November 6 (October 25), 1852 was born Dmitry Narkisovich Mamin-Sibiryak (real name - Mamin) - the great Russian prose writer and playwright.

There is no such person in Russia who has not heard the name of Mamin-Sibiryak and has not read at least one of his books.

In the post-revolutionary years, this name was covered with such a thick layer of "textbook gloss" that many do not know the real fate. famous writer, nor many of his works. It is worth saying “Dmitry Narkisovich Mamin-Sibiryak”, as a famous photograph rises before your eyes, where he looks contented with life, a respectable man, in a rich fur coat, in an astrakhan hat.

D.N. Mamin-Sibiryak

According to the recollections of friends, the writer was of medium height, but strong build, charming, with beautiful black eyes, with an invariable pipe. Despite his temper, he was distinguished by kindness and sociability, was known as an excellent storyteller, and was often the soul of the company. At the same time, he did not tolerate injustice, he was a direct, whole person, he did not know how to lie and pretend. Like any good person, "the old people, children loved him and animals were not afraid." The colorful figure of Mamin-Sibiryak was so noticeable that Ilya Repin himself painted from him one of the Cossacks for his famous painting.

However, the personal fate of Mamin-Sibiryak was difficult and unhappy. Only early childhood and fifteen months of a happy marriage can be called prosperous. The creative path of the famous writer was not easy either. At the end of his life, he wrote to publishers that his writings "will be typed into 100 volumes, and only 36 have been published." There was no literary success that he deserved, and the family drama of the Russian prose writer completely resembles the plot of the Mexican series ...

Childhood and youth

Dmitry Narkisovich Mamin was born in the village of Visim (Visimo-Shaitansky plant, owned by the Demidovs), 40 kilometers from Nizhny Tagil, which is on the border of Europe and Asia. The father of the future writer is a hereditary priest. The family is large (four children), friendly, hard-working ("without work, I did not see either my father or mother"), reading. The family had a big library: magazines and books were subscribed from St. Petersburg. Mother loved to read aloud to her children. Dmitry's favorite book in childhood was "Childhood of Bagrov-grandson" (Aksakov).

About my early childhood and the writer said about his parents: "There was not a single bitter memory, not a single childish reproach." Hundreds of amazing letters from Dmitry Narkisovich to his parents have been preserved, where he writes “Mom” and “Dad” always with capital letter. But the time has come to study seriously, and the poor priest Mamin did not have money for a gymnasium. Dmitry and his older brother Nikolai were taken to the Yekaterinburg Theological School (Bursa), where their father had once studied. It was hard times for Mitya. He considered the years in the bursa lost and even harmful: "... the school did not give anything to my mind, did not read a single book ... and did not acquire any knowledge." (Later Pavel Petrovich Bazhov graduated from the same school).

After the theological school, the priest's son had a direct path to the Perm Theological Seminary. There, Dmitry Mamin began his first literary work. But he was “cramped” in the seminary, and the future writer did not complete the course. In 1872, Mamin entered the veterinary department of the St. Petersburg Medical and Surgical Academy. In 1876, without graduating from the academy, he switched to Faculty of Law St. Petersburg University. It was extremely difficult for him to study, his father could not send money. The student often went hungry and was poorly dressed. Dmitry earned his bread by writing for newspapers. And then there is a serious illness - tuberculosis. I had to quit my studies and return home to the Urals (1878), but already to the city of Nizhnyaya Salda, where his family moved. Father dies soon. Dmitry takes care of all the family.

Ural singer

Dmitry Narkisovich had to work very hard, give lessons: “For three years, 12 hours a day, I wandered through private lessons.” He wrote articles and educated himself. Moved to Yekaterinburg. Wrote books. The writer traveled many roads in the Urals, rafted along the Ural rivers, met many interesting people, studied archives, was engaged in archaeological excavations. He knew the history of the Urals, the economy, nature, folk tales and legends. "Ural! Ural! The body is stone, the heart is fiery” - this was his favorite expression.

The future “classic” signed his first journalistic works D. Sibiryak. In those days, everything that was beyond the Ural Mountains was called Siberia. He began to sign novels with the double surname Mamin-Sibiryak. Now he would call himself Mamin-Ural.

Recognition did not come to the writer immediately. For 9 years he sent his works to different editions and always received a refusal. Only in 1881-1882, a series of essays by D. Sibiryak "From the Urals to Moscow" was published in the Moscow newspaper Russkiye Vedomosti. The talented provincial was noticed not by publishers, but by radical journalists. A number of his essays about the Ural land were published in the St. Petersburg censored magazine Delo, and later the most famous novel"Privalovsky millions". However, for a serious writer to be published in the "Delo" of the 80s did not represent a great honor: the magazine lived out its last days and took any material allowed by censorship (up to tabloid novels). The works of Mamin-Sibiryak deserved more. However, this publication allowed the talented writer to finally "get through" to the capital's publishing houses and become famous not only in the Urals, but also in the European part of the great country.

Mamin-Sibiryak opened the Urals to the world with all its riches and history. About his novels, you need to conduct a separate and serious conversation, which will not fit into the scope of this essay. The novels demanded a lot of work from Mamin-Sibiryak. The writer did not have assistants and secretaries: he had to rewrite and edit manuscripts many times, make inserts, and perform technical processing of texts. Mamin-Sibiryak was distinguished by his great capacity for work as a writer and was talented in many literary genres: novels, short stories, stories, fairy tales, legends, and essays. The pearls of his work - "Privalovsky Millions", "Mountain Nest", "Gold", "Three Ends" - made a huge contribution to the development of Russian literature and the Russian literary language.

About the language of these works, Chekhov wrote: “Mamin’s words are all real, and he himself speaks them and does not know others.”

Life at a turning point

Dmitry Narkisovich was approaching his fortieth birthday. Comparative prosperity has come. The royalties from the publication of novels gave him the opportunity to buy a house in the center of Yekaterinburg for his mother and sister. He married in a civil marriage to Maria Alekseeva, who left her husband and three children for him. She was older than him, a well-known public figure, an assistant in writing.

It would seem that there is everything to live calmly, happy life, but Dmitry Narkisovich began a crisis of "middle age", followed by a complete spiritual discord. His work was not noticed by metropolitan critics. For the reading public, he still remained a little-known "talented provincial". The originality of the creativity of the Ural "nugget" did not find proper understanding among readers. In 1889, Mamin-Sibiryak writes in one of his letters to a friend:

"... I gave them a whole region with people, nature and all the riches, and they don't even look at my gift."

I was tormented by dissatisfaction with myself. The marriage was not very successful. There were no children. It seemed like life was ending. Dmitry Narkisovich began to drink.

But for the new theatrical season of 1890, a beautiful young actress Maria Moritsevna Heinrikh arrived from St. Petersburg (by her husband and stage - Abramova). They could not but get acquainted: Maria brought Mamin-Sibiryak a gift from Korolenko (his portrait). They fell in love with each other. She is 25 years old, he is almost 40. Everything was not easy. The writer was tormented by debt to his wife. The husband did not give Mary a divorce. Mamin-Sibiryak's family and friends were against this union. Gossip and gossip spread throughout the city. The actress was not allowed to work, there was no life for the writer either. The lovers had no choice but to flee to St. Petersburg.

On March 20, 1892, Maria gave birth to a daughter, but she herself died the next day after a difficult birth. Dmitry Narkisovich almost committed suicide. From the shock he experienced, he cried at night, went to pray in St. Isaac's Cathedral, tried to fill his grief with vodka. From letters to my sister: “I have one thought about Marusya ... I go for a walk to talk loudly with Marusya.” From a letter to his mother: “... happiness flashed like a bright comet, leaving a heavy and bitter aftertaste ... Sad, hard, lonely. Our girl remained in her arms, Elena - all my happiness.

"Alyonushka's Tales"

Elena-Alyonushka was born a sick child (infantile cerebral palsy). Doctors said - "not a tenant." But the father, friends of the father, the nanny-educator - "Aunt Olya" (Olga Frantsevna Guvale later became the wife of Mamin-Sibiryak) pulled Alyonushka from the other world. While Alyonushka was little, her father sat by her bed day and night. No wonder she was called "father's daughter." We can say that Mamin-Sibiryak accomplished the feat of fatherhood. Rather, he accomplished three feats: he found the strength to survive, did not let the child die, and began to write again.

The father told the girl fairy tales. At first he told those that he knew, then, when they ended, he began to compose his own. On the advice of friends, Mamin-Sibiryak began to record and collect them. Alyonushka, like all children, had a good memory, so the writer-father could not repeat himself.

In 1896 Alyonushka's Tales was published as a separate edition. Mamin-Sibiryak wrote: “... The publication is very nice. This is my favorite book - it was written by love itself, and therefore it will outlive everything else. These words turned out to be prophetic. His "Alyonushka's Tales" are reprinted annually, translated into different languages. Much has been written about them, they are associated with folklore traditions, the writer's ability to entertain the child with important moral concepts, especially the feeling of kindness. It is no coincidence that the language of "Alyonushka's Tales" was called "Mother's Syllable" by contemporaries. Kuprin wrote about them: "These tales are poems in prose, more artistic than Turgenev's."

Mamin-Sibiryak writes to the editor during these years: “If I were rich, I would devote myself specifically to children's literature. After all, it is happiness to write for children.

Mom-Sibiryak with her daughter

One must only imagine the state of mind in which he wrote these fairy tales! The fact is that Dmitry Narkisovich had no rights to his child. Alyonushka was considered "the illegitimate daughter of the petty bourgeois Abramova", and the first husband of Maria Moritsevna, out of revenge, did not give permission for her adoption. Mamin-Sibiryak reached despair, he was even going to kill Abramov. Only ten years later, thanks to the efforts of the writer's wife, Olga Frantsevna, permission was obtained.

