosophizing, but she also simplified life and people. She could “accept” a person with oddities or even some unpleasant traits if she was attracted to his essence. And she treated “smooth” and “correct” with suspicion or humor.
A most devoted student of Stanislavsky and Nemirovich-Danchenko, she not only admits and accepts the existence of other paths in art, “more theatrical than ours,” as she writes in an article about Meyerhold, but dreams of liberating the Art Theater itself from the squat, petty, everyday life, neutrality of poorly understood “simplicity”.
What kind of person does Malvina appear to us? Malvina is the most beautiful doll from the Karabas Barabas theater: “A girl with curly blue hair and pretty eyes,” “The face is freshly washed, there is flower pollen on her upturned nose and cheeks.”
Tolstoy describes her character with the following phrases: “...a well-mannered and meek girl”; “with an iron character”, smart, kind, but because of her moral teachings she turns into a decent bore. Defenseless, weak, “coward”. It is these qualities that help bring out the best spiritual qualities of Pinocchio. The image of Malvina, like the image of Karabas, contributes to the manifestation of the best spiritual qualities of the wooden man.
In the work “The Golden Key,” Malvina has a similar character to Olga. Malvina tried to teach Pinocchio - and in life Olga Knipper tried to help people, she was selfless, kind and sympathetic. I was captivated not only by the charm of her stage talent, but also by her love of life: lightness, youthful curiosity about everything in life - books, paintings, music, performances, dance, sea, stars, smells and colors and, of course, people. When Pinocchio ends up in Malvina’s forest house, the blue-haired beauty immediately begins raising the mischievous boy. She makes him solve problems and write dictations. The image of Malvina, like the image of Karabas, contributes to the manifestation of the best spiritual qualities of the wooden man.
Chapter 7. Poodle Artemon
Malvina's poodle is brave, selflessly devoted to his owner, and despite his outward childish carelessness and restlessness, he manages to perform the function of strength, those very fists, without which goodness and reason cannot improve reality. Artemon is self-sufficient, like a samurai: he never questions the orders of his mistress, does not look for any other meaning in life other than loyalty to duty, and trusts others to make plans. In his free time, he indulges in meditation, chasing sparrows or spinning like a top. In the finale, it is the spiritually disciplined Artemon who strangles the rat Shushara and puts Karabas in a puddle.
The prototype of the poodle Artemon was Anton Pavlovich Chekhov. They With Olga Knipper got married and lived together until the death of A.P. Chekhov.The closeness between the Art Theater and Chekhov was extremely deep. Related artistic ideas and Chekhov's influence on the theater were very strong.
In his notebook, A.P. Chekhov once remarked: “Then a person will become better when you show him what he is.” Chekhov's works reflected the features of the Russian national character - gentleness, sincerity and simplicity, with a complete absence of hypocrisy, posture and hypocrisy. Chekhov's testaments of love for people, responsiveness to their sorrows and mercy to their shortcomings. Here are just a few of his phrases that characterize his views:
“Everything in a person should be beautiful: face, clothes, soul, and thoughts.”
“If every person on the bush of his land did everything he could, how beautiful our land would be.”
Chekhov strives not only to describe life, but also to remake, to build it: either he is working on setting up the first people's house in Moscow with a reading room, a library, a theater, then he is trying to get a clinic for skin diseases built right there in Moscow, then he is working on setting up a Crimea, the first biological station, either collects books for all Sakhalin schools and sends them there in whole batches, or builds three schools for peasant children near Moscow, and at the same time a bell tower and a fire shed for the peasants. When he decided to set up a public library in his hometown of Taganrog, he not only donated more than thousands of volumes of his own books for it, but also sent it piles of books he purchased in bales and boxes for 14 years in a row.
Chekhov was a doctor by profession. He treated peasants free of charge, declaring to them: “I am not a gentleman, I am a doctor.”His biography is a textbook of writerly modesty.“You need to train yourself,” said Chekhov. Training, making high moral demands on himself and strictly ensuring that they are fulfilled is the main content of his life, and he loved this role most of all - the role of his own educator. Only in this way did he acquire his moral beauty - through hard work on himself. When his wife wrote to him that he had a compliant, gentle character, he answered her: “I must tell you that by nature my character is harsh, I am quick-tempered and so on, so on, but I am used to restraining myself, because a decent person cannot let himself go.” appropriate." At the end of his life, A.P. Chekhov was very ill and was forced to live in Yalta, but he did not demand that his wife leave the theater and take care of him.Devotion, modesty, a sincere desire to help others in everything - these are the traits that unite the hero of the fairy tale and Chekhov and suggest that Anton Pavlovich is the prototype of Artemon.
