Biography of Odoevsky brief summary for 3. Brief biography of Odoevsky the most important thing
Introduction
Vladimir Fedorovich Odoevsky (1803-1862)
Creativity V.F. Odoevsky as a writer belongs romantic prose 30s. 19th century. He did a lot for the development of children's literature.
It successfully combines elements of romantic, realistic and sentimental storytelling. He was one of the first to create works aimed at readers of primary school age.
For works by V.F. Odoevsky's works, addressed to children, are characterized by natural and scientific content, fascinating and dramatic narrative, and conviction in the power of the human mind.
He was a teacher, music critic, writer, philosopher. He was very seriously interested in the problems of raising children. V. Odoevsky called for raising a moral, humane person.
The pedagogical views of V. Odoevsky did not coincide with the official pedagogy of his time. He believed that it is necessary to see a person in a child and support good principles and philanthropy in children. He also called for awakening children's interest in knowledge. Odoevsky's works for children reflected his pedagogical beliefs.
V.F. Odoevsky divided children into “woke” and “not awakened.” “Not woke” are children who do not think or sympathize with others. You can wake up such children with the help of a book.
He gave great importance children's literature that can awaken the mind and heart of a child. V.F. Odoevsky began writing for children in the 30s of the 19th century, working under the pseudonym “Grandfather Iriney”
When analyzing Russian children's literature of the 18th century, one cannot ignore the work of Vladimir Fedorovich Odoevsky, who was seriously interested in the issues of raising children.
Progressive Writer and a peculiar person, Vladimir Fedorovich Odoevsky was seriously interested in issues of raising children. He worked for a long time on the book “Science Before Sciences,” which he conceived as a pedagogical treatise dedicated to the basic principles of human upbringing from childhood.
Main part
Appeal from V.F. Odoevsky's interest in children's literature is closely connected with his penchant for enlightenment, but he also had a natural talent as a children's writer. Already in the early 30s, his stories and fairy tales appeared in the Children's Library magazine. In 1833, Odoevsky began publishing an almanac"Children's book for Sundays"where his thoughts on education are heard: he places here not only works of art, but also a large section of an educational nature, which includes popular science articles and descriptions of various experiments, crafts, and games.
"Town in a snuffbox"(1834) is the first perfect example of an artistic and educational fairy tale for children. In it, scientific material (essentially teaching mechanics, optics and other sciences) was presented in such an entertaining and close to child psychology form that it caused an enthusiastic response from the critics of the time. Belinsky said: the plot “is so cleverly adapted to children’s imagination, the story is so fascinating, and the language is so correct... children will understand the life of a machine as some kind of living individual person.”
It all starts with the boy Misha receiving a music box as a gift from his father. The boy is amazed by his beauty:
“What a wonderful snuffbox! motley, from a turtle. What's on the lid? Gates, turrets, a house, another, a third, a fourth - and that’s it, small - small less, and all are golden, and the trees are also golden, and the leaves on them are silver; and behind the trees the sun rises, and from it pink rays spread throughout the sky.”. I wish I could go in there and see who lives there!..
Children always rejoice when they perceive beauty; it gives them lively enthusiasm and a desire to create. Aesthetic experience causes active imagination, encouraging creativity. Misha, having fallen asleep, creates a whole world in his sleep - all from objects familiar to him, but in purely fantastic combinations. The roller, wheels, hammers, bells that make up the mechanism of the music box turn out to be residents of a small beautiful town. Roles characters and their actions depend on the impression they made on the boy. The roller is thick, in a robe; he is lying on the sofa; This is the boss-overseer, the commander of the hammer men. Those, having received the command, beat the poor bell boys with a golden head and steel skirts. But there is also power over the roller: it is a princess-spring. She, like a snake, curls up and unfurls - “and constantly pushes the warden in the side.”
Odoevsky uses the technique of humanization, and the transition from reality to a fairy tale is accomplished using the technique of sleep. Scientific material is “cleverly adapted to children’s imagination” (Belinsky).
The awakened Misha already understands how the music box works, and he really perceives the machine “as some kind of living individual person.”
Learning from concrete experience, the connection of learning with reality is one of the pedagogical principles of V.F. Odoevsky, and he found embodiment in this work. The author even leads Misha into the fantastic world of animated details through a dream - a very real state of a child. He based the same principle on many other fairy tales and stories, skillfully combining real events with fantasy.
Odoevsky created fairy tales: “The Worm”, “Moroz Ivanovich”, the stories “The Joiner”, “Silver Ruble”, “Poor Gnedko”, etc.
In 1833, his “Motley Tales with Red Words” was published. In them, the narrator Irinei Modestovich Gomozeyka presented readers in an allegorical form with one or another moral teaching; the figure of Gomozeyka is complex and multifaceted. On the one hand, he calls for a romantic vision of the world and constantly talks about human virtues, about understanding the root causes of the world - about lofty matters. And at the same time he reproaches his contemporaries for their lack of imagination.
However,on the other hand, during the course of the narrative there is a clear sense of the author in relation to his hero-storyteller Gomozeyka. This is especially noticeable when he forces characters, such as a spider, to express thoughts that are not at all characteristic of them. The spider talks loftily about , loyalty, nobility and immediately greedily eats his wife and children. Often in these fairy tales there arises a situation of ironic overcoming of a romantic conflict.
Standing apart in “Motley Tales” is “Igosha”, perhaps the most poetic and fantastic work in the book. This is connected with the figure of the boy - the story is told on his behalf. He became friends with a brownie - according to legend, this is every unbaptized baby. This idea is associated with the belief that the world of children's fantasies and folk beliefs contain poetry, wisdom and hidden knowledge.
The boy heard father, how at the inn the cabbies, having lunch, put a piece of pie and a spoon on the table - “for Igosha,” and the child believes. Since then, Igosha and the little storyteller have not parted. “Igosha” encourages him to play pranks, and at the end of the tale disappears, which marks the hero’s maturation. Sad intonations are natural for the period of transition from childhood to adolescence.
