How often do we think about what others think of us? Friends, girlfriends - yes, we are interested in their opinion, we listen to it. And what do those with whom we spend so much time in childhood think about us, animate, “humanize” them - our toys?
“Notes of a Doll” by the 19th-century Russian writer Varvara Andreevskaya is written on behalf of such a toy - the Milochka doll, whose fate is the same as that of people - sometimes unhappily, sometimes happily.
The heroine of the story falls into the hands of a variety of housewives - rich and poor, good and not so good, and we can not only follow the adventures of Milochka, but also learn a lot of interesting things about the life and life of girls of that time. And also, worrying about the doll, we will learn to empathize with people.
We present a snippet for review.
Chapter 2. Lottery
... one fine morning Nata and I were sitting in the dining room. Vera Ivanovna was not at home.
Suddenly, the bell rang in the hallway, the maid went to open the door. Nata took me in her arms and rushed after her, thinking that it was her mother who had returned, or maybe just out of curiosity: she loved to jump out at every call, despite the fact that she sometimes got it for it.
The maid opened the door and, seeing a completely unfamiliar poor dressed woman asked what she needed.
The woman was not yet old, but extremely pale; she held in her arms a child wrapped in an old wadded blanket. Beside her stood two older children, a boy and a girl, both poorly dressed and with such sad faces that looking at them, I was ready to burst into tears, if only dolls could cry.
- Is Vera Ivanovna at home? asked weak voice female.
“No,” the maid replied.
- Will he be back soon?
- I don't know... What do you need it for? Tell me, I'll pass it on.
- I am the wife of the carpenter Ivan, who constantly works for them. Maybe you know?
How can you not know him! He often came here, but now something has not been shown for a long time.
- He's in the hospital. And yesterday he sent to say that he felt worse. He asks me to come to him and bring the children - he wants to see him, say goodbye ... He thinks that he will not survive ... So I decided to go to Vera Ivanovna, ask if he could help in any way. Kids, mostly. You need to feed them, I’ll somehow manage to survive ... - she said poor woman and coughed.
“Yes, and you are not strong,” the maid shook her head with compassion.
Tears welled up in the poor woman's eyes.
- Indeed, I can hardly walk myself ... So you will convey my request to Vera Ivanovna?
“Definitely,” the maid assured her. - Our lady is very kind, she will not refuse.
While Nadia - that was the name of the maid - was talking to the poor woman, I kept looking at the unfortunate children. Comparing my bonnet with the rags they wore, I thanked fate for throwing me to such a kind girl like Nata, who constantly took care of me and never abandoned me, as other children often do with their dolls. If it were possible, I would immediately open my chest of drawers, take out linen and dresses from there and share them with the unfortunate little ones. But I’m a doll, and I can’t move or move myself, but I do only what they make me ...
Nata must also have been thinking about something at that moment, because her cheerful, smiling face suddenly became serious.
Putting me on the sofa, she went to the window while waiting for her mother. Vera Ivanovna returned very soon.
- Mommy, dear, dear, - Nata rushed to her, - what can I tell you! - and began to talk about the poor woman. “I really want to help her!” I feel so sorry for her and her children... If only you could see how pale they are!
Vera Ivanovna looked kindly at her, drew her to her and kissed her warmly: she was pleased to see that Nata had such a kind and sympathetic heart.
I began to listen with curiosity to their conversation.
“If I were big and I had money, I would give it to them,” Nata said, hugging Vera Ivanovna. - But then, mom, I have toys ... What do you think, if they are sold, there will be a lot of money?
- No, Natochka, it's hard to sell toys. Nobody will buy them, or they will give too little. Better arrange a lottery, it will be both easier and much more profitable.
The word "lottery" was somewhat familiar to me. Lying in a box in a store, I once heard a conversation between two clerks: they were going to play some things in the lottery.
“Is Nata going to put me in the number of wins too?” I thought with horror and looked at my little mistress. But she did not even turn her head and continued to talk with Vera Ivanovna how to arrange all this.