Chapter 8. Duremar
The name of the closest assistant to the doctor of puppet sciences, Karabas Barabas, is formed from the domestic words “fool”, “fool” and the foreign name Volmar (Voldemar). Director V. Solovyov, Meyerhold’s closest assistant both on stage and at the magazine “Love for Three Oranges” (where Blok headed the poetry department), had a magazine pseudonym Voldemar (Volmar) Luscinius, who apparently gave Tolstoy “the idea » named after Duremar. The “similarity” can be seen not only in names. Tolstoy describes Duremar as follows: “A long man with a small, small face, as wrinkled as a morel mushroom, entered. He was wearing an old green coat." And here is the portrait of V. Solovyov, drawn by the memoirist: “A tall, thin man with a beard, in a long black coat.”
Duremar in Tolstoy's work is a leech merchant, himself similar to a leech; somewhat of a medic. Selfish, but in principle not evil, he can bring benefit to society, say, in the position of a theater janitor, which he dreams of when the population, which has completely recovered after the opening of the Buratino theater, stops buying his leeches.
Chapter 9. Pinocchio
The word "Pinocchio" is translated from Italian as puppet, but in addition to the literal meaning, this word at one time had a very definite common meaning. The surname Buratino (later Buratini) belonged to a family of Venetian moneylenders. They, like Buratino, also “grew” money, and one of them, Titus Livius Buratini, even suggested that Tsar Alexei Mikhailovich replace silver and gold coins with copper ones. This replacement soon led to an unprecedented rise in inflation and the so-called Copper Riot on July 25, 1662.
Alexey Tolstoy describes the appearance of his hero Buratino in the following words: “A wooden man with small round eyes, a long nose and a mouth up to his ears.” Pinocchio’s long nose in the fairy tale takes on a slightly different meaning than Pinocchio’s: he is curious (in the spirit of the Russian phraseological unit “poking your nose into someone else’s business”) and naive (having pierced the canvas with his nose, he has no idea what kind of door is visible there - i.e. e. “can’t see beyond his own nose”). In addition, Pinocchio’s provocatively protruding nose (in Collodi’s case is in no way connected with the character of Pinocchio) in Tolstoy began to denote a hero who does not hang his nose.
Having barely been born, Pinocchio is already playing pranks and mischief. So carefree, but full of common sense and tirelessly active, defeating his enemies “with the help of wit, courage and presence of mind,” he is remembered by readers as a devoted friend and a warm-hearted, kind man. Buratino contains the traits of many of A. Tolstoy’s favorite heroes, who are inclined to action rather than to reflection, and here, in the sphere of action, they find and embody themselves. Pinocchio is infinitely charming even in his sins. Curiosity, simplicity, naturalness... The writer entrusted Pinocchio with the expression of not only his most cherished beliefs, but also the most attractive human qualities, if one is allowed to talk about the human qualities of a wooden doll.
Pinocchio is plunged into the abyss of disaster not by laziness and aversion to work, but by a boyish passion for “terrible adventures”, his frivolity, based on the life position “What else can you come up with?” He reincarnates without the help of fairies and sorceresses. The helplessness of Malvina and Pierrot helped bring out the best traits of his character. If we begin to list Pinocchio’s character traits, then agility, courage, intelligence, and a sense of camaraderie will come to the very first place. Of course, throughout the entire work, what is first striking is Pinocchio’s self-praise. During the “terrible battle on the edge of the forest,” he sat on a pine tree, and it was mainly the forest brotherhood who fought; victory in battle is the work of Artemon’s paws and teeth, it was he who “came out of the battle victorious.” But then Pinocchio appears at the lake, behind him barely trails the bleeding Artemon, loaded with two bales, and our “hero” declares: “They also wanted to fight with me!.. What do I need a cat, what do I need a fox, what do I need police dogs, what to me Karabas Barabas himself - ugh! ..." It seems that, in addition to such shameless appropriation of other people's merits, he is also heartless. Choking in the story with admiration for himself, he does not even notice that he is putting himself in a comical position (for example, while fleeing): “No panic! Let's run!" - commands Buratino, “courageously walking ahead of the dog...” Yes, there is no longer a fight here, there is no longer a need to sit on the “Italian pine”, and now you can completely “courageously walk over the bumps,” as he himself describes his next feat. But what forms does this “courage” take when danger appears: “Artemon, throw off the bales, take off your watch - you will fight!”