"Happiness to write for children"

Mamin-Sibiryak knew this happiness long before Alyonushka's Tales. Even in Yekaterinburg, the first story-essay for children "The Conquest of Siberia" was written (and he has about 150 children's works in total!). The writer sent his stories to the capital's magazines "Children's Reading", "Rodnik" and others.

Everyone knows the fairy tale "The Gray Neck". She, along with "Alyonushka's Tales" was included in the collection "Tales of Russian Writers" (in the series "Library of World Literature for Children"). When the tale was written, it had a sad ending, but later Mamin-Sibiryak finished the chapter on saving the Gray Neck. The tale has been published many times - both separately and in collections. Many fairy tales recent years have not been published. Now they are returning to the readers. Now we can read "Confession of the old St. Petersburg cat Vaska", written back in 1903, and others.

From early childhood everyone knows the stories of D.N. Some of these stories were highly appreciated during the life of the writer. "Emelya the Hunter" was awarded the Prize of the Pedagogical Society in St. Petersburg, and in 1884 received the International Prize. The story "Wintering on Studenaya" was awarded the Gold Medal of the St. Petersburg Literacy Committee (1892).

Legends in the work of Mamin-Sibiryak

The writer had a long-standing interest in folk legends, especially those created by the indigenous population of the Urals and Trans-Urals: the Bashkirs, Tatars. Previously, part of the indigenous population was called Kyrgyz (they are mentioned in the legends of Mamin-Sibiryak). In 1889, he wrote to the Society of Russian Literature: “I would like to start collecting songs, fairy tales, beliefs and other works folk art' He asked for permission to do so. Permission - "Open List" - was issued to Mamin-Sibiryak.

He wanted to write a historical tragedy about Khan Kuchum, but did not have time. Wrote only five legends. They came out as a separate book in 1898, which was later not republished. Some of the legends were included in the collected works of Mamin-Sibiryak, the most famous of which is "Ak-Bozat". Legends have strong, bright heroes, their love for freedom, just love. The Mayan legend is clearly autobiographical, in which early death the heroine who left a small child, the endless grief of the protagonist, who loved his wife very much, and the consonance of names - Maya, Maria. This is a personal song about bitter love, about longing for a dead loved one.

Christmas stories and fairy tales of Mamin-Sibiryak

The son of a priest, a believer, Mamin-Sibiryak wrote Christmas, Christmas stories and fairy tales for both adults and children. After 1917, of course, they were not printed. During the time of the struggle against religion, these works could not be linked with the name of the democratic writer. Now they are published. In Christmas stories and fairy tales, Mamin-Sibiryak preaches the ideas of peace and harmony between people. of different nationalities, different social strata, different ages. They are written with humor and optimism.

Last period of life

The last years of the writer were especially difficult. He himself was ill a lot and was very worried about the fate of his daughter. He buried his closest friends: Chekhov, Gleb Uspensky, Stanyukovich, Garin-Mikhailovsky. It was almost out of print. March 21 (fatal day for Mamin-Sibiryak) 1910, his mother dies. It was a huge loss for him. In 1911, the writer was paralyzed.

Shortly before his death, he wrote to a friend: “... Here is the end soon ... I have nothing to regret in literature, she has always been a stepmother for me ... Well, to hell with her, especially since she personally was intertwined with bitter need, about which even the closest friends do not talk about.

The anniversary of the writer was approaching: 60 years from the date of birth and 40 years literary work. They remembered him, came to congratulate him. And Mamin-Sibiryak was in such a state that he no longer heard anything. At 60, he seemed like a decrepit old man with dull eyes. The anniversary was like a memorial service. Good words were spoken: “the pride of Russian literature”, “the artist of the word” ... They presented a luxurious album with congratulations and wishes. This album also contained words about his work for children: “You opened your soul to our children. You understood and loved them, and they understood and loved you…”

But the "recognition" came too late: Dmitry Narkisovich died six days later (November 1912). After his death, telegrams with congratulations on the anniversary still went on and on. The capital press did not notice the departure of Mamin-Sibiryak. Only in Yekaterinburg, friends and admirers of his talent gathered for a funeral evening. They buried Mamin-Sibiryak next to his wife at the cemetery of the Alexander Nevsky Lavra in St. Petersburg.

The fate of Alyonushka

Elena survived her father by two years. After his death, she insisted on a trip to Yekaterinburg. I looked at the city, the surroundings, met with relatives. In her will, Elena Mamina wrote that after the death of the last owner, her father’s house would become a museum, “which I urgently ask you to arrange in this city and, if possible, in the bequeathed house or the house that will be built in its place.”

Her will was fulfilled: in the center of Yekaterinburg there is a wonderful Literary Quarter, which includes the preserved House of Mamin-Sibiryak (Pushkinskaya St., 27) with all the furnishings of those years, books, photographs, drawings and manuscripts of the writer.

Alyonushka died at the age of 22 from transient consumption in the autumn of 1914, during the First World War. All her archives, poems, drawings, part of her father's works were lost. Alyonushka was buried next to her parents. A year later, a monument was erected to all three. The words of Mamin-Sibiryak are carved on it: “To live a thousand lives, suffer and rejoice with a thousand hearts - this is where real life and real happiness are.”

Elena Shirokova

based on the article: Kapitonova, N.A. Mamin-Sibiryak D.N. // Literary local history: Chelyabinsk region / N.A. Kapitonov. - Chelyabinsk: ABRIS, 2008. - S. 18-29.

Recently, the site site is increasingly responding to the same search query: “Why is the hero of the fairy tale D.N. Mamin-Sibiryak "Ak-Bozat" left his wife?

The frequency and frightening regularity of this request first surprised us, then puzzled us: “Is it really only this global problem that worries the younger generation of the entire post-Soviet space today?” - we thought.

It turned out that this insoluble question torments only the victims of the current system of secondary education - schoolchildren and students, who, instead of reading Russian literature, are now offered ready-made answers to simple questions, like in a ballot ("yes", "yes", "no", "yes "- cross out the necessary!"). The imperfection of the Unified State Exam is aggravated by the absolute confidence of students that in the World Wide Web it is easy to find a solution to all the unsolvable problems that mankind has ever set for itself.

We will not smash this enviable confidence to smithereens, because hope dies last. We will answer this question without using "too many letters", so that the answer can be "assimilated" by every representative of the "Pepsi generation", i.e. - in the spirit of the USE test.

Question: “Why is the hero of the fairy tale D.N. Mamin-Sibiryak "Ak-Bozat" left his wife?
Answer options:

1. He fell in love with a woman from the neighboring harem;
2. He was inflamed with passion for a mare named Ak-Bozat (diagnosis - bestiality);
3. My wife ran the household poorly, did not clean up the wagon and did not know how to milk the mares, and spent the whole day sitting on vkontakte.ru.

Now try, my dear, users who basically do not read anything, point your finger at the sky and choose the correct answer. We would recommend doing this to education officials who compose similar tests in Russian literature. Their only goal is to turn Russian schoolchildren into stupid, obedient sheep, capable of choosing the answers already proposed by someone without unnecessary thought and tedious reading.

We advise all other students to turn to the original source and read a very worthy (not to be confused with the word "sucks"!) literary text of the fairy tale by the Russian writer D.N. Mamin-Siberian. Reading "Ak-Bozat" will take no more than 10-15 minutes, which in any case is less than the time spent searching for a ready-made answer on the Internet.

So,

“Why is the hero of the fairy tale D.N. Mamin-Sibiryak "Ak-Bozat" left his wife?
(opinion of the authors of the site, familiar with the text "Ak-Bozat")

The hero of the fairy tale Bukharbai, a very wealthy man in the past, through his own fault lost (played, drank, squandered) all his fortune. The only thing he managed to save was a thoroughbred foal named Ak-Bozat (Star). For many years, Bukharbay raised a foal, and the mare Ak-Bozat became the main thing in his life: at the same time, the memory of his father and mother, and the hope for his own better future, an object of self-realization.

Hard work bears fruit: the daughter of a rich man pays attention to Bukharbay, who likes Bukharbay himself. However, as a bride price for her daughter, her father asks for Ak-Bozat! It would seem that a mare is a completely acceptable payment for family happiness with a loving wife.

However, the horse was stolen! And this happens just at the moment when Bukharbay "changed" his destiny - he agreed to exchange Ak-Bozat for family happiness, home and material well-being. As a result, life without Ak-Bozat, without a dream, which he once changed and lost forever, turned out to be unbearable for him. Therefore the hero leaves his wife(!) and rushes on his way to his guiding star - Ak-Bozat, the possession of which, as he understands, was the true meaning of his life.

The entire children's cycle of the works of Mamin-Sibiryak, including "Alyonushka's Tales", by many critics late XIX and the beginning of the 20th century was usually associated with the birth of the writer's daughter (March 1892). In fact, Mamin-Sibiryak turned to the genre of children's literature long before the appearance of his daughter.

So, on November 4, 1881, young Mamin informed his mother: “The other day I finished a small article “The Conquest of Siberia”, which will be published in the “Illustrated Magazine for Children” from January. Two of my short stories “Monsieur Bouillon” and “There is no silver lining” (State Library of the USSR named after V. I. Lenin) were also accepted there.