- We will write tickets with numbers and set a small price, well, at least twenty kopecks, - Vera Ivanovna advised. “So, something is going to happen. Yes, dad and I will add ten rubles each.
- So, when she comes tonight for an answer, Nadia can promise her this?
- Maybe. If you don't change your mind about the lottery by then.
“Oh no, Mom, I won’t change my mind!
Vera Ivanovna smiled, got up and went into another room, and Nata, putting her hands behind her back, silently began to walk up and down the room, her face taking on such a serious expression that I had never seen her before.
It was quiet all around, only the light steps of the girl were heard on the parquet. However, the silence was soon broken, Nata's cousin, Lenochka Zhdanova, with whom my hostess was always friends, entered the room.
Nata greeted her and immediately began to talk about the proposed lottery.
The girls talked for a long time without stopping. I listened to them with great pleasure, until they started talking about me… We’ll also place Milochka among the winners,” Lenochka insisted, “otherwise no one will take a single ticket. I’m the first, not only twenty kopecks, but I won’t give a nickel if you don’t put up Milochka!
"How! I thought, trembling all over. “Will I be played too?” This means that I will no longer stay with Nata, but I will end up with another, unfamiliar girl, maybe an evil, nasty one who will not want to take care of me, will not want to love and spoil me the way Nata loved and spoiled ... This is terrible!
I wanted to jump up from my seat in order to run up to Lenochka and silence her, but, alas, I remained motionless. The doll is forced to remain silent when it wants to speak, and smile when it wants to cry...
Andreevskaya, V. Notes of a Doll/ V. Andreevskaya; artistic I. Koltushina. – M.: ENAS-KNIGA, 2014. – 112 p.: ill. - (Treasured shelf).
Very good and interesting, informative book ^_^)
Evgeniya 0
Advantages: original text the 1898 editions have been preserved, but the illustrations, unfortunately, are not. But in vain ... The illustrations from this book are too "clumsy". Disadvantages: The relation of the "blue blood" to the common class is depicted too idealistically. In reality, things were somewhat different. Commentary: The doll's adventures are presented in the first person. Good stories, but not in this performance.
Margo 0, Moscow
Pros: Great book for little girls, written with child psychology in mind. Teaches the right things. Gave to my niece New Year, girl 8 years old. I read it in two days. I liked it very much. The book is in a hard, bright cover, large letters, good pictures. Cons: Didn't notice. Comment: Thanks to the Ozon team for the timely delivery before New Year's Eve.
Glukhan Vladimir0, Simferopol
Pluses: A wonderful book for girls, in the evenings it is very good to read in the family circle. Cognitive and teach to speak beautifully, and a good attitude. Such books are very necessary for girls in childhood.
drogaleva olga, 43
Bought this book for my 9 year old daughter. She read it in one gulp. crazy interesting book. I advise everyone.