Having analyzed the actions of Pinocchio as the plot develops, one can trace the evolution of the development of good traits in the character and actions of the hero. A distinctive feature of Pinocchio's character at the beginning of the work is rudeness, bordering on rudeness. Such expressions as “Pierrot, go to the lake...”, “What a stupid girl...” “I am the boss here, get out of here...”
The beginning of the fairy tale is characterized by the following actions: he offended the cricket, grabbed the rat by the tail, and sold the alphabet. “Pinocchio sat down at the table and tucked his leg under him. He stuffed the whole almond cake into his mouth and swallowed it without chewing.” Next we observe “he politely thanked the turtle and the frogs...” “Pinocchio immediately wanted to boast that the key was in his pocket. In order not to let it slip, he pulled the cap off his head and stuffed it into his mouth...”; “... was in charge of the situation...” “I am a very reasonable and prudent boy...” “What will I do now? How will I get back to Papa Carlo? “Animals, birds, insects! They’re beating our people!” As the plot develops, Pinocchio's actions and phrases change dramatically: he himself fetched water, collected branches for the fire, lit a fire, brewed cocoa; worries about friends, saves their lives.
The justification for the adventure with the Field of Miracles is to shower Papa Carlo with jackets. Poverty, which forced Carlo to sell his only jacket for the sake of Pinocchio, gives birth to the latter’s dream of getting rich quickly in order to buy Carlo a thousand jackets..
In the Pope's closet, Carlo Pinocchio finds the main goal for which the work was conceived - a new theater. The author's idea is that only a hero who has gone through spiritual improvement can achieve his cherished goal.
The prototype of Pinocchio, according to many authors, was the actor Mikhail Aleksandrovich Chekhov, nephew of the writer Anton Pavlovich Chekhov.From his youth, Mikhail Chekhov was seriously involved in philosophy; Subsequently, an interest in religion appeared. Chekhov was not interested in social problems, but in “a lonely Man standing in the face of Eternity, Death, the Universe, God.” The main feature that unites Chekhov and his prototype is “Contagiousness”. Chekhov had a huge influence on viewers of the twenties of all generations. Chekhov had the ability to infect the audience with his feelings. “His genius as an actor is, first of all, the genius of communication and unity with the audience; He had a direct, inverse and continuous connection with her.
In 1939 Chekhov's Theater is coming to Ridgefield, 50 miles from New York, in 1940–1941 the performances of “Twelfth Night” (a new version, different from the previous ones), “The Cricket on the Stove,” and “King Lear” by Shakespeare were prepared.
Theater-studio M.A. Chekhov. USA. 1939-1942
In 1946, newspapers announced the creation of an “Actors’ Workshop”, where “Mikhail Chekhov’s method” is currently being developed (it still exists in a modified form. Among his students were Hollywood actors: G. Peck, Marilyn Monroe, Yu. Brynner) . He worked as a director at the Hollywood Laboratory Theater.
Since 1947, due to the exacerbation of his illness, Chekhov limited his activities mainly to teaching, teaching acting courses in the studio of A. Tamirov.
Mikhail Chekhov died in Beverly Hills (California) on October 1, 1955; the urn with his ashes was buried at Forest Lawn Memorial Cemetery in Hollywood. Almost until the mid-1980s, his name fell into oblivion in his homeland, appearing only in individual memoirs (S.G. Birman, S.V. Giatsintova, Berseneva, etc.). In the West, over the years, Chekhov's method has acquired a significant influence on acting techniques; since 1992, International Workshops of Mikhail Chekhov have been regularly organized in Russia, England, the USA, France, the Baltic States, and Germany with the participation of Russian artists, directors, and teachers.
The main miracle of the whole fairy tale, in my opinion, is that it was Mikhail Chekhov (Pinocchio), who opened the door to a fairyland - a new theater, who founded a school of theatrical art in Hollywood, which has not yet lost its relevance.
The work is dedicated to the memory of the teacher of Russian language and literature
Belyaeva Ekaterina Vladimirovna.
History of creation and publication
The creation of the story began with the fact that in 1923-24, Alexey Nikolaevich Tolstoy, while in exile, began work on Carlo Collodi’s story “,” which he wanted to publish in his own literary adaptation. In the spring of 1934, Tolstoy decided to return to the fairy tale, postponing work on the trilogy “Walking through Torment”. At that time, the writer was recovering from a myocardial infarction.
At first, Tolstoy fairly accurately conveyed the plot of the Italian fairy tale, but then he became carried away by the original idea and created the story of a hearth painted on an old canvas and a golden key. Alexey Nikolaevich has gone far from the original plot, not only because it is outdated for the period of socialist realism. Collodi's tale is full of moralizing and instructive maxims. Tolstoy wanted to breathe more spirit of adventure and fun into the heroes.