"Emelya the Hunter", one of the best classic children's stories, was written in 1884. The story "Whistle", later remade by the author into a story for children called "The Breadwinner", was written in 1885. In the same year, the story "Wintering on Studenaya" was created and sent by Mamin to the competition for the prize of the St. Petersburg Frebel Pedagogical Society. (The story was published only in January 1892, that is, more than two months before the birth of the writer's daughter.)

In the late 80s and early 90s, Mamin-Sibiryak was already systematically published in the magazines Children's Reading, Shootings, Children's Recreation, Rodnik, God's World, later in Young Russia, "Modern World" and other progressive magazines. At the head of these bodies were advanced people of their time, teachers, writers, public figures. Each of them was glad to invite a talented young writer from the Urals to cooperate in his journal. So, it is known that during the second visit of Mamin-Sibiryak to St. Petersburg, in the early 90s, the editor of the journal "God's World" V.P. Ostrogorsky offered him permanent cooperation in his journal. Mamin-Sibiryak agreed, handed over to Ostrogorsky his story "Zimovye on Studenaya" and since then for many years in a row published his works for children in the "God's World".

To understand the environment in which the future was formed children's writer, it suffices to refer to his "Autobiographical note". Recalling his childhood years, Mamin wrote: “For themselves, the big ones read Sovremennik and Dobrolyubov, and D.N. still listened with a child’s ear in a distant, bearish corner to the echoes and echoes of the great movement of the late 50s and early 60s . In general, the whole situation in the life of a modest priestly family was not entirely ordinary in nature and gave the mind and character of D.N. that hardening, which is given only at one’s hearth with loving hands. It was an atmosphere of work, the search for noble ideals, intellectual interests.

The outstanding Russian teacher K. D. Ushinsky, whose advanced views were close to Mamin, had a great influence on the pedagogical views of Mamin-Sibiryak.

Mamin created his works for children easily and quickly, according to the writer's contemporaries. So, D. I. Tikhomirov, editor of Children's Reading, a magazine about which, according to N. K. Krupskaya, V. and Lenin spoke very warmly, wrote in his memoirs: “Children's stories poured out from Mamin - immediately, they were written easily, directly “whitewashed” and without any blot” (D. I. Tikhomirov “From the life of D. N. Mamin-Sibiryak”. Sat “Memoirs of D. N. Mamin-Sibiryak” was compiled by Z. A. Eroshkina, Sverdlgiz , 1936, p. 162).

All the works written by Mamin for children are distinguished by a deep ideological and social content, the writer subtly and cleverly denounces the capitalist system in them. His children's stories and fairy tales glorify labor, they are deeply humane, they protest against all forms of human oppression, and evoke sympathy for the downtrodden and destitute.

Having received for printing new story Mamin, “Kara-Khanym”, imbued with love for small nationalities and an effective desire to help them, D. I. Tikhomirov enthusiastically wrote to Mamin on March 12, 1896: “... You killed us all, touched us to tears, without exaggeration ... And Nilych was amazed and admired from the heart, and did not hide it, and ordered you to write a warm greeting. My dear, - you have taken a new note, a new theme, - you show others the way. Your deeply meaningful story will show everyone that with children with intelligence and talent you can talk with great success - and about serious matters. This is what children's literature has been waiting for! And who should have started, if not you! Greetings from the bottom of my heart! Write write! write!” (The letter was not published. It is stored in the State Library of the USSR named after V. I. Lenin).

Mamin-Sibiryak attached great importance to a children's book: “For me, every children's book is still something alive, because it awakens a child's soul, directs children's thoughts in a certain direction and makes a child's heart beat along with millions of other children's hearts. A children's book is a spring sunbeam that awakens the dormant forces of a child's soul and causes the seeds thrown into this grateful soil to grow ”(“ From the Distant Past ”, story“ A Book with Pictures ”).

Being already famous writer, the author of many novels and short stories, Mamin-Sibiryak in 1894 wrote to A. A. Davydova, publisher of the journal “God’s World”: “If I were rich, I would devote myself specifically to children’s literature. After all, it is a happiness to write for children and feel the intense attention of thousands of children's heads that will catch every word and give the author their pure childish smiles ... ”(Text, letters are based on an article by Vl. Kranikhfeld, published in the magazine“ Modern world» No. 11, 1912, taken, according to him, from the archive of M. K. Iordanskaya.)

Mamin's stories for children are read with interest by adults and have withstood the "test of time". From year to year, children's stories are reprinted to the present day.

Stories for children were translated into foreign languages ​​and published in Paris, Poland, Bulgaria, and Czechoslovakia. Here is what the Czech teacher A. A. Teska, a translator of mother’s tales, wrote, for example, in broken Russian in 1906: “I would like to send you all the joy and delight that you aroused our Czech children with your book; I read it in a public school class and I am very sorry that at that time you could not see the flaming eyes of everyone who listened with bated breath, and that you did not hear everyone’s long sigh after reading, accompanied by an exclamation: “How good!” But you brought joy to more than one child with your work: all of us, the big ones, are more pitiful than children: the dust of worries and disappointments in life and everything that is so disgusting in it filled our souls - and now your stories smelled of such fresh air that at least for a while short, but still the dust scattered and bright colors began to play on the soul. Thank you a thousand times!..” (Manuscript Department of the State Library of the USSR named after V. I. Lenin.)

Mamin-Sibiryak was not a teacher either by education or by profession, but all his works written for children are pedagogical in the true sense of the word. Without any deliberate tendency, he brings up noble feelings in children, a thirst for knowledge, love for native land, nature, animals.

On September 5, 1891, he wrote to his mother: “... Spoiled children are a misfortune for life for themselves, for their parents, and for society. It is necessary to educate an ordinary soldier, and let him get the rest ... ”(State Library of the USSR named after V. I. Lenin).

The writer returned to this issue again in 1894, when he wrote to his mother: “We once talked with Chekhov on this topic. He has no wife or children, and the conversation was purely theoretical. Chekhov stated categorically that if he had children, he would literally not leave them a penny, because he did not want to destroy them. This is deeply true, and I will add to this that children should be left with as much as is necessary for a modest existence, and not Moreover(letter dated March 3, 1894). It is characteristic that Mamin means the sons of the rich, "pressed down by parental capital." It was already certain system views, a fundamental point of view on the education of the younger generation, and Mamin was her consistent guide and defender.

It was to instill in children a sense of love for the motherland that the writer conceived a cycle of historical educational works, on which he worked for several years. In a letter dated August 13, 1895, Mamin informed his mother: “I want to write a Russian history for children in the form of a journey. First I will write the Novgorod history, then Kyiv period, then the Tatar region, the collection of Moscow and I will finish with Peter. The work is big, it will take several years ... ".

From the writer’s correspondence, in particular with D. I. Tikhomirov, it is clear that in August 1901 Mamin specially traveled “along the Great Road”, along Lake Ladoga, to the Volkhov, in order to accumulate factual material, to resurrect the historical situation. “I need this for history, for children,” Mamin wrote.

Mamin had been preparing for this work for many years, but he failed to complete it. It was only in 1904 that his first historical essays began to appear: “Sir Pantelei - Svet Ivanovich”, “Glorious city of Veliky Novgorod”, etc.

Great was the writer's sense of responsibility to the multi-million audience of children and youth for whom he worked. Considering his young readers to be "the strictest audience," Mamin carefully processed his children's works, making corrections and changes in each new edition.

“The first volume of my children's stories will be published in the post,” he wrote to his mother on February 12, 1895. “It seems to me that these little trinkets will give me more popularity than anything written before for a large public.”

Mamin-Sibiryak was not very "lucky" with criticism of his work for adults, but he was unanimously recognized by both pre-revolutionary and Soviet press as an unsurpassed master children's story and fairy tales, a kind and intelligent friend of children, a master of a subtle psychological portrait, characteristics.

Emelya-hunter

Story

The original title of the story is "The Runner". First published in 1884 in the series Stories for Young Children, ed. Frebel Pedagogical Society, St. Petersburg. The story was awarded the prize of this society. It was published many times in separate editions and in collections of children's stories.

Critics unanimously noted the humanism of the story and the beauty of the image of Emelya.

Published according to the text: D.N. Mamin-Sibiryak, Sat. "Stories and Tales", vol. 1, 1910, ed. magazine "Young Russia", series "Library for family and school". The subtitle "A Tale for Children" was removed from this edition.

ZIMOVIE ON STUDENOY

Story

First published in the journal World of God, 1892, No. 1. On April 20 of the same year, Mamin informed his mother that the story had been awarded the gold medal of the St. Petersburg Literacy Committee.

The work of a lone fisherman-hunter, deceived by merchants and abandoned to a distant winter hut cut off from people, is poeticized in "Wintering on Studenaya". The writer tells penetratingly about the effective love of a Russian person for his native nature, for domestic animals, birds.

The Ural journalist V.P. Chekin wrote: “Wintering on Studenaya” is one of those few, sincerely, the best “juice” of the author’s “nerves” of the written works of our poor fiction and everyday literature, which, once read, are never forgotten later. From this story it breathes a touchingly realized truth ... The lights of the bright, humane, truly human flare up in all these stories under the rough, unsightly outer shell of most of Mamin's heroes ”(Collection Urals, Yekaterinburg, 1913, pp. 35 - 36).

Since 1892, the story has been reprinted many times. Printed according to the text: Sat. "Zarnitsy", 1909, edition of the magazine "Young Russia", a series of "Library for the family and school."

Page 52. Samoyeds- old Russian name Nenets and other peoples of the North. This word comes from "same-edne" (the land of the Sami).

Voguls- now Mansi - a people living in the Tyumen and partly Sverdlovsk regions.