Other books on similar topics:
| Author | Book | Description | Year | Price | book type |
|---|---|---|---|---|---|
| Varvara Andreevskaya | Studio "MediaKniga" presents an audiobook by the popular children's writer Varvara Andreevskaya - "Notes of a Doll". The book was read by a popular artist, radio host, dubbing actress - Alla Chovzhik ... - MediaBook, (format: 170x240mm, 304 pages) audiobook can be downloaded | 94 | audiobook | ||
| Varvara Andreevskaya | The story of the Russian writer Varvara Andreevskaya is written on behalf of a doll named Milochka. main character the story will fall into the hands of a variety of housewives - rich, poor, good and not very good, but ... - Enas-book, (format: 70x90 / 16, 112 pages) Treasured shelf | 2013 | 204 | paper book | |
| Kostyukhina M. | "Doll Notes. fashion upbringing in literature for girls late XVIII- the beginning of the XX century" The monograph is devoted to the study of the literary representation of a fashionable doll in Russian editions late XVIII ... - New Literary Review, (format: Hard paper, 304 pages) | 2017 | 590 | paper book | |
| Kostyukhina Marina | The monograph is devoted to the study of the literary representation of a fashionable doll in Russian editions of the late 18th - early 20th century, focused on women's education. Among significant topics- sewing and ... - New literary review, (format: 60x100 / 16, 422 pages) | 2017 | 888 | paper book | |
| Marina Kostyukhina | The monograph is devoted to the study of the literary representation of a fashionable doll in Russian editions of the late 18th - early 20th century, focused on women's education. Among the significant topics are sewing and ... - New Literary Review (UFO), (format: Hard paper, 304 pages) | 2017 | 388 | paper book | |
| Marina Kostyukhina | electronic book | 329 | electronic book | ||
| Marina Kostyukhina | The monograph is devoted to the study of the literary representation of a fashionable doll in Russian editions of the late 18th - early 20th century, focused on women's education. Among the significant topics are sewing and ... - UFO, (format: Hard paper, 304 pages) Library of the journal "Theory of Fashion" | 2017 | paper book | ||
| Marina Kostyukhina | The monograph is devoted to the study of the literary representation of a fashionable doll in Russian editions of the late 18th - early 20th century, focused on women's education - (format: 170x240mm, 304 pages) Library of the journal "Theory of Fashion" | 2016 | 517 | paper book | |
| The monograph is devoted to the study of the literary representation of a fashionable doll in Russian editions of the late 18th - early 20th century, focused on women's education. Among - (format: 170x240mm, 304 pages) | 560 | paper book | |||
| N. Ya. Simonovich-Efimova | The artist Nina Yakovlevna Simonovich-Efimova left a large creative heritage. These are not only paintings, sheets of watercolors, etchings, autolithographs, albums with drawings, theater sketches ... - Soviet artist, (format: 60x100 / 16, 422 pages) | 1982 | 240 | paper book |
Puppet stories in faces and eras
A picture instead of an epigraph
Games of noble girls with different types of dolls (lithograph by P. Vdovichev, 1830–1840s)
Antique lithograph depicts a children's room in Russian noble house. The drawing was made and carved on stone by Pyotr Vdovichev, an engraver and owner of a workshop that existed in St. Petersburg in the 1830s–1840s. Vdovichev was engaged in the manufacture of lithographic paintings and cardboard games, among which were cut-out paintings (puzzles). For their manufacture, lithographs were printed, pasted on cardboard and cut into intricate shapes. Perhaps the lithograph with a view of a children's room and children playing was made by Vdovichev for a board game.
Dolls and accessories for the puppet game are reproduced by the lithographer with precision and detail - these are the toys that were sold in toy shops in both capitals and were brought by Russian nobles from foreign voyages. Dolls that sit in a stroller or lie in a crib have wax heads with painted faces and a rag body trimmed with husky. Parts of the doll's body are connected by fabric or leather, which makes them convenient for playing mother-daughter. Dolls with removable clothes are suitable for sewing and needlework lessons, a must for every girl. Dolls mounted on a stand have a different purpose: they please the eye with a fashionable French dress or a picturesque peasant outfit. Such toys decorate the home half of the house like paintings, vases and sculptures.
The space of the picture depicting a girl's game with dolls is enclosed by the nursery's walls. Beyond it is the world of adults. The closed space is broken by the lady (mother or governess) who entered: she came to call the eldest of the girls (the books in the hands of both remind of adult duties). The girl does not want to break away from the game, and the mentor seems to hesitate at the door: the door leaf for the adult half is not wide open, but only ajar.
This is how playing with dolls appears on a lithograph by an old St. Petersburg master. Was it really so? Memoirs and historical documents testify: social practices, educational methods and family circumstances in Russian families were different. In the 1820s-1840s, girls from the families of St. Petersburg aristocrats, namely, such a family is shown in the picture, had expensive dolls and accessories for puppet play. In the families of the provincial nobility, such toys were rare. But even where they met, dolls did not often fall into children's hands, because wax or porcelain heads easily beat, handles and legs quickly break. On the lithograph depicting a nursery, paradise reigned - girls can enjoy toys and puppet play to their heart's content.