I'm working on Pinocchio. At first I only wanted to write the contents of Collodi in Russian. But then I gave up on it, it turns out a bit boring and bland. With Marshak’s blessing, I am writing on the same topic in my own way.
In August 1936, the fairy tale was completed and submitted for production to the Detgiz publishing house. Alexey Nikolaevich dedicated his new book to his future wife Lyudmila Ilyinichna Krestinskaya - later Tolstoy. Then, in 1936, the fairy tale began to be published with a continuation in the newspaper Pionerskaya Pravda.
In 1936, Tolstoy wrote the play “The Golden Key” for the Central Children's Theater, and in 1939, based on the play, he wrote the script for the film of the same name, which was directed by Alexander Ptushko.
Until 1986, the fairy tale was published in the USSR 182 times, the total circulation exceeded 14.5 million editions, and was translated into 47 languages.
Plot
Day 1
The tale takes place in Italy in a fictional “town on the Mediterranean coast.” The carpenter Giuseppe, nicknamed Gray Nose, fell into the hands of a log. Giuseppe began to chop it with a hatchet, but the log turned out to be alive and squeaked with a human voice. Giuseppe decided not to get involved with this strange object and gave the log to his friend the organ grinder Carlo, recommending that he cut a doll out of the log. Carlo brought the log into his poor closet and in one evening made a doll out of the log. Miraculously, the doll came to life right in his hands. Carlo barely had time to give her the name Buratino before she ran out of the closet and into the street. Carlo gave chase. Pinocchio was stopped by a policeman, but when Papa Carlo arrived, Pinocchio pretended to be dead. Onlookers began to say that it was Carlo who “stabbed the doll to death,” and the policeman took Carlo to the police station to investigate.
Buratino returned alone to the closet and met there with the Talking Cricket, who lectured Buratino about how to behave well, obey your elders and go to school. Buratino, however, replied that he did not need such advice and even threw a hammer at Cricket. The offended Cricket left the closet forever, where he lived for more than a hundred years, finally predicting big troubles for the wooden boy.
Feeling hungry, Buratino rushed to the fireplace and stuck his nose into the pot, but it turned out to be painted, and Buratino only pierced the canvas with his long nose. In the evening, the old rat Shushara crawled out from under the floor. Pinocchio pulled its tail, the rat got angry, grabbed him by the throat and dragged him underground. But then Carlo returned from the police station, saved Pinocchio and fed him an onion.
Papa Carlo glued Pinocchio's clothes together:
a brown paper jacket and bright green pants. I made shoes from an old boot and a hat - a cap with a tassel - from an old sock
Remembering Cricket's advice, Pinocchio told Carlo that he would go to school. To buy the alphabet, Carlo had to sell his only jacket.
Pinocchio buried his nose in the kind hands of Papa Carlo.
- I’ll learn, grow up, buy you a thousand new jackets...
Day 2
The next day, Buratino went to school in the morning, but on the way he heard music inviting the audience to a performance of the puppet theater of Signor Karabas Barabas. His legs themselves brought him to the theater. Pinocchio sold his alphabet book for four soldi and bought a ticket to the performance “The Girl with Blue Hair, Or Thirty-three Slaps on the Head.”
During the performance, the dolls recognized Pinocchio.
This is Pinocchio! This is Pinocchio! Come to us, come to us, cheerful rogue Pinocchio!
Pinocchio jumped onto the stage, all the dolls sang “Polka Bird” and the performance got mixed up. The owner of the puppet theater, Doctor of Puppet Science, Signor Karabas Barabas, intervened and removed Pinocchio from the stage.
At dinner, Karabas Barabas wanted to use Pinocchio as firewood for the roast. Suddenly Karabas sneezed, became brighter, and Pinocchio managed to tell something about himself. When Pinocchio mentioned the painted fireplace in the closet, Karabas Barabas became agitated and said strange words:
So, it means that there is a secret secret in old Carlo’s closet...
After that, he spared Pinocchio and even gave him five gold coins, ordering him to return home in the morning and give the money to Carlo, with the condition that Carlo under no circumstances leave his closet.
Pinocchio stayed overnight in the doll's bedroom.
Day 3
In the morning, Pinocchio ran home, but on the way he met two swindlers - the fox Alice and the cat Basilio. They, trying to fraudulently take money from Pinocchio, offered to go not home, but to the Land of Fools.