And in the story “Poor Gnedko” there is already another educational task- awaken the child in the heart to animals; enclosing a humane thought within the framework of a story about the fate of an exhausted horse, which was once a cheerful foal, the writer directly addresses the children: “Whoever tortures a horse or a dog is able to torture a person.” Despite the didactic tendencies and elements of natural science enlightenment strongly manifested in “The Tales of Grandfather Irenaeus,” they are full of genuine poetry.
Fairy tale "Worm" (1838) draws the child's attention to the wonderful diversity of the natural world and the continuity life cycle; accessible to children stories about life and the death of a little worm, the writer touches on a deep philosophical theme.
In other fairy tales, the writer uses the traditions of folk tales, as, for example, in the fairy tale “Moroz Ivanovich,” the content of which echoes the Russian folk tale"Morozko." includes traditional fairy tale motifs (an oven with pies, an apple tree with golden apples). Odoevsky's tale is based oncontrast between hard work and laziness, which is emphasized by the epigraph: “Nothing is given to us for free, without labor, - It’s not for nothing that the proverb has been told since ancient times.” The needlewoman, both in her home and when visiting Moroz Ivanovich, is hardworking, diligent, and kind-hearted, for which she was rewarded. The sloth, who only knew how to count flies, could neither fluff the snow feather bed, nor make food, nor repair her dress. At the end of the fairy tale, the sloth receives gifts from Moroz Ivanovich, which melt before our eyes. As is the work, so is the reward.
Odoevsky strives to soften the sharp turns of the plots and makes the world of the fairy tale lighter. So, unlike similar folk tales, here Sloth is punished more moderately (as you remember, the old woman’s daughter in the fairy tale “Morozko” dies). And the afterword is addressed to the reader: “And you, children, think, guess what is true here, what is not true; what is said really, what is said sideways; some as a joke, some as an instruction.”
IN artistically Odoevsky's fairy tales and stories are traditional - sentimental, frankly didactic. More original are the stories and essays of Odoevsky's scientific and educational plan. Odoevsky established the genres of scientific and artistic fairy tales, scientific and educational stories, and essays in literature for children. He wrote successfully fairy tales, stories, poems, plays. The works combine elements of romantic, realistic and sentimental storytelling. His work intertwined science fiction and propaganda of science, education, realism and direct didacticism. He was one of the first to create works aimed at readers of primary school age.
Creativity V.F. Odoevsky is diverse, deeply philosophical and moral, he is still highly valued by both adults and children.
Conclusion
Main role children's literature was and remains education, moral consciousness, a correct idea of moral values. Subjects works of art show what is good and what is bad, outline the boundaries of good and evil, show models of behavior that can or cannot be followed. A children's book helps you understand yourself, other people, their problems, feelings. All this is the key to the formation of a harmonious, comprehensively developed personality.
The work of V.F. Odoevsky worthily crowns the development of literature for children in the first half of the 19th century. Initially presented in a few works addressed to young readers, by the middle of the last century it had established itself as an independent branch of Russian literature. Dozens of magazines and almanacs were published for young readers, in which the works of professional children's writers were published. Literature for children begins to develop as artistic and scientific literature. At the intersection, the genre of scientific and artistic fairy tale and short story appears.
The most popular and most artistically developed genre of this period is the literary fairy tale. She grew up on the foundation of a folk tale. Enriched by the traditions of romanticism, the literary fairy tale contributed to the further development of literature for children: this is how the science fiction fairy tale “Town in a Snuff Box” by V. Odoevsky arose, which marked the beginning of scientific and artistic literature.
Odoevsky lived for almost another quarter of a century, working tirelessly for the benefit of national education; he died in 1869, having outlived literary fame, but remaining for the people who knew him an example of human decency, spiritual breadth, selflessness and hard work.
Bibliography
1. Kamensky Z.A. Moscow circle of wise men. - M.: Nauka, 1980. – 32 p.
2. Prince Vladimir Fedorovich Odoevsky. Correspondence with Grand Duchess Maria Pavlovna, Grand Duchess of Saxe-Weimer-Eisenach. – M.: IMLI-RAN, 2006. – 376 p.
3. Koyre A. Philosophy and the national problem in Russia early XIX century." - M.: Modest-Kolerov, 2003. – 304 p.
4. Russian romanticism. Sat. articles. / Rep. ed. K.N.Grigoryan. - L.: Science, Leni
5. Arzamastseva I.N. Children's literature: textbook. for students higher and Wednesday teacher textbook establishments/ I.N. Arzamastseva, S.A. Nikolaev. - 3rd ed. - M.: , 2005.
6. Children's literature: textbook. for students Wed prof. education / ed. HER. Zubareva. - M.:, 2004.
7. Mineralova I.G. Children's literature: textbook. aid for students universities / I.G. Mineralova. - M.:, 2002.
8. Russian literature for children: textbook / ed. T.D. Polozova. - M.: , 1997.
Internet resources
studopedia. ru/2_77190_ theme- tvorchestvo- l- n- thick- dlya- children. htmlschooltask. ru/ children's- tales- v- f- odoevskogo/
ODOEVSKY, VLADIMIR FEDOROVYCH(1803–1869), prince, Russian writer, journalist, publisher, musicologist. Born on July 30 (August 11), 1803 (according to other sources, 1804) in Moscow. The last descendant of an ancient princely family. His father served as director of the Moscow branch of the State Bank, his mother was a serf peasant. In 1822, Odoevsky graduated with honors from the Moscow University Noble Boarding School, where P. Vyazemsky and P. Chaadaev, Nikita Muravyov and Nikolai Turgenev had previously studied. IN student years he was influenced by professors at Moscow University, Schellingian philosophers I.I. Davydov and M.G. Pavlov. From 1826 Odoevsky served on the censorship committee of the Ministry of Internal Affairs and was the drafter of the new censorship charter of 1828. After the committee came under the jurisdiction of the Ministry of Public Education, he continued to serve as a librarian. From 1846 - assistant director of the Imperial Public Library and head of the Rumyantsev Museum, then located in St. Petersburg. Since 1861 - senator.