POSTOYKO

Story

First published in the magazine "Children's Reading", 1893, No. 3, then published repeatedly. Published according to the text: D.N. Mamin-Sibiryak, Sat. "Stories and Tales", vol. 1, 1910, edition of the magazine "Young Russia".

FOSTER

From the stories of an old hunter

GRAY NECK

Story

First published under the title "Serushka" in the magazine "Children's Reading", 1893, No. 12. Then it was published many times. There were discrepancies between the texts: in a magazine publication, "Gray Sheika" was called "Serushka". In subsequent editions, she is referred to everywhere as the "Gray Neck". Preparing a separate edition of the story for publication, Mamin changed the title of the story, changed its ending, considering it too gloomy for children, and introduced new chapter, which tells about the rescue of the Gray Neck.

Published according to the text: D.N. Mamin-Sibiryak, Sat. "Stories and Tales", vol. 1, 1910, edition of the magazine "Young Russia".

AK-BOZAT

Story

First published in the magazine "Children's Reading", 1895, Nos. 1 and 2.

Back in November 1894, D. I. Tikhomirov, editor of the Children's Reading magazine, enthusiastically wrote about Mamin's "pure heart", about "pure scenes of love" in the story "Ak-Bozat". Mamin's correspondence with him shows how both of them were interested in making the story more intelligible and illustrating it more vividly.

Realizing the social sharpness of the story, Tikhomirov, preparing a separate edition of the story (1907), consults with Mamin: "Publications are not worth giving now - the time is deaf." Apparently, also fearing the interference of censorship, Mamin-Sibiryak made significant amendments to the text of the story during its next publication. So, he excluded the phrase: “In rich people, greed grows along with wealth and is ready to swallow its own shadow”; changed the characteristic of Tsatsgai's fist. In the previous edition it was: “Tsatsgai was stingy like all rich people(my italics - A.N.) and, like all rich people, he gave his shepherds as much as they needed so as not to die of hunger. AT new edition the generalization was removed and it remained: "Tsatsgai was stingy and gave his shepherds as much as was necessary so as not to die of hunger."

The story was met with positive reviews from critics.

During the life of the writer, the story was reprinted many times. Published according to the text: D. N. Mamin-Sibiryak "Ak-Bozat", 1910.

IN THE BACKWOODS

The story was warmly stamped. In the journal "God's World" (No. 4, 1898), a review was published that aptly characterizes the features of the story. “Mr. Mamin,” it was written there, “inimitably depicts his Ural heroes, always remaining objective, not trying to embellish or exalt them, which, in our opinion, is one of the most valuable aspects of his outstanding artistic talent. Thanks to this particular feature, his stories give the impression of unusual freshness and integrity, something healthy and invigorating, like the nature of the Urals, which he knows how to portray like no one else.

Published according to the text: D. N. Mamin-Sibiryak, "In the Wilderness", edition of the magazine "Young Russia", series "Cheap Library for the Family and School", 1909.

Page 99. Yasachit- impose taxes. Here is the prey of the hunter.

SPIT

Story

First published in the magazine "Vskhody" (illustrated magazine for children school age, 1897, No. 19). Then he was published many times in collections and in separate editions.

Published according to the text: D.N. Mamin-Sibiryak. "Stories and Essays", collection "Across the Urals", 1900, series "Library of Children's Reading".

OLD SPARROW

Story

First published in the magazine "Children's Reading", No. 4, 1894; It was published as a separate book in 1899 (Publisher, St. Petersburg), then it was published many times during the author's lifetime, both in collections and in separate editions.

The story was probably written in 1892. The handwritten section of the State Library of the USSR named after V. I. Lenin stores the manuscript of the story, which has a handwritten inscription by Dmitry Narkisovich: “On March 15, Marusya (M. M. Abramova, the wife of the writer, who died on March 22 of the same year.) Rewrote this story” .

Published according to the text: D. N. Mamin-Sibiryak, "Stories and Tales", vol. 1, 1910, edition of the magazine "Young Russia". Errors in the 1892 manuscript have been corrected in the text.

BOGACH AND YEREMKA

Reprinted from the text of the 1904 edition.

Tales of Mamin-Siberian

Mamin-Sibiryak wrote many stories, fairy tales, novels for adults and children. The works were published in various children's collections and magazines, printed as separate books. Tales of Mamin-Sibiryak are interesting and informative to read, he is truthful, strong word talks about the hard life, describes the native Ural nature. Children's literature for the author meant the connection of the child with the adult world, so he took it seriously.

Tales Mamin-Sibiryak wrote, pursuing the goal of raising fair, honest children. A sincere book works wonders, the writer often said. Wise words, thrown on fertile ground, will sprout, because children are our future. The tales of Mamin-Sibiryak are diverse, designed for children of any age, because the writer tried to reach out to every child's soul. The author did not embellish life, did not justify or justify himself, he found warm words that convey the kindness and moral strength of the poor. Describing the lives of people and nature, he subtly and easily conveyed and taught how to take care of them.

Mamin-Sibiryak worked hard and hard on himself, on his skill, before he began to create literary masterpieces. The fairy tales of Mamin-Sibiryak are loved by adults and children, they are included in the school curriculum, staging children's matinees in the gardens. The author's witty and sometimes unusual stories are written in the style of a conversation with young readers.

Mom's Sibiryak Alyonushka's fairy tales

Mamin-Sibiryak begins to read from kindergarten or elementary school. The collection of Alyonushka's tales of Mamin-Sibiryak is the most famous of them. These small tales of several chapters speak to us through the mouths of animals and birds, plants, fish, insects and even toys. The nicknames of the main characters touch adults and amuse children: Komar Komarovich - long nose, Ruff Ershovich, Brave Hare - long ears and others. At the same time, Mamin-Sibiryak Alyonushka wrote fairy tales not only for entertainment, the author skillfully combined useful information with exciting adventures.

The qualities that develop the tales of Mamin-Sibiryak (in his own opinion):

Modesty;
industriousness;
Sense of humor;
Responsibility for the common cause;
Selfless strong friendship.

Alyonushka's fairy tales. Reading order

Saying;
Tale of the brave Hare - long ears, slanting eyes, short tail;
The Tale of the Kozyavochka;
The tale about Komar Komarovich is a long nose and about shaggy Misha is a short tail;
Vanka name day;
The Tale of Sparrow Vorobeich, Ruff Ershovich and the cheerful chimney sweep Yasha;
A fairy tale about how the last Fly lived;
The Tale of the Crow-black head and the yellow bird Canary;
Smarter than everyone;
The Tale of Milk, Oatmeal Kashka and gray cat Murka;
It's time to sleep.

Mamin-Siberian. Childhood and youth

The Russian writer Mamin-Sibiryak was born in 1852 in the village of Visim in the Urals. The place of birth largely predetermined him easy temper, hot kind heart, love to work. The father and mother of the future Russian writer raised four children, earning their bread by hard many hours of work. From childhood, little Dmitry not only saw poverty, but lived in it.

Children's curiosity led the child to completely different places, opening pictures with arrested workers, causing sympathy and at the same time interest. The boy loved to talk for a long time with his father, asking him about everything he had seen during the day. Like his father, Mamin-Sibiryak began to acutely feel and understand what honor, justice, lack of equality are. Over the years, the writer has repeatedly described harsh life common people from his childhood.

When Dmitry became sad and anxious, his thoughts flew away to his relatives. Ural mountains, memories flowed in a continuous stream and he began to write. For a long time, at night, pouring out their thoughts on paper. Mamin-Sibiryak described his feelings as follows: “It seemed to me that in my native Urals even the sky is cleaner and higher, and people are sincere, with a broad soul, as if I myself became different, better, kinder, more confident.” Most good tales Mamin-Sibiryak wrote at precisely such moments.

The love of literature was instilled in the boy by his adored father. In the evenings, the family read books aloud, replenished the home library and were very proud of it. Mitya grew up thoughtful and addicted ... Several years passed and Mamin-Sibiryak turned 12 years old. It was then that his wanderings and hardships began. His father sent him to study in Yekaterinburg at the school - bursa. There, all issues were resolved by force, the elders humiliated the younger ones, they fed poorly, and Mitya soon fell ill. Of course, his father immediately took him home, but after a few years he was forced to send his son to study in the same bursa, since there would not be enough money for a decent gymnasium. The teachings in the bursa left an indelible mark on the heart of a child at that time. Dmitry Narkisovich said that later it took him many years to expel terrible memories and all the accumulated anger from his heart.

After graduating from the bursa, Mamin-Sibiryak entered the theological seminary, but left it, as he himself explained that he did not want to become a priest and deceive people. Having moved to St. Petersburg, Dmitry entered the veterinary department of the Medical and Surgical Academy, then moved to the Faculty of Law and never graduated.

Mamin-Siberian. First work

Mamin-Sibiryak studied well, did not miss classes, but was a keen person, which for a long time prevented him from finding himself. Dreaming of becoming a writer, he determined for himself two things that needed to be done. The first is to work on your own language style, the second is to understand people's lives, their psychology.

Having written his first novel, Dmitry took it to one of the editorial offices under the pseudonym Tomsky. Interestingly, the editor of the publication at that time was Saltykov-Shchedrin, who, to put it mildly, gave a low rating to the work of Mamin-Sibiryak. The young man was so depressed that, leaving everything, he returned to his family in the Urals.

Then the troubles came one after another: the illness and death of his beloved father, numerous moves, unsuccessful attempts to get an education after all ... Mamin-Sibiryak went through all the trials with honor and already in the early 80s the first rays of glory fell on him. The collection "Ural stories" was published.