In the Country of Fools there is a magical field called the Field of Miracles... In this field, dig a hole, say three times: “Cracks, fex, pex”, put gold in the hole, cover it with earth, sprinkle salt on top, fill it well and go to sleep. The next morning a small tree will grow from the hole, and gold coins will hang on it instead of leaves.
After hesitation, Buratino agreed. Until evening they wandered around the neighborhood until they ended up at the Three Minnows tavern, where Buratino ordered three crusts of bread, and the cat and the fox ordered all the rest of the food that was in the tavern. After dinner, Buratino and his companions lay down to rest. At midnight, the owner woke up Pinocchio and said that the fox and the cat had left earlier and told him to catch up with them. Pinocchio had to pay one gold piece for the shared dinner and hit the road.
On the night road, Buratino was chased by robbers, wearing bags with holes cut for the eyes on their heads. It was Alice the fox and Basilio the cat in disguise. After a long chase, Pinocchio saw a house on the lawn. He began to desperately beat on the door with his hands and feet, but they did not let him in.
Girl, open the door, robbers are chasing me!
- Oh, what nonsense! - said the girl, yawning with her pretty mouth. - I want to sleep, I can’t open my eyes... She raised her hands, stretched sleepily and disappeared into the window.
The robbers grabbed Pinocchio and tortured him for a long time to force him to give up the gold that he managed to hide in his mouth. Finally they hung him upside down on an oak branch, and at dawn they went to look for some tavern.
Day 4
Near the tree where Pinocchio hung, Malvina lived in the forest. The girl with blue hair, with whom Pierrot was in love, escaped from the tyranny of Karabas-Barabas along with the poodle Artemon. Malvina discovered Pinocchio, removed him from the tree and invited forest healers to treat the victim. As a result, the patient was prescribed castor oil and left alone.
Day 5
In the morning Buratino came to his senses in the dollhouse. As soon as Malvina saved Pinocchio, she immediately began to teach him, trying to teach him good manners, literacy and arithmetic. Pinocchio's training was unsuccessful, and Malvina locked him in a closet for pedagogical purposes. Buratino did not stay under the castle for long and escaped through the cat hole. A bat showed him the way, which led him to meet the fox Alice and the cat Basilio.
The fox and the cat listened to Pinocchio's story about his adventures, feigned outrage at the atrocities of the robbers, and finally brought him to the Field of Miracles (in fact, a wasteland completely covered with various garbage). Pinocchio, following the instructions, buried four gold pieces, poured water on them, read the spell “crex-fex-pex” and sat down to wait for the money tree to grow. The fox and the cat, without waiting for Pinocchio to fall asleep or leave his post, decided to speed up events. They visited the police station of the Country of Fools and reported Pinocchio. And he was still sitting on the Field of Miracles, where he was captured. The sentence for the criminal was short:
You have committed three crimes, scoundrel: you are homeless, without a passport and unemployed. Take him out of town and drown him in a pond
"Golden Key..." in culture
Children and adults loved the book from the first edition. The only negative that was noted by critics is its secondary nature in relation to Collodi's original.
Tolstoy's fairy tale has gone through many reprints and translations since 1935. Film adaptations appeared in the form of a film with dolls and live actors; cartoons, plays (there is even a play in verse), opera and ballet. The production of “Pinocchio” at the Sergei Obraztsov Theater gained fame. In Soviet times, the board game “Golden Key” was released, and with the beginning of the digital era, the computer game “The Adventures of Pinocchio” appeared. The drink Buratino and candy “Golden Key” appeared. Even the Buratino heavy flamethrower system. The characters of the book and their phrases have steadily entered the Russian language, folklore and become the subject of jokes.
Critic Mark Lipovetsky called Pinocchio influential cultural archetype, a book that has become a kind of monument and at the same time an important element of the spiritual tradition of Soviet culture.
Cultural references in the book
Sequels
The fairy tale about Pinocchio by Alexei Nikolaevich Tolstoy was repeatedly continued. Elena Yakovlevna Danko (1898-1942) wrote the fairy-tale story “The Defeated Karabas,” which was first published in 1941. In 1975, Alexander Kumma and Sacco Runge published the book “The Second Secret of the Golden Key.” The illustrator of A. N. Tolstoy’s fairy tale, artist and writer Leonid Viktorovich Vladimirsky, came up with his own fairy tales about a wooden boy: “Pinocchio is looking for treasure” (which tells the story of the origin of the Molniya theater) and “Pinocchio in the Emerald City” (crossover). Lara Dream’s fairy tale “The New Adventures of Pinocchio and His Friends” is also known.