The expression "girl and doll" became a formula that fixed the subject-symbolic connection between the toy and its owner. In ethnographic, psychological and social sciences There are many interpretations of this connection. Despite the difference in approaches, there is a fundamental commonality between them. The connection between the "girl and the doll" is based on the existential, age, social "incompleteness" of the participants in the game: the doll is more than an object, and the girl is less than a woman. Potential completeness is realized in the game: the doll, as it were, comes to life, and the girl, as it were, becomes an adult woman. This “as if” is a reflection of magical ideas about the doll as an object for ritual actions and ritual practices. The participants in the game of dolls dissolve into invented roles and imaginary images.
The description of a girl with a doll is a persistent motif in culture. The connotations of this motif are divided into different emotional and semantic poles - from innocent admiration to sexual desire, from sweet dreams to mundane reality, from aesthetic enjoyment to consumption. This range narrows in texts for children's reading: the set of motives is limited, and interpretations do not go beyond generally accepted truths. The limitations and simplifications of the image are redeemed by the wealth of everyday and psychological details. The status of an event in texts for children is given to priceless “little things in life”, whether it is a doll’s name day or sewing doll clothes. The simplicity of stories for children to read is complicated adult reflection over the principles of education.
The fate of the doll-character is closely connected with the history of the doll as an object for children's play, interior decoration and fashion demonstration. A long period the creation and production of dolls provides extensive material for this, little studied in relation to domestic dolls. The doll is a reduced copy of a person, and all the development of doll production was aimed at making this copy authentic. The body, face and clothes of manufactory, and after factory dolls carried information about the material and objective and social world. Numerous accessories for puppet play (furniture, dishes, linen) that copied household items served as information carriers. The doll was a part of the everyday world, and the puppet economy was its mirror repetition. N. Bartram, a connoisseur and collector of toys, wrote about the “mirror” function of toys: “A toy has always been a“ mirror of life ”, and antique toys, reflecting their time, the life that surrounded them, provide an opportunity to approach from a completely new, unaffected side , to intimate life past, figuratively characterizing it both in general and in details.
The ladies in the living room are engaged in needlework and raising children. worries about baby entrusted to the nurse (lithograph by P. Vdovichev, 1830–1840s)
A nursery in a noble house unites children of different sexes and ages (lithograph by P. Vdovichev, 1830–1840s)
The first book editions dedicated to dolls were published in mid-eighteenth century simultaneously with the spread of dolls in European leisure. At the same time, the first releases of cardboard dolls with sets of interchangeable outfits appeared. Dolls subject and printed were in equally expensive and inaccessible pleasure. Therefore, the heroines of the first puppet stories were young aristocrats and daughters of large merchants - the real owners of puppet wealth.
The expansion of manufactory and then factory production in the second half of the 19th century led to the spread of dolls in the games of children from different social strata. In everyday life, a female child from a wealthy family had up to two or three dozen dolls various types and size. It became a common practice to give dolls to girls for name days and Christmas, such a gift was considered decent in a bourgeois environment. From the fun of aristocrats, the doll turned into a toy for middle-class children. But even in this capacity, she continued to maintain the appearance of a respectable toy, which flattered her owners. Publications of children's books and paper dolls addressed to children of the "educated" classes have become much more accessible. Accordingly, the heroines of puppet stories have changed - they have become girls from middle-class bourgeois families. The doll of this time organically fit into home world German Biedermeier and French Second empire, and it is this period that is considered the golden age of the doll. The second half of the 19th century was the time for the spread of the puppet pattern (in the production of dolls and their depiction in literature), designed for the tastes of the general public.