Finally, about the tales of Mamin-Sibiryak

Mamin-Sibiryak began to write fairy tales when he was already an adult. Before them, many novels and short stories were written. A talented, warm-hearted writer, Mamin-Sibiryak enlivened the pages of children's books, penetrating young hearts with his kind words. Alyonushka's tales of Mamin-Sibiryak should be read especially thoughtfully, where the author easily and informatively laid down a deep meaning, the strength of his Ural character and nobility of thought.
———————————————————-
Mamin-Siberian. Stories and tales
for kids. Reading for free online

Humanistic ideas in the works of D.N. Mamin-Sibiryak, V.M. Garshin.

Dmitry Narkisovich Mamin-Sibiryak (1852-1912).“A truly Russian writer” (A. M. Gorky) is D.N. Mamin-Sibiryak in literature for children, addressing them with stories, fairy tales, and essays. Like Gorky, Chekhov, Korolenko, Mamin-Sibiryak explores the theme of deprivation of a child from a poor family, an orphan child. And wider - the topic of child deprivation seemingly indisputable right have a childhood- stories: Breadwinner"(1885)," In learning"(1892)," skewer"(1897)," In the backwoods"(1896)," Rich man and Eremka" (1904)), " Winter hut on Studenaya"(1892)," Emelya the hunter"(1884) and others.

In the first of these stories, Breadwinner» A twelve-year-old boy, the sole breadwinner of the family, dies, becoming a victim of the harsh conditions of factory labor.

The fate of Proshka in the story is tragic "Spit". This slender, "resembling a jackdaw" boy works all year round in a grinding workshop, like a little convict. His whole life passes in this workshop, cramped and dark, where sandpaper dust is in the air, where the sun does not reach. Proshka's cherished dream is to go to where "the grass is green-green, the pines rustle with their peaks, little keys ooze from the ground, every bird sings in its own way." He does not know the sensations of nature, human warmth, but the imagination draws the desired pictures. Proshka is like an automated mechanism. It is as if inseparable from the wheel, has become its element. Proshka is even deprived of the possibility of communication. He is constantly hungry, “he lived only from food to food, like a small hungry animal ...” Indifference, inertia, slavish acceptance of lawlessness, horror as an objective norm - this is true death even with seeming (supposedly) life ... In the end Proshka falls ill from overwork and dies. The deepening of the consciousness of predestination is also emphasized by the fact that, in parallel with the existence of Proshka, the reader observes the life of his peer, a boy from a wealthy family.

Childhood deprivation - an objective predestination for peasant and urban children born in poverty - is the leading motive and story "In the backwoods", very characteristic of Mamin-Sibiryak.

The heroes of a number of stories - poor peasant fishermen, hunters, inhabitants of winter quarters abandoned in remote places - find an incomparable source of spiritual stability in the harsh nature of the Urals. (“Emelya the hunter”, “Zimovye on Studenaya”. The heroes of these and other stories are fanned by the deep sympathy of the author. He poeticizes their attractiveness: good nature, diligence, responsiveness to other people's suffering. Yeleska takes care of a seriously ill Vogul hunter who finds himself in a dense forest without any help. Emelya's heartfelt kindness is also evident in the case of hunting: he did not dare to shoot a small deer, knowing with what selflessness any mother protects her child.

The people about whom Mamin-Sibiryak writes differ each in their own way. special understanding of nature, although they all feel its colors, voices, smells. Everything is internally as if merged with the breath of the forest, river, sky ... The story of the love of old Taras ("Priemysh") to the rescued swan is like a lyrical song. Taras not only knows all the places around his home for fifty miles. He comprehended with his soul "every custom of the forest bird and forest beast." He admires the bird, is happy in communion with nature, appreciates its openness, the incomprehensible richness of its colors, its ability to soothe and delight the soul that is starving for caress.

Close to the story "Priemysh" intonation and intent of the story "The rich man and Eremka". Here, as if in the role of a well-groomed swan, there is a hare with a broken leg: the clever hunting dog Yeremka did not take it with his teeth; the old experienced hunter Bogach could not shoot at him, although he lived precisely by selling hare skins. The victory of true generosity over all other pragmatic calculations is the main idea of ​​the story, its pathos - in the ability of a person and a dog to love the weak, in need of protection ...

The writer conveys human nature to protect the weak. This state of mind, this feature human relationship to nature and everything around in these works is transmitted primarily through the feelings and specific actions of the elderly and children, dictated by these feelings. This emphasizes the naturalness, the naturalness of human predisposition: in childhood and old age, a person is open, more natural in feelings and thoughts, in actions.

Nature in the works of Mamin-Sibiryak - not a background for the disclosure of feelings, mental states, human impulses. Nature is a full-fledged, full-blooded hero of works, an exponent of the author's position and aesthetic, moral and social. The landscape, like the portrait of the heroes, is picturesque, changeable, the colors are in motion - the transitions of one shade to another are harmonious with the change state of mind. Here is a picture of rainy summer day in the forest. Underfoot is a carpet of last year's fallen leaves. The trees are covered with raindrops that fall with every movement. But the sun came out, and the forest lit up with diamond sparks: “Something festive and joyful is all around you, and you feel like a welcome, dear guest at this holiday” (“Priemysh”).

Language of works Mamin-Sibiryak - folk, picturesque, well-aimed, figurative, rich in proverbs and sayings. "Look for the wind in the field!" - says the Rich Man about the runaway bunny. “Close together, but boring apart,” he remarks, observing the behavior of a dog that makes friends with a hare.

7.7. Tales of Garshin, Mamin-Sibiryak for children.

"Alyonushka's Tales"(1894 - 1897) were written Mom-Siberian for his little daughter Elena. The girl, born in 1891, faced a difficult fate: her mother died in childbirth, her father was no longer young, and her serious illness prevented her from counting on a prosperous destiny. The father had to prepare his Alyonushka for life, for its harsh sides, and most importantly, to teach the child to love this life. "Alyonushka's Tales" are full of optimism, bright faith in goodness.

The heroes of fairy tales - a fly, a goat, a mosquito, a hare, toys, flowers - are emphasized small, weak, invisible among large and strong creatures; but all the action of fairy tales is directed towards their victory. The weak prevail over the strong, the imperceptible finally find their place in life. At the same time, the writer tactfully notes that weak beings are often infected with petty egoism, wish the whole world to belong to them, and, unable to achieve this, take offense and become unhappy. The underlying thought of fairy tales comes down to the fact that it is impossible to remake the world to please yourself, but you can change yourself and your attitude towards the environment for your own good.

The tales of D.N. Mamin-Sibiryak, like the tales of K.D. Ushinsky and L.N. Tolstoy, stylistically and according to the object of analysis are realistic. " The Tale of the Brave Hare Long Ears - Slanting Eyes - Short Tail" (1894) and " Tale about Komar Nemirovich - Long Nose and about Shaggy Bear - Short Tail"(1895)," About Sparrow Vorobeich created in tradition folk tales about animals.

Heroes of his works - common animals, birds, insects which the child, as a rule, knows in life. There is nothing rare or exceptional about them. A bear, a bunny, a sparrow, a crow, a mosquito, even a housefly - live in fairy tales of their own life, peculiar to them. Distinctive signs of the appearance of fairy-tale characters are easily recognized by a child: a hare has “long ears, a short tail”, a mosquito has a “long nose”, and a crow has a “black head”. Animals, birds, insects are carriers of qualities that are distinguished in them by a folk tale: the hare is cowardly; the bear is strong but clumsy; the sparrow is gluttonous, impudent; mosquito annoying.

heroes in them humanized, a characters are described as original, "personal”, which distinguishes them from folklore heroes - always generalized-typed. So, Komar Komarovich and the bouncer hare stand out among other mosquitoes and hares with their real or feigned courage. Even the bear and the wolf eventually give in to them, deciding not to mess with an unusual opponent (“And the wolf ran away. You never know other hares can be found in the forest, but this one was some kind of mad one”). The key to the victory of the weak over the strong is not magic or someone's intercession, not cunning or luck, but a change in the usual internal position.

Action in fairy tales, plots are usually built on funny, funny incidents. For example, the collision of a boastful hare with a wolf or a mosquito with a bear. A funny scene in which the chimney sweep Yasha tries to fairly judge the dispute between Sparrow and Ruff. While he is giving his speech, he is robbed.

The stories are educational. The humanization of the characters helps to present to the reader-child more vividly and vividly the characteristic properties of animals, their life. Acquainting with how and in what way the cowardice of a hare, the strength and clumsiness of a bear, its ferocity is manifested, how difficult it is for a sparrow in the winter, in what a harsh environment the sparrow spends his life and how this situation is tragic for the “yellow canary bird”, the writer activates associations, the child's imagination, enriching both thought and feeling. Revealing the laws that govern the animal and plant world, Mamin-Sibiryak expands the cognitive possibilities of a literary fairy tale and its boundaries as a scientific and artistic genre.

In fairy tales, unlike stories, the landscape occupies an insignificant place. Here one can see the influence of the folklore tradition, which does not know the unfolded landscape. His sketches are brief, although very expressive: “The sun has become colder, and the day is shorter. It started to rain, a cold wind blew" - that's the whole sketch of late autumn ("The Tale of the Crow"). The exception is Alyonushka's poetic dream: "The sun is shining, and the sand is turning yellow, and the flowers are smiling," surrounding the girl's bed with a colorful garland, and "gently whispering, bending over her, a green birch" ("Time to sleep").