Differences from The Adventures of Pinocchio
| "The Golden Key, or the Adventures of Pinocchio" | "The Adventures of Pinocchio" |
| The plot is good and quite childish. Although several deaths occur in the plot (the rat Shushara, old snakes, Governor Fox), there is no emphasis on this. Moreover, all the deaths do not occur through the fault of Pinocchio (Shushara was strangled by Artemon, the snakes died a heroic death in a battle with police dogs, the Fox was dealt with by badgers). | The book contains scenes related to cruelty and violence. Pinocchio hit the Talking Cricket with a hammer, then lost his legs, which were burned in a brazier. And then he bit off the cat's paw. The cat killed the blackbird who was trying to warn Pinocchio. |
| Heroes commedia dell'arte- Burattino, Harlequin, Pierrot. | Heroes commedia dell'arte- Arlecchino, Pulcinella. |
| Fox Alice (female); There is also an episodic character - Governor Fox. | Fox (male). |
| Malvina with her poodle Artemon, who is her friend. | A fairy with the same appearance, who then changes her age several times. Poodle is a very old servant in livery. |
| The Golden Key is present, for information about which Karabas gives Buratino money. | The Golden Key is missing (at the same time, Majafoko also gives money). |
| Karabas-Barabas is a clearly negative character, an antagonist of Pinocchio and his friends. | Majafoko is a positive character, despite his fierce appearance, and sincerely wants to help Pinocchio. |
| Pinocchio does not change his character and appearance until the end of the plot. He stops all attempts to re-educate him. Remains a doll. | Pinocchio, who is read morals and lectures throughout the book, first turns into a real donkey, but then he is re-educated, and in the end he turns from a nasty and disobedient wooden boy into a living, virtuous boy. |
| The dolls behave like independent animate beings. | It is emphasized that the dolls are just puppets in the hands of the puppeteer. |
| When Pinocchio lies, his nose does not change in length. | Pinocchio's nose lengthens when he lies. |
The books vary significantly in atmosphere and detail. The main plot coincides quite closely until the moment when the cat and the fox dig up the coins buried by Pinocchio, with the difference that Pinocchio is significantly kinder than Pinocchio. There are no further plot similarities with Pinocchio.
Heroes of the book
- Pinocchio- a wooden doll carved from a log by organ grinder Carlo
- dad Carlo- the organ grinder who carved Pinocchio from a log
- Giuseppe by nickname Gray Nose- carpenter, friend of Carlo
- Karabas-Barabas- Doctor of Puppet Science, owner of a puppet theater
- Duremar- seller of medicinal leeches
- Malvina- doll, girl with blue hair
- Artemon- a poodle devoted to Malvina
- Pierrot- doll, poet, in love with Malvina
- Harlequin- doll, Pierrot's stage partner
- Fox Alice- highway scammer
- Cat Basilio- highway scammer
- Turtle Tortilla- lives in a pond, gives Pinocchio a golden key
- Talking Cricket- Pinocchio predicts his fate
Film adaptations
- “The Golden Key” - feature film with dolls and live actors 1939 directed by Ptushko
- “The Adventures of Pinocchio” - hand-drawn cartoon 1959, directed by Ivanov-Vano
- “The Adventures of Pinocchio” - feature film 1975, Director Leonid Nechaev.
- “The Golden Key” is a 2009 New Year’s musical film for the RTR TV channel. Directed by Alexander Igudin.
- In the Russian version, the character of "Majafoko" by Tolstoy is called "Karabas-Barabas". In the Russian fairy tale tradition, a negative character is associated with the Turkic name Karabas (which means Black Head), as well as Tugarin the Serpent, Koschey the Immortal, Nightingale the Robber, etc.
- In 2012, many media outlets published a report that an application was allegedly filed with the Taganrog City Court to recognize the fairy tale “The Golden Key, or the Adventures of Pinocchio” as extremist, since “Pinocchio is an evil and simple parody of Jesus Christ.” In reality, this news was a hoax by the fake news agency fognews.ru
Notes
Links
- Petrovsky M. Books of our childhood - M., 1986
| Fairy tale story by Alexei Nikolaevich Tolstoy “The Golden Key, or the Adventures of Pinocchio” | |
|---|---|
| Characters | Pinocchio's dad Carlo Giuseppe (Blue Nose) Karabas-Barabas Duremar Malvina Artemon Pierrot Harlequin Fox Alice Cat Basilio Turtle Tortilla Talking Cricket |
| Film adaptations | |
| Sequels | Defeated Karabas The second secret of the golden key Pinocchio is looking for Pinocchio's treasure in the Emerald City |
| see also | Burattino The Adventures of Pinocchio. History of the wooden doll Pinocchio (TOS) Pinocchio (drink) Order of Pinocchio Medal of Pinocchio |
| Literary tales:Works of Alexey Nikolaevich Tolstoy | |
| The Adventures of Pinocchio by Carlo Collodi | |
|---|---|
| Movies | Pinocchio (1940) Artificial Intelligence (2001) Pinocchio (2002) Pinocchio 3000 (2004) |
| A television | Mokku of the Oak Tree(animated series, 1972) The Magic Story of Pinocchio (2008) |
| Related | Pinocchio " The Golden Key, or The Adventures of Pinocchio" (novel) |
I dedicate this book to Lyudmila Ilyinichna Tolstoy
Preface
When I was little - a long, long time ago - I read one book: it was called “Pinocchio, or the Adventures of a Wooden Doll” (wooden doll in Italian - Pinocchio).
