The abundance of translated editions of puppet "notes" should not confuse those who are primarily interested in the history of Russian puppets and its representation in Russian books. The corpus of translated texts for children's reading received many years of registration in Russian families from educated classes. Translations and retellings of puppet stories testify to the importance of objects and concepts that a fashionable doll brought with it to Russian life and leisure culture of the 19th - early 20th centuries. Deliberately emphasizing the foreign nature of the doll, its foreignness to Russian life, is nothing more than a polemical device, which contemporaries often resorted to, but which should not mislead researchers.

The last edition of the “doll notes” was published in the 1920s, after which the porcelain doll lost its status in Soviet literature for children. There were works about children of the new time and new toys, among which there was no place for a fashionable doll. But contrary to the ideological messages, production practices and realities of life, the dream of an expensive, beautiful and smartly dressed doll continued to live. How this childhood dream was realized in the realities of Soviet life and Stalinist culture (a children's book also belongs to its elements) is described in last section books.

Doll as a writer

The author of the first "puppet notes" was the French writer Louise Olney (Louise d'Aulnay, 1810-1891), who wrote under the pseudonym Julie Gouraud. Her book Memoires of a Doll (Mémoires d'une poupée) was published in France in 1839. The "doll's memoirs" became the same typical French "product" as the porcelain doll itself: they were translated, imitated, remade. In Germany, Memoirs of a Berlin Doll were published, and in England, Memoirs of a Doll, written on behalf of an English doll. Puppet “notes” were also successful in Russia: in 1841, the first Russian edition of the “notes” (“Memorial notes of a doll. Stories for little girls taken from French by V.K. Somogorov”) was published in St. Petersburg, five years later a new translation appeared books (Notes of a Doll / Translated from French by K.E. Olsky. St. Petersburg, 1846). A quarter of a century later, there was a surge of reprints of “notes” (Notes of a St. Petersburg Doll. St. Petersburg, 1872 (two editions); History of a Doll. M., 1878; Andreevskaya V. Notes of a Doll. St. Petersburg, 1898; she is. Doll Milochka and her girlfriends. St. Petersburg, 1911; Bulgakova E. From the doll's diary. M., 1908), culminating in the publication of doll "memoirs" in the 1920s.

When publishing "notes", Russian publishers did not consider it necessary to mention the name of the French writer. As a result of the hoax of authorship, the French doll and the French writer became like one person for the Russian reader. A similar hoax was played out by English and German publishers, placing two prefaces in their books: one on behalf of the publisher, and the other on behalf of the doll itself (and again without mentioning the name of the creator). This form of narration has not lost its charm even when young readers"Notes" grew up and wanted to re-read them to their children (new editions of "Notes" testified to this).

The attachment of the plot of the "notes" to the conditions of French life and the traditions of education did not prevent the popularity of L. Olney's books outside France. In everyday life and social life, Russian nobles were guided by European models. Similar in a decent society were the requirements of etiquette and behavior, as well as the norms of gender education. All-European types were also followed by doll manufacturers, and the toy itself was an international creation - porcelain heads were made in one country, fashionable clothes were borrowed from another, and the toy was sheathed in a third.

The first readers of the “doll notes” were children from the wealthy sections of French society (from families of aristocrats, wealthy merchants and high-ranking officials). Possession of an expensive toy served in this environment as a marker of material wealth and social status. Children 6-12 years old - in these age limits it’s decent for a girl to play with dolls - they met at children’s balls, name days and holidays, where they came with their toys. The restrictions imposed on girls by gender and age were redeemed by the freedom of communication among peers, the unity of interests, games and books. Adults encouraged this behavior. The traditions of the children's community were especially developed in France. The joint game of children was valued as highly as a conversation between adults, because in the process of playing girls gained secular experience and strengthened social contacts. “Little women's society”, as it was called in “doll's notes”, and L. Olney intended her publication (“little men” she dedicated other books that turned out to be less in demand).

"Notes of a Doll" is written in the tradition of French fiction publications. They were distinguished by plot novelty, a variety of narrative techniques and a slight opposition to educational dogmas and secular rules. What was the statement of the young heroine from the story of the Countess de Segur (nee Rostopchina) “The Adventures of Sonichka” worth: “I will try to improve, but obeying is such a bore!” Russian authors and publishers preferred to focus on German moralistic publications, sacrificing amusement in favor of edification. If the French style dominated fashion and entertainment, then it was necessary to educate children morally "in German." “Notes of a Doll” this tradition was pushed aside, not only in Russian publications for children, but also in German literature itself. The translator of the “notes” into German was the popular writer Antonia von Cosmar (A. von Cosmar), she was also the publisher of fashion reviews (“Berliner Modenspiegel”).