Of particular interest is Saying"- a vivid example of "Mom's syllable", as contemporaries called the style of the writer's children's fairy tales. “Bayu-bayu-bayu ... Alyonushka’s one eye is sleeping, the other is looking; one ear of Alyonushka is sleeping, the other is listening. Sleep, Alyonushka, sleep, beauty, and dad will tell fairy tales. The saying with its melodiousness is close to folk lullabies. Perhaps, for the first time, a paternal feeling was so clearly expressed, not inferior in tenderness to maternal love.

In addition to Alyonushka's Tales, Mamin-Sibiryak wrote a whole series of fairy tales, diverse in themes and style. Most of them are devoted to the life of nature: "Grey Neck"(1893), "Stubborn Goat", " Green War”, “Forest Tale”, “Postoyko”, “Old Sparrow”, “Bad Day of Vasily Ivanovich”. Closest to folklore "The Tale of the Glorious Tsar Pea and His Beautiful Daughters - Princess Kutafya and Princess Goroshina". At the same time, the writer never sought to stylize his fairy tales as folk tales. The basis of all fairy tales is his own position.

touching story gray cervix- ducks left for the winter due to illness. According to the laws of nature, her death is inevitable, and even a hare who sympathizes with her is powerless to help. The polynya, her only refuge, is covered with ice, the predator fox is getting closer and closer. But the world is subject not only to the laws of nature. A man intervenes - and the Gray Neck is saved. The author's position convinces the reader that even on the verge of death one must believe and hope. You should not expect miracles, but you should wait for good luck. Special place takes fairy tale about king pea, which appeared for the first time in the magazine "Children's Recreation" in 1897. She is different from the rest complex content and a detailed adventure story. Story satirical and humorous. In the form of King Peas swagger, greed, contemptuous attitude of the ruling elites towards ordinary people from the people are ridiculed. Some are true features of old Russian life. For example, Princess Kutafya is in unquestioning obedience to her parents; she does not even dare to hint at the choice of her betrothed: “It’s not a girl’s business to sort out suitors!”

The tales of Mamin-Sibiryak are a characteristic way of an adult talking to a child about vital things that cannot be explained in the language of abstractions. The child is invited to look at the world through the eyes of a ladybug, a goat, a fly, a dog, a sparrow, a duck, in order to gain a truly human worldview. Like folk tales, these tales introduce the child to the complex laws of life, explain the advantages and disadvantages of a particular life position.

The tales of Mamin-Sibiryak are a significant phenomenon in the literature of the late 19th century. They mastered and develop the best realistic traditions of folk and literary fairy tales. There is no falsehood in the depiction of nature, the animal world, in the nature of fairy-tale morality. Fairy tales are interesting to children in our time. Some of them were included in educational books for reading in elementary school.

V.M. Garshina (1855-1888) contemporaries called the "Hamlet of our days", the "central personality" of the generation of the 80s - the era of "timelessness and reaction". The writer was one of the first to use in literary work impressionism techniques, borrowed from contemporary art in order to shock the imagination and feelings of the reader, awaken his innate consciousness of goodness and beauty, and help to give birth to honest thought. Garshin stories and fairy tales developed a style. which was the source of the prose of writers of the turn of the XIX-XX centuries, such as Chekhov, Bunin, Korolenko, Kuprin.

The highest authority in modern painting was for the writer I.E. Repin, in literature - L.N. Tolstoy. Imagination was for Garshin an important moment of a realistic vision of reality, while the accuracy, the specific detail of the details distinguish almost all of his works. Garshin's creative principles largely meet the requirements that Belinsky once made for a children's writer.

Garshin dreamed of publishing all his fairy tales as a separate book with a dedication to "his great teacher Hans Christian Andersen." Much in fairy tales is reminiscent of Andersen's stories, his manner of transforming paintings. real life fantasy, doing without magical miracles. Childhood and children's literature occupied Garshin throughout the decade creative life. Garshin translated fairy tales by European authors for children, worked as an editor and critic of children's literature.

In the reading circle children of primary and secondary school age entered mainly Tales of Garshin. Among them, one has the subtitle "For children" - " The Tale of the Toad and the Rose"(1884), another was first published in the children's magazine "Rodnik" -" Frog traveler» (1887). Other fairy tales were not intended by the author for children, although, at the will of adults, they appeared in children's publications, including in anthologies: "Attalea princeps" (1880), "That which was not" (1882), "The Tale of the Proud Agea" (1886). Garshi tales by genre features closer to philosophical parables, they provide food for thought.

"The Tale of the Toad and the Rose" was written under the influence of many impressions - from the death of the poet S. Ya. Nadson, the home concert of A. G. Rubinstein and the presence of an unpleasant old official at the concert. The product is an example of the synthesis of the arts based on literature: the parable of life and death is told in the plots of several impressionist paintings, striking in their distinct visuality, and in the interweaving of musical motifs. It's rather poem in prose. The threat of the ugly death of a rose in the mouth of a toad that knows no other use of beauty is canceled at the cost of another death: the rose is cut before it withers for a dying boy to console him at the last moment. The meaning of the life of the most beautiful being is to be comfort for the afflicted.

Story "Frog traveler"- a classic in children's reading including older preschoolers and younger students. The source of its plot was an ancient Indian fable about a turtle and ducks. This is the only funny story Garshin, although it also combines comedy with drama. The writer found a gold the middle between the natural-scientific description of the life of frogs and ducks and conditional image of their "characters". Here is a fragment of a natural-scientific description.

Suddenly a thin, hissing, intermittent sound resounded in the air. There is such a breed of ducks: when they fly, their wings, cutting through the air, seem to sing, or, better, whistle. Fu-fu-fu-fu - resounds in the air when a herd of such ducks flies high above you, and you can’t even see them themselves, so they fly high. A little further follows an already conditional, “humanizing” description. And the ducks surrounded the frog. At first they had a desire to eat it, but each of them thought that the frog was too big and would not fit into the throat. Then they all began to shout, flapping their wings: - It's good in the south! Now it's warm! There are such glorious warm swamps! What kind of worms are there! Good in the south!

Such reception of an imperceptible "immersion" of the reader from the real world into the world of fabulously conditional especially fond of Andersen. Thanks to this technique, one can believe in the history of the frog's flight, take it for a rare curiosity of nature. Later, the panorama is shown through the eyes of a frog forced to hang in an uncomfortable position. Far from fabulous, people from the earth marvel at how ducks carry a frog. These and other details contribute to the even greater persuasiveness of the fairy tale narrative. The thought of the author is just as unsteady. Is the frog smart or stupid? Is her nature genius or mediocre? And how to evaluate the character and behavior of ducks? Does the story end well or badly? What is more important - that the frog was saved in the fall, or that her dream of the southern swamps perished? The answers to these and other questions depend on the reader's thoughts, on his ideas about the meaning of existence.

7.8. Development of the themes of nature, peasant life, childhood in the verses of A. Blok, S. Yesenin, Balmont.

A.A. Block (1880-1921).- the largest symbolist poet of the younger generation. main topic his poetry - the Motherland, ancient, modern and future, the one whose face, like the face of the Stranger, is hidden "behind a dark veil." A. Blok's children's poems are devoted mainly to nature. For example, "End of Spring":

Spring! Spring! Dragonflies sing.

Spring! Spring! The chicks sing;

Already in the open field there are reapers.

Grasshoppers chirp in the grass

As if he wants

Captivate the frogs in the pond!

For your amusement

Yes, not quite something for laughter! ..

Blok's talent went far beyond the symbolist-decadent poetics. So it was with many of his adult works, so it happened with children. Another thing won - the own "memory of childhood" of the tradition of oral folk art and Russian poetry of Pushkin, Tyutchev, Fet.

For special collections - " All year round" and " fairy tales"- the poet made a strict selection of works. The collection "Tales" includes the following poems: "Gamayun, the prophetic bird" "The Black Maiden", "Son and Mother", "The Tale of the Shepherd and the Old Woman", "The Old Woman and the Little Devils", "By the Sea", "In the Far Blue bedroom”, “Tinsel angel”, “Three bright kings”, “Lullaby”, “Dreams”.

The collection "All the Year Round" is characterized by selection of poems for the seasons: spring (“Verbochki”, “Crow”, “In the Meadow”), summer (“I strive for a luxurious will”, “Morning breathes through the window”, “A full month has risen over the meadow”, “Wandering fire”), autumn (“ Bunny", "Teacher", " autumn joy”), winter (“Snow and snow”, “Dilapidated hut”, “Christmas”).

Comparing these collections, one can easily be convinced that the first includes works that are more difficult for children's perception and written by Blok not specifically for children, and selected for children's reading. "Tales" was addressed to the middle age, while "All the Year Round" was addressed to the younger.

Collections "Fairy tales" and " All year round"- each in his own way embodied the tendencies characteristic of Blok's poetry addressed to children, on the one hand, the desire to develop in children the ability to dream, to fantasize creatively, on the other hand, the desire to instill in children a love of nature.

Landscapes in " All year round» akin to the best landscape motifs of the early Blok, when he was worried that on a summer day “beyond this blue distance”, when in autumn “the day is transparently fresh, and the air is wonderfully clear”, and “the yellow leaf is spinning”. This transparency and purity of colors was preserved by the poet for poems addressed to children:

The forests are more visible in the distance,

blue skies,

More noticeable and blacker

On the arable land

Even color epithets are repeated (blue distance - blue skies), they are characterized by brightness and richness of colors (blue and skies - and a black stripe of arable land), dynamism: the skies are not just blue, they turn blue in spring, and the arable land is also not just black, but blacker. Everything seems to be washed by the abundant spring rain and lit by the generous spring sun.