I often told my comrades, girls and boys, the entertaining adventures of Pinocchio. But since the book was lost, I told it differently each time, inventing 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.
...I find that of all the images of Pinocchio created by different artists, L. Vladimirsky’s Pinocchio is the most successful, the most attractive and most consistent with the image of the little hero A. Tolstoy.
...The carpenter Giuseppe came across a log that squeaked with a human voice.
A long time ago, in a town on the shores of the Mediterranean Sea, there lived an old carpenter, Giuseppe, nicknamed Gray Nose.
One day he came across a log, an ordinary log for heating the hearth in the winter.
“It’s not a bad thing,” Giuseppe said to himself, “you can make something like a table leg out of it...”
Giuseppe put on glasses wrapped in string - since the glasses were also old - he turned the log in his hand and began to cut it with a hatchet.
But as soon as he began to cut, someone’s unusually thin voice squeaked:
- Oh-oh, quiet down, please!
Giuseppe pushed his glasses to the tip of his nose and began looking around the workshop - no one...
He looked under the workbench - no one...
He looked in the basket of shavings - no one...
He stuck his head out the door - no one was on the street...
“Did I really imagine it? – thought Giuseppe. “Who could be squeaking?”
He again took the hatchet and again - he just hit the log...
- Oh, it hurts, I say! - howled a thin voice.
This time Giuseppe was seriously scared, his glasses even sweated... He looked at all the corners in the room, even climbed into the fireplace and, turning his head, looked into the chimney for a long time.
- There is no one...
“Maybe I drank something inappropriate and my ears are ringing?” - Giuseppe thought to himself...
No, today he didn’t drink anything inappropriate... Having calmed down a little, Giuseppe took the plane, hit the back of it with a hammer so that the blade came out just the right amount - not too much and not too little, put the log on the workbench - and just moved the shavings...
- Oh, oh, oh, oh, listen, why are you pinching? – a thin voice squealed desperately...
Giuseppe dropped the plane, backed away, backed up and sat down straight on the floor: he guessed that the thin voice was coming from inside the log.
Giuseppe gives a talking log to his friend Carlo
At this time, his old friend, an organ grinder named Carlo, came to see Giuseppe.
Once upon a time, Carlo, wearing a wide-brimmed hat, walked around the cities with a beautiful barrel organ and earned his living by singing and music.
Now Carlo was already old and sick, and his organ-organ had long since broken down.
“Hello, Giuseppe,” he said, entering the workshop. - Why are you sitting on the floor?
– And, you see, I lost a small screw... Fuck it! – Giuseppe answered and glanced sideways at the log. - Well, how are you living, old man?
“Bad,” Carlo replied. - I keep thinking - how can I earn my bread... If only you could help me, advise me, or something...
“What’s easier,” Giuseppe said cheerfully and thought to himself: “I’ll get rid of this damned log now.” “What’s simpler: you see an excellent log lying on the workbench, take this log, Carlo, and take it home...”
“Eh-heh-heh,” Carlo answered sadly, “what’s next?” I’ll bring home a piece of wood, but I don’t even have a fireplace in my closet.
- I’m telling you the truth, Carlo... Take a knife, cut a doll out of this log, teach it to say all sorts of funny words, sing and dance, and carry it around the yards. You'll earn enough to buy a piece of bread and a glass of wine.
At this time, on the workbench where the log lay, a cheerful voice squeaked:
- Bravo, great idea, Gray Nose!
Giuseppe again shook with fear, and Carlo only looked around in surprise - where did the voice come from?
- Well, thank you, Giuseppe, for your advice. Come on, let's have your log.
Then Giuseppe grabbed the log and quickly handed it to his friend. But either he awkwardly thrust it, or it jumped up and hit Carlo on the head.