Odoevsky’s first appearances in print were translations from German, published in the “Bulletin of Europe” in 1821. In the same place, in 1822–1823, Letters to the Elder of Luzhnitsa were published, one of which, Days of Annoyance, attracted the attention of A.S. Griboyedov with its indignant attitude, who met Odoevsky and remained his close friend until the end of his life. IN teenage years Odoevsky was friendly with his older cousin, poet and future Decembrist A.I. Odoevsky, as evidenced by his Student Diary (1820–1821): “Alexander was an epoch in my life.” His brother unsuccessfully tried to warn him against the “profound speculations of the incomprehensible Schelling,” but his cousin showed firmness and independence in his judgments. In the early 1820s, Odoevsky attended meetings of the Free Society of Lovers of Russian Literature, dominated by F. Glinka, and was a member of the circle of translator and poet S.E. Raich, a member of the Union of Welfare. He became close to V. Kuchelbecker and D. Venevitinov, together with whom (and with the future prominent Slavophile I. Kireevsky) in 1823 he created the “Society of Philosophy” circle, becoming its chairman. As one of the “philosophies” recalled, “German philosophy dominated” in the “Society”: Odoevsky remained its most active and thoughtful expositor for more than two decades.
In 1824–1825, Odoevsky and Kuchelbecker published the almanac “Mnemosyne” (4 books were published), where, in addition to the publishers themselves, A.S. Pushkin, Griboyedov, E.A. Baratynsky, N.M. Yazykov were published. A participant in the publication, N. Polevoy, later wrote: “There were previously unknown views on philosophy and literature... Many laughed at Mnemosyne, others thought about it.” It was precisely “thinking” that Odoevsky taught; even his sad study of secular morals, published in the almanac, Ellady V.G. Belinsky called a “thoughtful story.”
He reacted with sad understanding and unconditional condemnation to the plans of the conspirators, many of whom Odoevsky was friendly or closely acquainted with, that were revealed after the events of December 1825. However, he condemned the Nicholas massacre of the Decembrists much more harshly, although he was ready to meekly share the fate of his fellow convicts. The investigative commission did not consider him “guilty enough” for this, and he was left to his own devices.
In the late 1820s - early 1830s, Odoevsky zealously fulfilled his official duties, meticulously expanded his vast knowledge, developed a worldview and created his main experience in the field of artistic literature - the philosophical novel Russian Nights, completed by 1843 and published in 1844 as part of three volumes of the Works of Prince V.F. Odoevsky. The novel, in essence, represents a verdict on German philosophy on behalf of Russian thought, expressed in an outwardly whimsical and extremely consistent alternation of dialogues and parables: European thought is declared incapable of resolving the most important issues Russian life and universal existence.
At the same time, the novel Russian Nights contains an exceptionally high assessment of Schelling’s work: “At the beginning of the 19th century, Schelling was the same as Christopher Columbus in the 15th century, he revealed to man an unknown part of his world... his soul.” Already in the 1820s, experiencing a fascination with Schelling’s philosophy of art, Odoevsky wrote a number of articles devoted to the problems of aesthetics. But his passion for Schelling is far from the only one in Odoevsky’s spiritual biography. In the 1830s, he was strongly influenced by the ideas of the new European mystics Saint-Martin, Arndt, Portridge, Baader, and others. Subsequently, Odoevsky studied patristics, showing, in particular, a special interest in the tradition of hesychasm. The Russian Nights became the result of many years of reflection on the fate of culture and the meaning of history, on the past and future of the West and Russia.
“One-sidedness is the poison of modern societies and the cause of all complaints, unrest and bewilderment,” Odoevsky asserted in Russian Nights. This universal one-sidedness, he believed, is a consequence of rationalistic schematism, which is not capable of offering any complete and holistic understanding of nature, history and man. According to Odoevsky, only symbolic knowledge can bring the knower closer to comprehending “the mysterious elements that form and connect spiritual life and material life.” For this, he writes, “the natural scientist perceives the works of the material world, these symbols of material life, the historian - living symbols included in the chronicles of peoples, the poet - living symbols of his soul.” Odoevsky’s thoughts on the symbolic nature of knowledge are close to the general tradition of European romanticism, in particular Schelling’s theory of symbol (in his philosophy of art) and the teachings of F. Schlegel and F. Schleiermacher about the special role in knowledge of hermeneutics - the art of understanding and interpretation. Man, according to Odoevsky, literally lives in a world of symbols, and this applies not only to cultural and historical life, but also to natural life: “In nature, everything is a metaphor for one another.”
Man himself is essentially symbolic. In man, the romantic thinker argued, “three elements are fused - believing, cognitive and aesthetic.” These principles can and should form a harmonious unity not only in human soul, but also in public life. It is precisely this kind of integrity that Odoevsky did not discover in modern civilization. Believing that the United States personifies the very possible future of humanity, Odoevsky wrote with alarm that at this “advanced” frontier there is already a “complete immersion in material benefits and complete oblivion of other, so-called useless impulses of the soul.” At the same time, he was never an opponent of scientific and technological progress. In his declining years, Odoevsky wrote: “What is called the fate of the world depends at this moment on that lever that is invented by some hungry ragamuffin in some attic in Europe or America and with which the issue of controlling balloons is decided.” An indisputable fact for him was that “with each discovery of science, one of the human sufferings becomes less.” However, in general, despite the constant growth of civilizational benefits and the power of technological progress, Western civilization, according to Odoevsky, due to “one-sided immersion in material nature"can only provide a person with the illusion of the fullness of life. For escaping from existence into the “dream world” of modern civilization, a person sooner or later has to pay. An awakening inevitably comes, which brings with it “unbearable melancholy.”
Defending his social and philosophical views, Odoevsky often entered into polemics with both Westerners and Slavophiles. In a letter to the leader of the Slavophiles A.S. Khomyakov (1845) he wrote: “My strange fate, for you I am a Western progressive, for St. Petersburg I am a notorious Old Believer mystic; This makes me happy, because it serves as a sign that I am precisely on that narrow path that alone leads to the truth.”