No, it's loud, thin

A wave murmurs in the stream...

“Louder”, “voiced”, “vociferous” - the very series of alliterations creates the unique music of spring.

The realistic nature of the sketches of "All the Year Round", especially in such poems as "Crow", "Bunny", "Teacher", "Dilapidated Hut", "In the Meadow", perhaps to a large extent determined their long and active life in the nursery. audiences, preschool and primary school age. Each poem in the collection expresses lyrical state most typical for this time of year. Realistically specific images and details add up to a living, recognizable picture and indirectly convey the nuances of mood, as, for example, in a poem "Crow":

Here is a crow on a sloping roof

So from the winter and remained shaggy ...

And in the air - spring bells,

Even the spirit took over the crow...

Suddenly jumped sideways stupid lope,

Down on the ground she looks sideways:

What turns white under the tender grass?

They turn yellow under the gray bench

Last year's wet shavings...

It's all at the crow - toys,

And so the crow is happy

It's like spring, and it's free to breathe! ..

The word "spring" sounds only in the last line, but it was prepared by many words with the sound “v”, a number of small details, seen first by the eyes of a person, and then by a crow: the spring earth is full of white, yellow, green, surprising the eyes that have grown accustomed to variegation during the winter. Early spring is a time of contrasts, which is emphasized by the image of a "shaggy", still "winter" crow and traces of last year's life.

These poems have long become textbooks in the best sense of the word thanks to a humanistic feeling that unites sketches not only of the landscape, but also of the animal world of central Russia. A shaggy crow, a chilled bunny, squeaky kittens - everything that Blok jokingly and kindly called "creatures" evoke good feelings in young readers with their insecurity, childishness. These "creatures" are understandable to children, they want to stand up for them, they want to play with them.

The game moment is one of the obligatory elements in “All the Year Round”: children are active in this collection of Blok, as, perhaps, in no other cycle of his works, in which he addresses the theme of childhood. Here they are sonorous, cheerful, not just laughing, but laughing:

Away from home to the snowy expanse

They rode on sledges.

The yard resounds with cries -

They made a giant out of snow!

In such poems as "In the meadow", "Snow and snow", "Dilapidated hut", Blok's dream of a future energetic, active, creative generation of his native country is embodied. Concern for the growing generation pervades all the poems of the collection "All the Year Round".

K.D.Balmont(1867-1942) - one of the most widely read and revered poets of the Silver Age, symbolist. The philosophy of symbolism is based on the idea of ​​an imperceptibly changeable world of reality, which cannot be known outside of artistic creativity. Balmont's attitude to children's books was the most reverent. Balmont wrote more than seven dozen poems for children, dedicating them to his four-year-old daughter; they are included in the collection "Fairy Tales" (1905).

"Fairy Tales" are graceful stylizations of children's songs based on Scandinavian and South Slavic folklore, in which the tradition of Zhukovsky's children's poems was revived. Frivolity of plots, lack of serious problems reflected in the titles - “Fairy Outfits”, “Fairy Walk”, “Fairy Find”, “Fairy Fun” ... The life of a tiny fairy flows like a series of rainbow-changing “mi-moments” ( keyword in the poetry of Balmont). Evil does not exist in the fairy world - there are only small annoyances that set off the general serenity. From a thunderstorm, a fairy flies away on the back of a dragonfly; the ember is punished by the dwarf for that. that he burned the leg of a fairy; the war with the ant king ends in a draw; even Gray wolf meekly serves the fairy and eats grass. AT fairy world the same idyll reigns as in early childhood. The poet proclaimed the fairy his Muse, and children's World- the world of your inspiration. The natural right of the child and the poet to joy, beauty and immortality is realized in a fairy tale.

Balmont was called "Paganini of Russian verse", admiring the virtuoso musicality of his speech. And in his children's poems, the magic of sounds, the sweet voice of speech, fascinates. Word and music give rise to a poetic image, as, for example, in the poem "Goldfish" from the adult collection "Only Love" (1903). The golden fish personifies the miracle of music at a fabulous holiday:

There was a merry ball in the castle,

The musicians sang.

The breeze in the garden shook

Easy swing.

In the castle, in sweet delirium,

She sang, the violin sang.

And in salu was in the pond

Gold fish.

Even if you haven't seen her

Ball musicians.

But from the fish, from her

The music sounded...

Many of Balmont's "adult" poems can be offered to children from the very beginning. early age, they are so full of a spring, primordial feeling, they border so closely with music that the availability of words loses its meaning.

S. Yesenin. S. Yesenin began to write poetry early at the age of 9, but conscious creativity falls on 16-17 years. His early poems reflected the search for a life position and his own creative manner. Sometimes he imitates songs common in the bourgeois and peasant environment with their characteristic motifs of love, sometimes happy, sometimes unrequited (“Tanyusha was good”, “Under the wreath of forest chamomile”, “Dark night, can’t sleep”).

Yesenin often and fruitfully refers to the historical past of his homeland. In such works as "The Song of Evpaty Kolovrat", "Us", "Rus", the poet is much more original than in the first lyric poems.

The main motive of early Yesenin was poetry of Russian nature, reflecting his love for the motherland. It was during this period that many poems were written that are still known to children and loved by them. It is noteworthy that Yesenin's first printed poem was "Birch", which appeared in baby crane"Mirok" in 1914. Since then, the poet's attention to poems for children has been constant. He published poems for children in the magazines Mirok, Protalinka, Good Morning, Sincere Word, Sail.

IN 1 914-1915 Yesenin prepared a collection of poems for children, which he called"Zaryanka". He did not manage to publish this collection, but the very choice of poems characterizes Yesenin's demanding attitude to this area of ​​\u200b\u200bhis work. His poetic talent animates everything he saw and felt in childhood. He tells young readers about how "Winter sings - calls out, shaggy forest cradles the pine forest with a ringing sound”, about a winter birch, in which “brushes of white fringe blossomed on fluffy branches with a snowy border”, about fragrant bird cherry, which “bloomed with spring and curled golden branches like curls”.

Children are especially close poems about the games and amusements of their peers - peasant children:

Backyard on a winter evening

rollicking crowd

On snowdrifts, on hillocks

We're going, we're going home.

The sleds are disgusting,

And we sit in two rows

Listen to grandmother's tales

About Ivan the Fool.

And we sit, barely breathing,

The time is running out towards midnight

Let's pretend we don't hear

If mom calls to sleep.

In Yesenin's early poetry for children, perhaps brighter than in the "adult" poems of the same period, his love for homeland(“Swamps and swamps”, “S Good morning»), to Russian nature("Birch", "Bird cherry"), to village life("Grandmother's Tales"),

The reading of modern children included such early poems by Yesenin as “Winter Sings”, “Powder”, “Nivas are compressed, groves are bare ...”, “Bird cherry”. The first of them (“Winter sings - calls out ...”) was published in 1914 in the journal “Mirok” under the subtitle “Sparrows”. In its lullaby rhythm, one hears the voice of the winter forest, then the sound of a blizzard on the shutters, then the howling of a snowstorm around the yard. Against the backdrop of a cold and snowy winter, "orphan children" - sparrows - are written out in contrast. The poet sympathetically emphasizes their helplessness and insecurity:

Yesenin also refers to the description of winter in the poem "Powder", published in the same year and in the same magazine "Mirok". Winter in it is different, alluring, magical:

Bewitched by the invisible

The forest slumbers under the fairy tale of sleep,

Like a white scarf

The pine has tied up.

Here is a description of nature not from the outside, but from the inside, from the poet-observer, riding along the endless winter road running away into the distance.

The poetic perception of nature is even more active in the poem "The fields are compressed, the groves are bare ...", published in the newspaper "Evening News" in 1913:

Oh, and I myself am often ringing

I saw yesterday in the fog:

Red month foal

Harnessed to our sleigh.

Now an observer, now a traveler, but always open to the impressions of the surrounding world, the voices of birds and animals, the rustles of the forest, Yesenin notices the most intimate in nature:

And next to the thawed patch,

In the grass, between the roots,

Runs, flows small

Silver stream.

These lines are about the awakening of spring, about the time of honey dew and golden branches of bird cherry. For each period of the life of nature (autumn, winter, spring and summer), Yesenin finds special poetic colors and unique intonations. Yesenin sought to glorify his homeland and its renewal in all the ambiguity of this concept. Decades pass, and it becomes more and more clear that his work is a great literary phenomenon not only in the life of Russia, but also in the development of world poetry.

• Abba. Feature article. Siberian stories, SS-1958, Volume 6.
• Averko. (Robbers. Essays I.). SS-1958, Volume 9.
• Autobiography. Memories. SS-1958, Volume 10.
• Autobiographical note. SS-1958, Volume 10.
• Ak-Bozat. Story. Stories and fairy tales for children. SS-1958, Volume 10.
• Alyonushka's fairy tales. Stories and fairy tales for children. SS-1958, Volume 10.

B

• Baimagan. Legends. SS-1958, Volume 10.
• Balaburda. Story.
• Head. From stories about dead children. Ural Stories, SS-1958, Volume 1
• Untitled. (1894) Novel
• White gold.
• Wart.
• The rich man and Eremka. Story. Stories and fairy tales for children. SS-1958, Volume 10.
• Fighters. Essays on spring rafting on the Chusovaya river. Ural stories.
• Disease From the distant past. SS-1958, Volume 10.
• Brothers Gordeev. Tale. (1891) Stories and novels 1893-1897, SS-1958, Volume 6.
• Stormy stream. (On the street.)