The genre of literary "notes" was also fashionable. Published on behalf of the great or small of this world, notes (memoirs) expressed a personal view of history and modernity, opened up what remained beyond the boundaries of the officially known. These could be "notes" of a real secular lady or her imaginary maid, a famous writer or his learned cat - the position of the observer, who was within the domestic, intimate space, was important. Such an observer of children's life in L. Olney's "notes" is a doll.

The story begins with a mother about to read "something special" to her daughters. She prefaces the reading with the words: "One smart doll learned to write and wrote her own notes." Such a fantastic assumption, expressed by an educated lady, is justified by the fact that the reading of the "notes" takes place during the Christmas holidays, with their atmosphere of celebration and play. The hoax ends at the end of the book with a discovery made by the girl who owns the doll: “Opening her desk, I found several small notebooks written so finely that I had to arm my eyes with a magnifying glass to read what was written. These notebooks are called: “Memorial notes of a doll”. Near them lay a feather from a hummingbird, on which the ink had dried.

It would seem that the narration on behalf of the doll is the same conventionality as the story on behalf of any other character. However, the puppet hoax in the eyes of children claimed plausibility. It is easy for someone who plays with a doll to believe in her ability to write. And so it happened when the "notes" saw the light. The discussion of their authorship in the children's reading circle was a real event. “Some, moreover, the majority, say that it is not Snezhana [doll's name. - M.K.] wrote these notes; others attribute them to their mother, still others finally say that he intervened here brownie; everywhere they only talk about Snezhana and her Memoirs. I had to dissuade too gullible readers who naively think that the doll is alive. “So I myself read the notes of some doll, but was she able to see and understand anything, but meanwhile she assured me in writing that she understands everything and sees everything. – Do you believe it? - Of course I believe. How can a doll write? - She was engaged in writing at night and hid her notes, written with a hummingbird pen, under her bed. - Do not believe these nonsense, my poor Liza, the doll's notes were written by some lady, for greater interest she called herself a doll, and under this name she gave out a book. “So you think the note writer wasn’t a real doll?” “Of course not real. Well, how can a lifeless doll made of wood, huskies and stuffed with bran, how can she reason, see, hear and write? It is noteworthy that the conversation about plausibility is conducted in a book called "Notes of a Donkey" by S. de Segur. The conventionality of narration on behalf of such a character was not questioned, but reasoning on behalf of a doll could mislead gullible lovers of puppet play.

A picture instead of an epigraph

Games of noble girls with different types of dolls (lithograph by P. Vdovichev, 1830–1840s)

An old lithograph depicts a children's room in a 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.

The 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.

There are many interpretations of this connection in ethnographic, psychological and social sciences. Despite the difference in approaches, there is a fundamental commonality between them. The “girl and doll” connection 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-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 the intimate life of the past, figuratively characterizing it both in general and in small things" 1
Bartram N. "Toy Museum" of the People's Commissariat of Education // Child and Toy / Sat. Art. under. ed. ON THE. Rybnikov. M.; L.: Mrs. publishing house, 1923. S. 69.

The ladies in the living room are engaged in needlework and raising children. The care of the baby is 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 the middle of the 18th 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. 2
In 1791, the German magazine Jornal des Luxus und der Moden posted a message about new items from London - cardboard dolls with a set of clothes. German-made dolls (Müller H.F. “Isabellens Verwandlungen oder das M?dchen in sechs Gestalten” (“Transformations of Isabella, or a girl in six images”) were created on the model of English cartonage.

Dolls subject and printed were 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 of various types and sizes. 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 the home world of the 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 of the dissemination 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 at the end of the 19th 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 products brought from Europe were expensive and inaccessible, and Russia did not have its own production of porcelain dolls. 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 in the middle of the 19th century, there were about two dozen dolls in the children's noble girl. But there were few toys from expensive stores in this set. In a situation of low availability, the presentation of the doll in book publications for children was especially significant. 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 manufactory and later factory-made dolls, 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 of 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. 3
Litvinsky P.A. Systematic index of toys, activities and games. St. Petersburg: type. V. Kirshbaum, 1890. S. 8.

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 4
At the First All-Russian Exhibition of Children's Toys in St. Petersburg in 1890, dolls exhibited by V.R. Zhukovskaya, S.I. Doinikova, E.F. Nikolaeva, N.A. Voronova, as well as toys from Schwarzkopf Arnold & K. (Steam factory, Moscow).