The presentation of a porcelain doll to a child was arranged with solemnity by adults (Andreevskaya V.P. Notes of a doll. A story for little girls. St. Petersburg: F.A. Bitepazh, 1898)
Simultaneously with the democratization of dolls in late XIX century, the production of expensive and very expensive toys continued: models of dolls appeared that could “talk” and “walk”, make movements with body parts. "Revival" of dolls was made possible through the use of new technologies and materials. Fashion designers and professional artists began to take part in the creation of dolls. Some of the products were striking in their resemblance to a living child, while others impressed with their artistic elegance. The dolls of eighteenth-century aristocrats looked like trifling handicrafts next to the toys of the children of financial magnates and big manufacturers of the early twentieth century. The elitism that has always distinguished this toy has become even more noticeable in the era of dolls for everyone.
The elitism of the doll was keenly felt in Russian life, since the items brought from Europe were expensive and inaccessible, and own production there were no porcelain dolls in Russia. The name "Parisian" or "French" doll became the typical name for an expensive toy (it was also retained by Russian manufacturers). The high cost of a “real” doll is evidenced by a fact from the memoirs of Anna Kern, whose family belonged to the middle landed nobility. The grandmother suggested that her granddaughter choose a doll from a French shop or a village (the events took place in the 1800s) as a gift. The choice of the girl was a foregone conclusion: instead of the "ordinary" village, she chose an unusual doll. Three or four decades later, the situation changed: girls from wealthy families had many dolls of various types and prices. According to one of the inhabitants of St. Petersburg mid-nineteenth century, in the children's noble girl there were about two dozen dolls. But there were few toys from expensive stores in this set. In a situation of low availability, the presentation of the doll in book editions was especially important for children. Literary stories about "real" dolls opened up for the Russian reader the tempting world of expensive toys and rich children.
The image of a doll in literature for children was created with a continuous eye on the objective realities. Prototypes stood on the shelves of toy shops and in the windows of fashion stores, they were brought from foreign voyages. These were dolls of manufactory, and later factory production, various in materials and types, dressed and undressed (with items for sewing). Along with dolls, doll products were exhibited on store shelves: furniture, dishes, clothes, accessories. Here is an example of a description of the puppet section from the catalog of the capital's toy store in the last third of the 19th century:
1. Dolls: undressed, wooden, rubber, porcelain, wadded - dressed in costumes different professions and nationalities.
2. Doll furnishings: living room, bedroom, kitchen, bathroom, laundry room, bathhouse, home, farm, shop, station.
3. Doll household items: teaware, tableware, kitchenware, toilet, office, bathroom accessories, etc.
Samples of dolls (Catalogue of publications and products of the store " child education»; early 20th century)
All this wealth could be bought in toy stores in both capitals. Shop trade in dolls began to improve in Russia in the second half of the 19th century. In St. Petersburg, "Parisian" dolls were sold in the Gostiny Dvor. The largest shop in Gostinodvor belonged to S.I. Doinikov, offering a large selection of dolls of different production. Handicraft toys were sold in the shops of Apraksin Yard. In the last third of the 19th century, many shops appeared in St. Petersburg, the owners of which (often ladies) maintained craftswomen who were engaged in sheathing foreign dolls and making a dowry for them. It is known that dolls with a dowry were sold in the St. Petersburg shops of V.R. Zhukovskaya, E.F. Nikolaeva, N.A. Voronova and others. The products offered were distinguished by their elegance and were awarded diplomas at Toy Exhibitions. Cheap dolls were exhibited in front of the entrance to the toy shop, attracting the attention of walking children. Expensive dolls were shown in colorfully decorated showcases. On holidays, the windows of large stores were scenes from puppet life with large quantity characters and accessories. Shop dolls were sold in smart boxes with compartments for doll dowry or in gift baskets decorated with bows and lace. An indication of the store and address where the doll was purchased served as a true characteristic of the type of toy and its value. The phrase "a doll from Nevsky Prospekt" told contemporaries a lot.