The publication of the novel Russian Nights was preceded by many creative achievements: in 1833, Motley Tales with Red Words, collected by Irinei Modestovich Gomozeika, were published (Odoevsky used this verbal mask until the end of his days), which made an extraordinary impression on N.V. Gogol and anticipated the imagery and tone of his Nose, Nevsky Prospekt and Portrait. In 1834, The Town in the Snuff Box was published separately, one of the best literary fairy tales in the entire world of literature, which can withstand comparison with Andersen’s and has become indispensable reading for Russian children. Several romantic stories appeared, starting with Beethoven's Last Quartet, published in 1831 in the almanac Northern Flowers. Gogol wrote about them: “There’s a lot of imagination and intelligence! This is a series of psychological phenomena incomprehensible in man!” It's about, in addition to the Quartet, about the stories of Opere del Cavaliere Giambatista Piranese and Sebastian Bach - especially the latter. Subsequently, they were supplemented, in the words of the poetess K. Pavlova, by “Russian Hoffmanniana”: the stories Segeliel, Cosmorama, La Sylphide, Salamander. True, having invited Odoevsky to collaborate closely in the magazine Sovremennik, Pushkin wrote: “Of course, Princess Zizi has more truth and entertainment than La Sylphide. But every gift is your good.” Princess Mimi (1834) and Princess Zizi (1835) are secular stories by Ooevsky, continuing the line of “metaphysical satire” outlined in Hellas. Having taken upon himself the troubles of publishing the second book of Sovremennik during Pushkin’s life, Odoevsky, after his death, single-handedly published the seventh. Sovremennik held out until Belinsky’s intervention only thanks to Odoevsky. Meanwhile, Odoevsky continues what he outlined in Motley Tales and Little Town in a Snuff Box: the Fairy Tales and Stories for Children of Grandfather Irenaeus, published in 1838, become textbook children's reading. Success encourages Odoevsky, and he develops it by undertaking the publication of a “people's magazine” in 1843, i.e. periodical collection “Rural Reading”: 4 books were published in 1843–1848, reprinted (until 1864) 11 times. According to Belinsky, Odoevsky gave birth to “a whole literature of books for the common people.” In the articles of the publication, Odoevsky, under the guise of uncle (and later “grandfather”) Irinea, spoke about the most complex issues in simple folk language, which V. Dal admired. Among Odoevsky's achievements in the 1830s, we should also note his play A Good Salary (1838) - scenes from the life of bureaucrats, clearly anticipating A.N. Ostrovsky. In the 1850s–1860s, Odoevsky was engaged in the history and theory of “primordial Great Russian music”: his works were subsequently published On the question of Old Russian chants (1861) and Russian and so-called general music (1867). He is considered and approved as a champion of the official “nationality”; Meanwhile, he writes: “Nationalism is one of the hereditary diseases by which a people dies if it does not renew its blood by spiritual and physical rapprochement with other peoples.” The dignitary and prince Rurikovich, who said these words publicly, was busy at that time compiling a historical study about the reign of Alexander II About Russia in the second half of the 19th century. Organic (in the spirit of Schelling) inclusion Russian culture to the European and Odoevsky was busy all his life. Two years before his death, he responded to I. S. Turgenev’s article-proclamation Enough! a modest and firm program of activity of Russian enlightenment called Not Enough! Odoevsky died in Moscow on February 27 (March 11), 1869.
Prince, 08/11/1804, Moscow - 03/11/1869, ibid.
Russian writer, philosopher, music critic
This song was sung by the bell boy in a radio play, and several generations of children heard it first on the radio, then on a record, before they got their hands on a book with beautiful pictures, where on the cover it read: “V. Odoevsky. A town in a snuffbox."
Even if it was different for someone, it’s still not the best way to enter the world of the writer than to get acquainted with this small elegant fairy tale. The author, just like his little hero, always wanted to know: why does music play in the snuffbox? Why do different hooks cling to each other, why do hammers knock on them, and why do bells ring?
The writer admitted that he nourishes “particular hatred of autobiographies”, and therefore we know little about his childhood. The last of his kind, Vladimir Odoevsky was the son of Prince Fyodor Odoevsky, a descendant of Rurik. His mother was a simple peasant woman, a serf before her marriage. At the age of five, the boy lost his father, and his mother, having remarried, handed him over to his uncle to be raised.
At the Moscow University Noble Boarding School, where students had the right to choose subjects to their liking, Vladimir gave preference to philosophy and literature. He was also fascinated by music very early. “Ever since I can remember, I’ve been reading music.”.
After graduating from the boarding school, Odoevsky and his friend Dmitry Venevitinov founded the Society of Philosophy, which united young philosophers and writers, admirers of Kant and Schelling. D. Venevitinov, I. Kireevsky, A. Khomyakov, V. Titov, S. Shevyrev and others gathered secretly at Odoevsky’s apartment in Gazetny Lane. “The two cramped closets of young Faust under the entrance were littered with books - folios, quarts and all sorts of octaves - on tables, under tables, on chairs, under chairs, in all corners, so that getting through between them was tricky and dangerous. On the windows, on the shelves, on the benches, there are glasses, bottles, jars, mortars, retorts and all sorts of tools.”(M. Pogodin). The soulful speeches of the young “wise men” were calmly listened to by a human skeleton with a bare skull, standing in the front corner.
According to eyewitnesses, the office of Prince Odoevsky in St. Petersburg, where he moved in 1826, presented exactly the same picture. After the defeat of the Decembrists, the “lyubumudras” had to dissolve their society. Odoevsky entered the civil service and settled in the northern capital.
Having married and settled into his own home, he quickly entered both the social circle and the literary environment of St. Petersburg. Writers, musicians, scientists, travelers - people of different classes and diverse talents - began to gather in his modest outbuilding in the late evenings after the theater. On the old leather sofa in the office of the hospitable owner sat Pushkin and Zhukovsky, Countess Rostopchina and young Lermontov, young Gogol and Glinka... “Ruslan and Lyudmila”, “A Life for the Tsar” and many other works were played here on the piano much earlier than in theater and concert halls.
In the 1830s and early 1840s. V. Odoevsky’s literary gift blossomed. Until then, known more as a courageous journalist and music critic, he began to publish books one after another, although not fully appreciated, but which made people talk about him as one of the notable and original Russian authors.