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 doll life with a large number of characters and accessories. Shop dolls were sold in elegant 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. 5
Waist dolls were exhibited in the departments of handicraft products (Exhibition of toys in St. Petersburg. St. Petersburg, 1890).

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.

In the estates of the nobility, items for puppetry were made by home craftsmen, and some of these products can be called real works of art (puppet 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.

Dress styles were copied from fashion dolls, standards of doll beauty, toy body shapes and hairstyles were determined by fashion models. 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 appearance 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 dolls of their own brand. 6
The toy set "Sonya's Doll", produced by the "Children's Education" company, consisted of a basket with a doll, a travel bag, sewing material and a book with the same name.

Books for “reading” to dolls, magazines for dolls, doll almanacs, etc. were also printed. 7
The small-format magazine "Kukolka" was published as an appendix to the magazine "Firefly" (editor A.A. Fedorov-Davydov) in 1908-1909. Models for puppet magazines were such German publications as Die Puppenwelt. Eine neue Bilderlust f?r kleine M?dchen. N?rnberg, 1844 ”(“ Doll World. New fun in pictures for little girls. Nuremberg. 1844”).

On the pages of publications, along with the description of the dolls, information was reported on outfits, fashionable color combinations, stylish styles, hairstyles and exquisite accessories, because the doll itself was a fashionable detail of the girl's outfit. In an era of low prevalence of fashion magazines, book text served as a source of utilitarian, but significant information for readers. Is not coincidence that the writers of puppet stories were at the same time publishers of fashion magazines (as, for example, the German writer and publisher F.Yu. Bertukh). The images of outfits in illustrations in children's books also differed in reliability. Interest in the details of the toilet contradicted the instructive nature of the image: a pretty dress and a fashionable hat are worn by the heroine of bad temper. However, the desire to visualize fashion trends overpowered the need to edify.

The world of fashionably dressed dolls continued to beckon even when information about fashion became more accessible. The continued interest in fashion dolls was evidenced by the growth in their production and the organization of exhibitions. Since the end of the 19th century, such exhibitions have become regular. So, at the exhibition of 1912, held in Leipzig, among other things, puppet ladies-athletes, as well as ladies-models, were exhibited. Every detail of their outfit, according to the correspondent, aroused great interest among the public and became the subject of discussion. The dolls were “in chic black velvet suits trimmed with fur, with pointed caps on fashionable hairstyles and high brown boots with tiny ice skates in hand. Here we can also admire luxurious toilets made according to the latest Parisian fashion, which can even serve as models. It is worth mentioning a lilac velvet dress with a neckline embroidered with beads, with a light gray cape and a light green silk dress, laid with beautiful folds and decorated with damask roses - the characteristic fashion of this season. 8
Toy business. 1913. No. 3. P. 13. Even shoes for the doll were in line with fashion trends (“Rosettes and bows have given way to large buckles that look prettier and fit much better with modern dresses” - ibid. P. 18).

No less attractive seemed the intimate items of the outfits of toy ladies. 9
“Finally, the doll is being dressed like a little society lady. First, they put on a shirt trimmed with lace, elegant embroidered pantaloons, a perfumed skirt, fishnet stockings and shoes, depending on the purpose of the doll, an exit toilet, an athlete's dress or a suit for walking ”(Toy business. 1913. No. 4. P. 17).

In descriptions of doll fashion (including in professional magazines for fashion designers and toymakers), literary clichés borrowed from mass publications were used. For two centuries, the doll, fashion and children's book have existed in close relationship.

The history of the doll was reflected in the change of puppet images created in literature. The heroines of the 18th century publications were dolls made in the famous workshops of Nuremberg. The heads and arms and legs of dolls of this time were made of wax or papier-mâché, the bodies were sewn from husky and stuffed with bran. In the middle of the 19th century, they were replaced by classic puppets produced at French and German manufactories: a porcelain head and a delicate drawing of an aristocratic face testified to the class culture of those to whom these puppets were intended. The end of the 19th - the beginning of the 20th century is characterized by the luxury of magnificent puppet forms and the flashy appearance of factory dolls, which became a sign of the coming democracy. Then followed the era of the revolutionary avant-garde of the 1920s, with its sharp features of a wooden doll, vernacular or homemade. It was replaced by a period of rubber factory blanks, hardy in wartime and post-war conditions. Then the plastic and celluloid neoclassical dolls of the Soviet era of the 1960-1980s came into use. The Soviet era is being replaced by political and economic restructuring with the face of Barbie. The change of puppet images is imprinted in literature and in the memory of contemporaries as an epoch-making event (with positive or negative connotations).