The choice of toy products was much more modest in the provinces: young ladies, along with yard girls, played with home-made or handicraft toys bought at fairs. Particularly popular were waist dolls, dressed in the manner of fashionistas in a dress and hats. The figurine of such a doll is carved of wood, and the face is made of mastic. Dolls called skeletons, which were wooden figures fixed on a plank, were sold without clothes - the girls themselves came up with various outfits for them. A large number of handicraft dolls were sold in the markets during Palm Week, where children of different classes came for toys.
AT noble estates items for puppet play were made by home craftsmen, and some of these products can be called real works of art (doll furniture, kitchens, outfits, etc.). But there is no mention of these remarkable objects in the literature. The publishers preferred to describe the puppet products of the capital's stores - the fashionable dolls sold there corresponded to literary types and themselves served as models for them.
With fashion dolls styles of outfits were copied, fashion models determined the standards of puppet beauty, the shape of a toy body and the style of hair. The authors of children's literature explained naturalism in the descriptions of toys by the desire to be "truthful". Often such an explanation served as an excuse for literary incompetence, but the reason for the emergence of "naturalistic descriptions" is not only this. Authors and publishers had to take into account the interest of children in dolls, their close attention to small things and details in the image of a toy. The book was used as an appendix to a toy and a children's game. Toy manufacturers also contributed to this: they published brochures with stories about their dolls. trademark. Books for “reading” to dolls, magazines for dolls, doll almanacs, etc. were also printed.
Every girl in childhood had a favorite doll. A doll that you remember even as an adult girl. Do you have such a doll? Has she survived? Or lives only in your memories?
Ah, dolls! For girls, they are like living things. Real girlfriends! If the doll could speak, it could tell us a lot. Something that is sometimes hidden from our eyes. Indeed, in the game, girls lose their emotions and feelings, family relationships, pain and joy.
The protagonist of the book is the doll Milochka. The story is told from her perspective. From her words, we learn about the characters of the hostesses, about the feelings of the doll and its difficult fate.
The story begins with a store. From a cramped and dark box. The doll was bought as a gift for the girl Nate. At first, Nata was very upset, and even cried: the doll was not dressed. But beautiful. Mom convinced the girl that they were together a lot beautiful clothes. And so it happened. The doll received the name Milochka and beautiful outfits sewn by mother and daughter.
Nata took care of Milochka. She told her stories, kissed her on both cheeks, dressed her up. I took with me to visit and taught to write. Sweetie was happy! Everything was fine, until a poor woman, the carpenter's wife, knocked on Nata's house.
She came to Vera Andreevna, to Natasha's mother for help. She needed money because her husband was in the hospital. And Nata, with her sympathetic and kind heart, also wanted to help. But how? She has no money, only toys ... And Nata decided to arrange a lottery. Girlfriends convinced Nata to put Milochka in the number of prizes, otherwise no one will participate. Nate was sad to part with her beloved, but she also wanted to help. And she made up her mind. Nata really hoped that Milochka would be won by one of her relatives, and the doll would stay with her. But this did not happen. And Milochka moved to live with Mana.
How did Sweetie feel? Fear, bitterness and pride Natu. How will she live with her new owner? Will Manya also love her?
Thus began the adventures of the doll Milochka. Manya will not become the last mistress of the doll. Mila will visit Parasha, Sonya, Louise, will return to Sonya again, then she will live with Ninochka, she will be on the verge of death, but everything will end well!
Every girl has different character, and miscellaneous social status. Together with Mila we
learning to distinguish good from evil. Understand what is good and what is bad.
There are so many pressing issues covered in The Doll's Notebook!
This is love for people, compassion, humanity.
This is poverty and wealth.
Cruelty! Yes, not all mistresses of Milochka turned out to be gentle and kind, like Nata.
Theft, torment of conscience and remorse for what they have done.
Mercy and compassion, on the example of Natasha.
Blackmail! We can talk to the child about this after reading the book, and teach him to recognize such things and not give in to them.
Envy. Attitude towards people and towards things too.