“Motley Tales... collected by Irinei Modestovich Gomozeyka...” (1833), stories about “great madmen” (“Beethoven’s Last Quartet”, “Sebastian Bach”, “Improviser” and others); “secular” stories (“Princess Mimi”, “Princess Zizi”, “The Black Glove”), and finally, “Fairy Tales and Stories for the Children of Grandfather Irenaeus” (1838) presented examples of completely new Russian prose: satirical, psychological and bizarrely fantastic.
It was not for nothing that something was boiling, gurgling and overflowing in the retorts and flasks in the prince’s office. Not only unprecedented chemical compositions must have been born there, but also strange plots and images... Phantasms of St. Petersburg, where either people play cards, or cards play people; a restless soul wandering in search of a body in Rezhensky district and God knows what else...
In “The Tale of a Dead Body, Nobody Knows Who Belongs” and “The Tale of the Occasion on Which Collegiate Advisor Ivan Bogdanovich Attitude failed to congratulate his superiors on Easter Sunday,” the future Gogol is visible. “Katya, or the Story of a Pupil”, “Martingale” foreshadow Dostoevsky, the story “The Brigadier” - “The Death of Ivan Ilyich” by L. Tolstoy, and so on. Much of what was found by V. Odoevsky was used by both his contemporaries and distant literary “descendants”.
As for the “mysterious” stories - “La Sylphide”, “Salamander”, “The Orlakh Peasant Woman”, “Cosmorama” and others, then in this genre too, Prince Vladimir Fedorovich, versed in the secret sciences, alchemy, magic and magnetism, said his weighty word. But it was not heard immediately.
The crowning achievement of Odoevsky’s work and its unexpected conclusion was the philosophical novel “Russian Nights” (1844). This book - the result of many years of research, observations and reflections on the nature of things and humans, on the fate of peoples and civilizations - led readers and critics to bewilderment and was recognized "unmodern and untimely". Perhaps that is why the author soon left literature and wrote only articles about music and different topics public life.
Believing that a person must honestly fulfill his duty wherever he is, Odoevsky served conscientiously all his life: in the Censorship Committee, in the Department of Spiritual Affairs of Foreign Denominations, in commissions of the Ministry of Internal Affairs. He devoted a lot of energy and soul to the Society for the Promotion of the Poor, helping orphans, the disabled and all the disadvantaged. His encyclopedic knowledge and great love for books finally found real application when the writer was appointed assistant director of the Public Library and head of the Rumyantsev Museum. Protecting the collection of books, manuscripts and other rarities, "like a faithful dog"(in his own words), Vladimir Fedorovich did not allow the museum to close and the collections to be fragmented when the buildings where they were kept fell into disrepair.
A bibliophile and educator, Odoevsky had long dreamed of creating a city public library in Moscow. Finally, his many years of efforts were crowned with success, and, having received an appointment to Moscow, in 1862 he moved to hometown priceless book collection. Prince Vladimir Odoevsky became the first director of the Rumyantsev Library, which is still the main national library of Russia.
A scribe and a mystifier, who greeted his guests in a black pointed cap and a long, black velvet frock coat, like an alchemist...
The prince, long before the reform, set his serfs free along with the land, although he was not at all rich...
A talented musician and, perhaps, our first professional music critic, he “discovered” Bach and Beethoven, Berlioz and Wagner to the Russian public. He preserved ancient Russian musical texts and taught his contemporaries to understand and appreciate new Russian music - from Glinka to Tchaikovsky. The free choral singing class opened by Odoevsky became the Moscow Conservatory two years later. Russian Faust, he kept wanting to understand why the successes of mathematics, chemistry, physics, mechanics do not bring a person closer to solving the mystery of existence, but rather move him away from it... Even before the word “progress” was uttered, and people believed that the achievements of science will inevitably lead humanity to a “golden age,” Odoevsky wondered: what will happen at this time to human soul? Living in huge glass houses, flying through the air, replacing correspondence and books "electric conversation", will people become happier?
In the new millennium, we are faced with the same “damned questions.” Will Russian boys still look for answers? Who knows…
Margarita Pereslegina
WORKS OF V.F. ODOEVSKY
WORKS: In 2 volumes / Intro. Art. V.I. Sakharov. - M.: Artist. lit., 1981. After many years of oblivion, Odoevsky’s personality and work again began to attract keen interest. In the last decades of the 20th century, the writer’s own works and interesting works dedicated to him were published more than once. But much of his legacy remains to be studied and discovered by researchers and readers of modern times.
This edition presents the writer’s stories known from many collections and his main work - the philosophical novel “Russian Nights”; Also included are articles on Russian literature and journalism.
A TOWN IN A TOBECOX: Fairy tales, excerpts from the story. - M.: Bustard-Plus, 2005. - 64 p.
"Town in a snuffbox"
“What a wonderful snuffbox! motley, from a turtle. What's on the lid? Gates, turrets, a house, another, a third, a fourth - and all small and small, and all are golden, and the trees are also golden, and the leaves on them are silver; and behind the trees the sun rises, and from it pink rays spread throughout the sky.”. I wish I could go in there and see who lives there!..
"Igosha"
A strange fairy tale... A brownie is not a brownie, an imp is not an imp, where did it come from, why did it become attached? He broke the toys, broke the dishes, and you have to stand in the corner for him! And yet he "pathetic" some...
MOROZ IVANOVICH; TOWN IN A TOBACCO BOX; WORM; JOINTER; THE TALE OF THE FOUR DEAF // Fairy tales and stories of Russian writers. - M.: Reading Circle, 2001. - P. 35-63.
ABOUT LITERATURE AND ART / Intro. Art. V.I. Sakharov. - M.: Sovremennik, 1982. - 223 p. - (B-ka “For lovers of Russian literature”).
COLORFUL TALES WITH A RED WORD, COLLECTED BY IRINEY MODESTOVICH GOMOZEIKA, MASTER OF PHILOSOPHY AND MEMBER OF VARIOUS LEARNED SOCIETIES, PUBLISHED BY V. BEZGLASNY. - M.: Book, 1991. - 158 p.: ill. Facsimile reproduction of the 1833 edition.