AT

• In the swamp. From the notes of a hunter. Siberian stories, SS-1958, Volume 5.
• In the whirlpool of passions. Roman (under the pseudonym E. Tomsky)
• In the backwoods. Story. Stories and fairy tales for children. SS-1958, Volume 10.
• In the mountains. Essay from the Ural life. Stories and essays 1881 -1884.
• In a stone well. Story.
• In stones. From a trip along the Chusovaya River. SS-1958, Volume 1
• Last time. Tale. Siberian stories, SS-1958, Volume 5.
• In teaching. Story.
• "In thin souls ..." Story, Ural stories, SS-1958, Volume 1
• Vanka's name day. Alyonushka's fairy tales.
• Faithful slave. Tale. Ural stories.
• Spit. Stories and fairy tales for children. SS-1958, Volume 10.
• Wizard. Story.
• Spring thunderstorms.
• Free man Yashka. Ural stories.
• "We all eat bread..." From life in the Urals. SS-1958, Volume 1
• Meeting.

G

• Chief Barin. Story. Siberian stories, SS-1958, Volume 5.
• Silly Oksya. Sketch. Siberian stories, SS-1958, Volume 6.
• Talker. Feature article. Siberian stories, SS-1958, Volume 5.
• Mountain nest. (1884) Novel, SS-1958, Volume 1
• Thunderstorm. From hunting stories. Ural stories, SS-1958, Volume 3.

D

• Two wills.
• Grandfather Semyon Stepanych. From the distant past. SS-1958, Volume 10.
• Dispatch. Story. Siberian stories, SS-1958, Volume 6.
• Children's shadows.
• Wild happiness. Novel. (1884, original title"Vein").
• Good old time. Tale. Ural stories, SS-1958, Volume 4.
• Road. From the distant past. SS-1958, Volume 10.
• Dear guests. Sketch. Siberian stories, SS-1958, Volume 6.
• childhood friends. Siberian stories, SS-1958, Volume 5.
• Bad friend.

E

• Emelya the hunter. Stories and fairy tales for children. SS-1958, Volume 10.

F

• Vein. (1884, original title of the novel "Wild Happiness").

W

• Atrocity. Summer sketches. Siberian stories, SS-1958, Volume 5.
• Green war.
• Green mountains. From the distant past. Memories
• Winter hut on Studenaya. Stories and fairy tales for children. SS-1958, Volume 10.
• Gold. Novel.
• Gold miners. Household chronicle in 4 acts. SS-1958, Volume 6.
• Golden fever.
• Golden night. From stories about gold. Stories and essays 1881 -1884.
• Scrofula. Essays on mining life. Ural stories.

And

• From the distant past. Memories. SS-1958, Volume 10.
• From the Ural antiquity. Story. Ural stories, SS-1958, Volume 4.
• Selected letters (59). SS-1958, Volume 10.
• Iyi. Holiday fantasy. Stories 1902-1907 SS-1958, Volume 9.
• Birthday boy.
• Influenza. Monologue. Siberian stories, SS-1958, Volume 6.
• The story of one sawyer. Story. From the distant past. SS-1958, Volume 10.

To

• Execution of Fortunka. Story. From the distant past. SS-1958, Volume 10.
• Kisey lady.
• Treasure. Story. Siberian stories, SS-1958, Volume 5.
• Combination. Story. Siberian stories, SS-1958, Volume 5.
• End of the first part. From the distant past. SS-1958, Volume 10.
• Book. From the distant past. Memories
• Picture book. From the distant past. Memories
• The breadwinner (From life at the Ural factories)
• Godson. Etude. Siberian stories, SS-1958, Volume 5.
• Grainy. Siberian stories, SS-1958, Volume 6.

L

• Swan Khantygaya. Legends. SS-1958, Volume 10.
• Legends (3). SS-1958, Volume 10.
• Forest. Psychological study. Ural stories, SS-1958, Volume 4.
• Forest fairy tale.
• Flight. From stories about the life of the Siberian fugitives. Ural stories, SS-1958, Volume 3.

M

• Mme Quist, Blix & Co. Feature article. Siberian stories, SS-1958, Volume 5.
• Mayan. Legends. SS-1958, Volume 10.
• Maxim Benelyavdov. (1883) Tale.
• Raspberry Mountains. Story.
• Medvedko.
• Mizgir. Story. Siberian stories, SS-1958, Volume 5.
• Million.
• Morok. Feature article. Siberian stories, SS-1958, Volume 5.
• Mumma. Story. Stories 1902-1907 SS-1958, Volume 9.

H

• On the pass. From autumn motifs. Siberian stories, SS-1958, Volume 5.
• On the river Chusovaya
• On a way. (From the stories of an old hunter)
• At the edge of Asia. Essays from a provincial life. SS-1958, Volume 1
• On number six. Stories and novels 1893-1897, SS-1958, Volume 6.
• On the shihan. From a hunter's notebook. Ural stories, SS-1958, Volume 3.
• Nata. From summer stories. Stories and novels 1893-1897, SS-1958, Volume 6.
• Out of business. Story. Siberian stories, SS-1958, Volume 5.
• Don't specify. Story. Siberian stories, SS-1958, Volume 5.
• Newbie. From the distant past. SS-1958, Volume 10.
• Overnight. Siberian stories, SS-1958, Volume 5.
• Night. Sketch. Siberian stories, SS-1958, Volume 6.

O

• About the book. From the distant past. Memories
• Werewolf. Siberian stories, SS-1958, Volume 5.
• General favorite of the public.
• Mischievous. Story. Ural stories.
• Near node.
• Osip Ivanovich.
• From the Urals to Moscow.
• There will be no answer. Story. Stories 1902-1907 SS-1958, Volume 9.
• Poison. Essay, Ural stories, SS-1958, Volume 3.
• Sliced ​​slice. Memories. From the distant past. SS-1958, Volume 10.
• Badass eyebrows. Tale

P

• Falling stars.
• Pan Kopatchinskiy. Siberian stories, SS-1958, Volume 5.
• First students. Story. Ural stories, SS-1958, Volume 4.
• The translator at the mines. Story. Ural stories, SS-1958, Volume 4.
• Letters (selected) (59). SS-1958, Volume 10.
• Pier mountain. Tale. Siberian stories, SS-1958, Volume 5.
• At a cheap price. Chapter from a novel. Siberian stories, SS-1958, Volume 6.
• On a new path.
• Under the house.
• Underground.
• Snowdrop. Feature article. Siberian stories, SS-1958, Volume 5.
• Correction of Dr. Osokin. Ural stories, SS-1958, Volume 4.
• Simply. Story. Siberian stories, SS-1958, Volume 6.
• It's time to sleep. Alyonushka's fairy tales.
• Last marks. (Robbers. Essays III.). SS-1958, Volume 9.
• Last branch. From Old Believer motifs. Siberian stories, SS-1958, Volume 5.
• Postoiko. Story. Stories and fairy tales for children. SS-1958, Volume 10.
• Privalovsky millions. A novel in 5 parts.
• Foster. From the stories of an old hunter. Stories and fairy tales for children. SS-1958, Volume 10.
• Mining boy. Story. Siberian stories, SS-1958, Volume 5.
• Parable about Milk, oatmeal Kashka and gray cat Murka. Alyonushka's fairy tales.
• Criminals.
• Seeing. From the distant past. SS-1958, Volume 10.

R

• Robber and criminal. (Robbers. Essays IV.). SS-1958, Volume 9.
• Robbers. Essays. SS-1958, Volume 9.
• Early shoots.
• Stories and fairy tales for children (10) . SS-1958, Volume 10.
• parental blood. Feature article. Ural stories, SS-1958, Volume 4.

With

• From hunger.
• Savka. (Robbers. Essays II.). SS-1958, Volume 9.
• Nugget. Story. Siberian stories, SS-1958, Volume 6.
• Family joy. Story. Siberian stories, SS-1958, Volume 5.
• Seventh trumpet. Sketch. Siberian stories, SS-1958, Volume 6.
• Gray neck. Stories and fairy tales for children. SS-1958, Volume 10.
• Sisters. Sketch from the life of the Middle Urals. SS-1958, Volume 1
• Siberian eagles. Siberian stories, SS-1958, Volume 5.
• A fairy tale about how the last Fly lived. Alyonushka's fairy tales.
• Tale about Sparrow Vorobeich, Ruff Ershovich and cheerful chimney sweep Yasha. Alyonushka's fairy tales.
• The tale about Komar Komarovich has a long nose and the shaggy Misha has a short tail. Alyonushka's fairy tales.
• Tale of the brave Hare - long ears, slanting eyes, short tail. Alyonushka's fairy tales.
• A fairy tale about Voronushka - a black little head and a yellow bird Canary. Alyonushka's fairy tales.
• The story about the goat. Alyonushka's fairy tales.
• Sokrat Ivanovich. Chapter from the novel "Iron Hunger". Siberian stories, SS-1958, Volume 5.
• Prospectors. Story.
• Old people don't remember. Story. Siberian stories, SS-1958, Volume 5.
• Old sparrow. Story. Stories and fairy tales for children. SS-1958, Volume 10.
• Old devil. Story. Siberian stories, SS-1958, Volume 5.

T

• A mysterious stranger. Feature article. Siberian stories, SS-1958, Volume 6.
• Three ends. Ural chronicle.

At

• Surprised man. Feature article. Siberian stories, SS-1958, Volume 5.
• Smarter than everyone. Story. Alyonushka's fairy tales.
• Stubborn goat.

X

• Predatory bird. Story. Stories and novels 1893-1897, SS-1958, Volume 6.
• Bread. Novel.

H

• Traits from the life of Pepko. Novel