- Oh, these are your gifts! – Carlo shouted offendedly.
“Sorry, buddy, I didn’t hit you.”
- So I hit myself on the head?
“No, buddy, the log itself must have hit you.”
- You're lying, you knocked...
- No, not me…
“I knew that you were a drunkard, Gray Nose,” said Carlo, “and you are also a liar.”
- Oh, you - swear! – Giuseppe shouted. - Come on, come closer!..
– Come closer yourself, I’ll grab you by the nose!..
Both old men pouted and started jumping at each other. Carlo grabbed Giuseppe's blue nose. Giuseppe grabbed Carlo by the gray hair that grew near his ears.
After that, they began to really tease each other under the mikitki. At this time, a shrill voice on the workbench squeaked and urged:
- Get out, get out of here!
Finally the old men were tired and out of breath. Giuseppe said:
- Let's make peace, shall we...
Carlo replied:
- Well, let's make peace...
The old people kissed. Carlo took the log under his arm and went home.
Carlo makes a wooden doll and names it Buratino
Carlo lived in a closet under the stairs, where he had nothing but a beautiful fireplace - in the wall opposite the door.
Who wrote "Pinocchio"? This question will find an answer for most readers of all ages living in the post-Soviet space. “The Golden Key, or the Adventures of Pinocchio” is the full title of the fairy tale written by the Soviet classic Alexei Nikolaevich Tolstoy, based on the fairy tale “The Adventures of Pinocchio” by Carlo Collodi.
Since the appearance of Tolstoy's fairy tale, controversy has begun - what is it, adaptation, retelling, translation, literary adaptation? While still in exile in 1923-24, Alexey Nikolaevich decided to translate Collodi’s fairy tale, but other ideas and plans captured him, and the vicissitudes of his personal fate took him far from the children’s book. Tolstoy returns to Pinocchio ten years later. The time was different, life circumstances had changed - he returned to Russia.
Tolstoy had just suffered a heart attack and took a short time out from his hard work on the trilogy novel “Walking Through Torment.” And amazingly, he begins by strictly following the storyline of the original source, but gradually moves away from it further and further, so whether he was the one who wrote Pinocchio, or whether it was a modified Pinocchio, one can argue, which is what literary critics do. The writer did not want to make his story thoroughly moralizing, as Collodi did. Alexey Nikolaevich himself recalled that at first he tried to translate the Italian, but it turned out a bit boring. S. Ya. Marshak pushed him to radically rework this plot. The book was completed in 1936.
And Tolstoy makes Pinocchio and his friends completely different from what they were, so that readers would feel the spirit of fun, play, and adventurism. I must say, he succeeds. This is how the plot lines of the hearth, painted on an old canvas, the mysterious door hidden under it, the golden key that the heroes are looking for, and which should open this mysterious door, appear.
It cannot be said that there are no moralizing maxims in the fairy tale. The one who wrote Pinocchio was no stranger to them. Therefore, the wooden boy is taught by both the cricket, who lives in Papa Carlo’s closet (useless!), and the girl Malvina, who, in addition, locks the guilty hero in the closet. And like any boy, the wooden man strives to do everything his own way. And he learns exclusively from his mistakes. This is how he falls into the clutches of swindlers - the fox Alice and - wanting to get rich quickly. The famous Field of Miracles in the Land of Fools is probably the most famous metaphor of the fairy tale, although not the only one; the Golden Key itself is also worth something!
The storyline of Karabas-Barabas, a puppet exploiter who wants to find a secret door, leads our heroes to this secret door, behind which is the brand new Molniya puppet theater. During the day, the puppet men will study, and in the evenings they will play performances there.
Incredible popularity fell upon Tolstoy. The children didn’t even think about who wrote Pinocchio, they read the book with pleasure, and it was reprinted 148 times in the USSR alone, translated into many languages of the world, and filmed many times. The first film adaptation was released in 1939, the film was directed by A. Ptushko.
Tolstoy's fairy tale is also interesting for adults. A masterful stylist and mocker, the author refers us to Fonvizinsky’s “The Minor” (Pinocchio’s lesson, the problem with apples), the dictation that the hero writes is Fet’s palindrome: “And the rose fell on Azor’s paw,” in the image of Karabas-Barabas they see a parody of that Nemirovich-Danchenko, then Meyerhold, and many literary scholars refer to the fact that Pierrot was copied from A. Blok.
I spent my happy Soviet childhood with Golden Key toffee and Buratino soda, now they would call it a popular brand.
And as before, children and parents read and reread the fairy tale, which teaches goodness without boring edification.