Odoevsky's first book was published with extraordinary ingenuity and invention. Only a person in love with the art of books could have thought through all its elements like this: from the multi-colored letters of the title and the lace pattern on the cover to the special “rules” of spelling, which the preface seriously informs about.
As for the content, the author foresaw that “for some readers his tales will seem too strange, for others too ordinary.” And so it happened. But two things - “The Tale of the Dead Body, unknown to whom belonging” and “The Tale of the Occasion on Which Collegiate Advisor Ivan Bogdanovich Attitude failed to congratulate his superiors on Easter Sunday” - everyone liked them and have since been included in all collections of the writer’s works.
NARRATIVES AND STORIES / Intro. Art. and note. A. Nemzer. - M.: Artist. lit., 1989. - 382 p. - (Classics and contemporaries).
From the contents: La Sylphide; Salamander; Cosmorama.
The human mind is daring, and the temptation is great to look into the secrets of another world... But will the soul withstand communication with the elemental spirit of air or fire, or with the very embodiment of evil?..
STORIES AND STORIES / Comp., preface. and note. E. Maimina; Rice. N. Golts. - M.: Det. lit., 1992. - 334 pp.: ill.
Margarita Pereslegina
LITERATURE ABOUT THE LIFE AND WORK OF V.F. ODOEVSKY
Belinsky V. Works of Prince V.F. Odoevsky // Odoevsky V. Beethoven's Last Quartet. - M.: Moscow. worker, 1987. - pp. 344-371.
Korovin V. Vladimir Fedorovich Odoevsky (1804-1869) // Anthology of world children's literature. - M.: Avanta+, 2002. - T. 5. - P. 251-253.
Labyntsev Yu. Romantic philosophy // Labyntsev Yu. Becoming part of it: Collections of Russian bibliophiles in the main book treasury of the country. - M.: Book, 1990. - P. 164-195.
About the life and work of Odoevsky in connection with his book collection, transferred after the writer’s death to the Rumyantsev Library.
Lasunsky O. Secrets of the literary mask // Book treasures of the world. - M.: Book. Chamber, 1989. - pp. 83-91. About the first edition of “Motley Tales” and about their author.
Lyubitsyna M. Odoevsky Vladimir Fedorovich // Russian writers of the 11th-early 20th centuries: Biobibliogr. Dictionary / Ed. N. Skatova. - M.: Education, 1995. - P. 291-294.
Muravyov V. Russian Faust // Odoevsky V. Beethoven’s Last Quartet. - M.: Moscow. worker, 1987. - P. 3-34.
Nemzer A.V.F. Odoevsky and his prose // Odoevsky V. Novels and stories. - M.: Artist. lit., 1988. - pp. 3-11.
Odoevsky in life; Autobiography; Reviews and memories of contemporaries // Odoevsky V. Beethoven’s Last Quartet. - M.: Moscow. worker, 1987. - pp. 320-376.
Sakharov V. About the life and works of V.F. Odoevsky // Odoevsky V. Works: In 2 volumes - M.: Khudozh. lit., 1981. - pp. 5-28.
Sakharov V. Sower of Thoughts: (V.F. Odoevsky) // Sakharov V. Pages of Russian romanticism. - M.: Sov. Russia, 1988. - P. 247-311.
Stupel A.M. Vladimir Fedorovich Odoevsky: 1804-1869. - M.: Music, 1985. - 96 p.
Tubelskaya G. Odoevsky Vladimir Fedorovich // Tubelskaya G. Children's writers of Russia: Bibliography. reference book: Part 2. - M.: School library, 2002. - pp. 52-56.
Turyan M. Tales of Irinei Modestovich Gomozeyka: Supplement to facsimile reproduction ed. 1833 - M.: Book, 1991. - 47 p.
Turyan M. My strange fate. - M.: Book, 1991. - 398 pp.: ill. - (Writers about writers).
V. F. Odoevsky was born in 1803 and lived 66 years. The prince wrote, studied philosophy, music, and was one of the most intelligent and literate people of that time. He studied at a noble boarding school in Moscow. In 1823, together with the poet D.V. Venevitinov, he was the main member of the society of lovers of wisdom, where German philosophy was studied and the philosophy of Russia was created. Together with V.K. Kuchelbecker was the publisher of the almanac Mnemosyne in 1824-1825. V.F.
Odoevsky moved to live in St. Petersburg in 1826. He worked at the Department of Foreign Clergy, after which he was deputy head Central Library. Odoevsky’s house hosted gatherings of writers, poets, artists and musicians; it was the spiritual center of that time.
These meetings were constantly attended by A. S. Pushkin and N. V. Gogol. After which Odoevsky was also one of the employees of Pushkin’s Sovremennik.
Among the large number of works by Odoevsky, the central place is occupied by his “Russian Nights” - a conversation between a group of young people on a philosophical topic. This collection includes short stories and novellas, two of which stand out: “The Brigadier” and “Sebastian Bach.” In the latter, the author elegantly and simply presented Bach’s biography and expressed his attitude to art, namely music. He devoted the greater and better part of his life to studying the fundamentals of music.
A short story about the life and work of Vladimir Fedorovich Odoevsky for grade 4
Life and work of Odoevsky 4th grade
Born in August 1803 in Moscow, Russian writer and music critic. Vladimir is the ancestor of the Rurikovichs. His father headed the State Bank in Moscow. The boy's love for literature and writing manifested itself in early childhood, and later in 1822 he successfully graduated from Moscow University at the boarding school.
In the 20s, Vladimir often attended meetings of Russian literature, where F. Glinka was the leader, and also constantly attended the circle of the famous translator S. Raich. In 1821, the journal “Bulletin of Europe” first published a translation of Odoevsky’s articles from German. This year marked the beginning of the biography of Vladimir Fedorovich as a writer. Later, “Letters to the Elder of Luzhnitz” are published in the same magazine. One of the letters interested A. S. Griboyedov very much, and he personally met with the writer. After meeting, they remained friends for life. In 1823, Vladimir became the leader of the Society of Philosophy circle, the main focus of which was German philosophy.
In 1825, the writer, together with Kuchelbecker, created the almanac “Mnemosyne”, in which publications not only of them, but also of other famous poets were published. Odoevsky was a fan of Schelling and his philosophical view of life, and therefore wrote many articles that were aimed at clarifying problems in aesthetics. For a long time, his hobby was patristics and showed great interest in hesychasm.
In 1826 he became a member of the censorship committee and participated in it as an assistant and drafter of the censorship charter. Later he moved to the position of librarian when the committee was renamed the Ministry of Education. In 1834, Odoevsky’s fairy tale “Town in a Snuff Box” was published, which was very popular with Russian children. Since Vladimir was very hardworking, in 1846 he managed to get a place in the Imperial Library and take the place of assistant director, and also became the head of the Rumyantsev Museum, located in St. Petersburg. In 1861, Vladimir became a senator.
Until the 60s, Odoevsky was closely involved in writing and publishing children's fairy tales, which ended up in educational anthologies. The writer devoted his entire life to bringing European and Russian cultures closer together.
Several interesting essays
- Stepdaughter in the fairy tale 12 months of Marshak essay (characterization and image)
The famous Russian writer, poet, playwright, translator, screenwriter - Samuil Yakovlevich Marshak wrote a beautiful winter's tale based on a Slovak fairy tale. The fairy tale play has become incredibly popular and beloved among children and adults
V.F.Odoevsky (1804-1869) – famous writer, musician, philosopher and teacher. “A perfectly developed person”, “a living encyclopedia” - this is how those who knew him spoke of him.
Publisher of the almanac "Mnemosyne" and the magazine "Moskovsky Vestnik", co-editor of Pushkin's "Sovremennik". As an assistant to the director of the public library in St. Petersburg, director of the Rumyantsev Museum (whose book depository became the basis of the Russian State Library - “Leninka”), he contributed to the development of the book business in Russia.
He was a writer, scientist, philosopher, music theorist, and into all these worlds of human thought he brought something of his own, original - magical and real at the same time.
In music, he heard the second language of humanity, which is destined to become equal in meaning to the language of words, understandable to all people, all nations, it will unite and make friends.
Even the word “philosophy” - dry and abstract, he and his friends will find a replacement - philosophy, here, in this sound, love is combined with wisdom.
For a long time, Odoevsky was a member of the Scientific Committee of the Ministry of State Property, was involved in organizing the educational process in various educational institutions- from educational homes, parish rural schools to the Mariinsky Institute of Noble Maidens. He wrote a number of textbooks for students and guides for teachers.
In 1834-1835, he published an unusual manual for educational homes where orphans stayed - “Children's Books for Sunday Children.” Pedagogical instructions for teachers were placed here, didactic materials, as well as stories and fairy tales for reading to children.
Odoevsky was one of the first in Russia to become interested in pedagogy as a science. He planned big essay on pedagogy entitled “Science before Science”. During the writer's lifetime, only a small part of it was published.
Odoevsky writes: “There are three ways to influence a child: rational persuasion, moral influence, aesthetic harmonization... for whom persuasion is inaccessible (a most difficult matter), he can be influenced by moral influence; the child will give in to you because you want it, out of love for you; If you haven’t achieved love from your child, try to develop it through aesthetic harmonization - music, paintings, poetry...”
While organizing orphanages and rural schools, V.F. Odoevsky discovered the poverty of literature for children. He writes an article “About children's books. About the reasons for a child’s lack of interest in books…”, creates famous fairy tales and stories for children under the pseudonym “Grandfather Iriney”, publishes educational articles in the magazine “Rural Reading”, etc.
And how interesting is his life as a writer! Beloved and revered by his contemporaries, he was then forgotten for a long time, only now his books wake up after a hundred years of sleep, come to life, becoming every year more modern, more and more necessary.
“Children were my best teachers... For a fresh child’s mind, not spoiled by any scholasticism, there is no separate physics, chemistry, or anthropology...”
Odoevsky's works for children were influenced by his pedagogical views. Believing that a child can be “woke” and “unwoke,” he attached great importance to children’s literature that can awaken the mind and heart of a child. “Those who are not awake are more than asleep,” such children are not interested in anything, they do nothing. For example, Hoffmann's fairy tales can awaken them. In general, Odoevsky sees the task of literature in awakening the “unawakened” child’s mind, in promoting the spiritual growth of the child. At the same time, the writer sets the task of developing “graceful” feelings in the child’s soul.
He sought to set the child’s thoughts in motion, relying on children’s love of fiction and fantasy. His books skillfully combine real and fantastic events. Odoevsky's works are characterized by natural and scientific content, fascinating and dramatic storytelling, and conviction in the power of the human mind.
During Odoevsky’s lifetime, his books for children were published 6 times: “A Town in a Snuff Box” (1834, 1847), “Fairy Tales and Stories for the Children of Grandfather Iriney” (1838 and 1840), “Collection of Children’s Songs of Grandfather Iriney” (1847).
In terms of genre, his works are varied: fairy tales, short stories, essays, poems. Odoevsky also wrote several colorful plays for the puppet theater: “The Tsar Maiden”, “The Boy Pharisee”, “Sunday”, “The Carrier, or Cunning versus Cunning”. According to the recollections of friends, Odoevsky took great pleasure in coming up with stories and staging home performances with children. He was a passionate man, inexhaustible in invention and fun. Such people, according to Belinsky, are called “children’s holiday” in Russia. Odoevsky ideally combined the qualities necessary children's writer: “and talent, and a living soul, and poetic imagination, knowledge of children.” This predetermined his success.
Having studied Odoevsky’s fairy tales and stories, we can highlight the following aspects of his works:
Informational. Fairy tales and stories (“Two Trees”, “The Worm”, “Town in a Snuffbox”) contain scientific information from various fields of knowledge: chemistry, botany, zoology, physics, mathematics, etc. Consequently, they are a means of mental development and education of children.
Materials for a storyteller, according to the writer, are “everywhere: on the street, in the air.” The material for his first fairy tale (“Town in a Snuffbox”) was a music box, a fairly common household item in the last century and at the same time arousing the curiosity of a child. It is no coincidence that the author-musician himself was interested in it, who, by the way, created musical instrument called "Se6astyanon".
Little Misha is enchanted appearance snuffboxes, on the lid of which are depicted a gate, a turret, golden houses, golden trees with silver leaves, a sun with diverging rays. But the boy is more interested in the internal structure of the wonderful toy - the origin of music. The natural desire of an inquisitive boy to enter a toy town and see everything for himself is fulfilled in a dream. Accompanied by a companion, “a bell with a golden head and a steel skirt,” the author introduces young readers to the winding mechanism of a musical toy. The inquisitive stranger sees a lot of bell boys, they are constantly being tapped by the evil guys-hammers, who are supervised by a thick roller, turning from side to side on the sofa. And everyone is commanded by the graceful princess spring “in a golden tent with a pearl 6 chrome.” It is she who explains to Misha the coordinated operation of the musical mechanism. With surprise, Misha discovers the similarity of the principles of the music box with the laws of social structure: everything is interconnected and a violation in one link disables the entire system, disrupting the wonderful harmony. As soon as Misha pressed the spring, everything fell silent, the roller stopped, the hammers hit, the bells curled to the side, the sun hung down, the houses broke...” The town in the ta6akerka turns out to be a kind of micromodel of the world.
Traveling through the fairy-tale town, Misha, and therefore the little reader, simultaneously discovers the laws of perspective in painting and the musical theory of counterpoint. And all this fits simply and naturally into the narrative.
The fairy tale also carries an educational charge. There is a latent thought that everything in the world is driven by labor; idleness seems attractive only from the outside. At the same time, morality is unobtrusive; it follows from action.
In “Town in a Snuff Box,” Odoevsky fully demonstrated the art of speaking with children about complex things in a language that is understandable, simple and convincing.
Odoevsky used similar artistic techniques in the fairy tale "Worm" , turning this time to the field of natural science. The fairy tale, in an entertaining, poetic form, introduces readers to the transformation of a worm larva into a pupa, then into a butterfly. About this fairy tale A. A. Kraevsky wrote the following: “Isn’t a mysterious idea, a deep allegory, dressed in the simplest, most charming, most understandable expression for children, evident in this whole story of the worm’s life? Here... is an example of how to make the most abstract, even metaphysical, truths accessible to children's understanding. A child, after reading this story, may not only want to learn natural history, but he will also accept into his soul a great, fruitful thought that will never be forgotten, will give rise to many other sublime thoughts and will lay the foundation for moral improvement.”
Cultural. With the help of Odoevsky's fairy tales ("Moroz Ivanovich", "Silver Ruble", etc.), the child gets acquainted with the elements of folk life, traditions, and holidays. The basis of personal culture is being formed.
The most popular fairy tale is “Moroz Ivanovich”. Its plot echoes the folk tale “Morozko” and includes traditional fairy-tale motifs (an oven with pies, an apple tree with golden apples). When creating his work, Odoevsky supplemented it with details of everyday life, a description of the decoration of Moroz Ivanovich’s home, and described in detail the characters of the main characters - the girls Needlewoman and Lenivitsa. B literary fairy tale they are sisters, they live with a nanny, so the motive of unfair persecution on the part of the stepmother is absent, the moral side of the relationship is emphasized.
Odoevsky's tale is built on the opposition of labor
share and laziness, which is emphasized by the epigraph: “It’s free for us,
without labor, nothing is given - it’s not without reason that the proverb has been around since ancient times.”
The needlewoman, both in her home and when visiting Moroz Ivanovich, is hardworking, diligent, and kind-hearted, for which she was rewarded. The sloth, who only knew how to count flies, could neither fluff the snow feather bed, nor make food, nor mend her dress.
The writer softens the ending of the tale. Lenivitsa receives gifts from Moroz Ivanovich that melt before our eyes. As is the work, so is the reward. And the afterword is addressed to the reader: “And you, children, think, guess what is true here, what is not true; what is said really, what is said sideways; some as a joke, some as an instruction.”
A wise storyteller does not miss the opportunity, as the tale progresses, to tell children about how winter gives way to summer, how winter crops grow, why the water in a well is cold in summer, how to filter water using sand and coal so that it becomes “clean, like crystal,” to give a lot other useful information.
Personal. Odoevsky’s works (“Silver Ruble,” “Orphan,” “Poor Gnedko”) help a child think about the motives of his actions and understand his inner world.
The most modern sounding story is “Poor Gnedko” - about the fate of a cab driver’s horse, driven by its owner.
... Once upon a time, Gnedko was a cheerful foal, he lived in the village, his children Vanyusha and Dasha were friends with him. Then he was sold to the city. And so poor Gnedko lies on the pavement, “he cannot move, he has buried his head in the snow, he is breathing heavily and moving his eyes.” The author’s direct appeal sounds relevant: “My friends... It is a sin to torture animals... Whoever tortures animals is a bad person. He who tortures a horse or a dog is capable of torturing a person..."
Social.“The Indian Tale of the Four Deaf People,” “The Organ Grinder,” and “The Joiner” teach children the ability to build and regulate their relationships with peers and adults, which contributes to the sociologization of children.
The witty Indian fairy tale “About the Four Deaf People” is interesting and meaningful. Four deaf people (the village shepherd, the watchman, the horseman and the Brahmin), forced to communicate, do not hear each other. Each person interprets the behavior of the others in his own way, which results in a lot of absurdity and absurdity. The tale warns against moral deafness. The writer addresses the readers: “Do a little, friends, don’t be deaf. We are given ears to listen. One clever man noticed that we have two ears and one tongue and that, therefore, we need to listen more than speak.”
The fairy tale “The Joiner” tells the story of the life of the famous French architect Andrei Roubaud, who went from poverty to national recognition, a path that could only have been possible for a boy who had amazing tenacity, magical curiosity, and extraordinary hard work.
Thus, we can talk about the critical importance of Odoevsky’s works in introducing young readers to universal human values that are relevant for any era.