No matter how ideological views and artistic positions changed, the doll remained the embodiment of ideas about female beauty and girlish attractiveness, served as an ideal example of fashionable and bodily, and implicitly sexual. The doll refers to the words: "children's toys, for all their fragility, are durable, they are, as it were, a living embodiment of the dream of eternal spring inherent in all of us" 10
Twinkle. 1899. No. 4. S. 30.

In turn, the doll participated in the creation of the semantics of female and girlish images in life, culture and fashion: some of them are pale, like “wax”, others tempt with the freshness of “porcelain”, others seem rudely “wooden”, and the fourth remind of the cheapness of “plastic”. ".

There is a considerable gap between the doll-product and the doll-character. A popular toy did not always turn out to be a literary character or became one in a different era, or remained completely unnoticed. Among the characters was a favorite doll that dominated all literary eras. She became an expensive wax or porcelain doll, representing a fashionably dressed lady. Such dolls, created for children's play, at the same time served to demonstrate the outfit, lifestyle and social status of its owners. With expensive dolls, girls came to children's parties and social events, went for walks in parks and boulevards. With dolls in their hands, children posed for artists and later for photographers. 11
This is evidenced by the fact that dolls appeared in photographs of girls from bourgeois families of the late 19th and early 20th centuries. The toy was given a place of honor next to the child. There are examples when photographers focused on the head of the doll, and not on the face of its owner.

An expensive toy demonstrated the social possibilities of the family, was the material equivalent of the love of adults for a child. The doll-lady also performed demonstration functions in the children's game, where she served as a model of female beauty, respectability and fashionable grace. It was believed that such a toy, like a sculpture or a picture, contributes to the development of artistic taste in children. 12
“Pictures, toys and dresses intended for a child should, if possible, contribute to the development of taste” (Geifelder O. Children's games // Teacher. 1861. No. 24. P. 990).

Wax and porcelain ladies reigned in children's rooms and in children's books, where they were portrayed as children's favorites and objects of their passionate dreams.

However, literary preferences diverged from everyday practices. In the everyday life of girls from three to fourteen years old, an expensive doll was not the only and even more favorite toy. Let us refer to the documentary evidence of the beginning of the 20th century - the period of relative availability of dolls: “We had three types of dolls: 1)“ large ”, these are purchased dolls with porcelain or mastic heads, 2)“ medium ”, made by ourselves or by one of the elders. sisters and brothers, hard paper dolls with heads and faces from pasted pictures… 3) “small” ones, made of paper by ourselves” 13
Child and toy / Sat. Art. ed. ON THE. Rybnikov. M.; L.: Mrs. publishing house, 1923. S. 57.

According to the memoirist, she and her sisters loved to play with “medium” and “small” dolls in childhood: these toys were suitable for toy houses and towns that they built. The children of the noble and bureaucratic elite agreed with the opinion of a girl from a middle-class bourgeois family - they also preferred to play with simpler dolls. There are several reasons for this. First of all - the fragility of the doll and the fragility of parts made of wax or porcelain. Playing with a breaking toy suggested caution bordering on reverence and fear. The stand, which securely fixed the doll on an iron pin, made it difficult to manipulate the doll and limited contacts with it. Interfered in the game and the large size of the toy. Carrying a “yard-long” doll is tiring, and dragging it across the floor is reprehensible. A hindrance for the child was the magnificent outfits of the doll, the complexity of the wardrobe, made up of many details. Hats with feathers, an indispensable accessory for a lady-doll costume, caused particular inconvenience. The aesthetics of an expensive toy, with a delicate drawing of a face and an exquisite hairstyle, was more designed for the tastes of adults than for the sympathies of children. 14
"The sophistication of toy factory production for recent decades finds no justification for itself in the demands of the child's psyche itself. Indeed, we often see that children prefer the simplest toys over the most expensive and complex ones ”(Anosov A. Interesting Christmas gifts // All world. 1910. No. 43. P. 24).

The adults dictated the rules of the game with the doll: the governesses were obliged to be present at the game, and the parents did not let the expensive product out of their eyes. 15
“We played only on holidays: on the orders of our father, the governess left us alone on holidays, we breathed deeply these days with full breasts” (Rumyantseva K. About dolls (on the psychology of playing with dolls) // Child and Toy / Sat. Art. under the editorship of N.A. Rybnikov, Moscow, Leningrad: State Publishing House, 1923, p. 56).

Restrictions in the game sometimes led to children's riots, when the girl defiantly refused to play with the doll presented to her, and there are many examples of such riots against dolls. Games with handicraft and paper dolls were more free and varied. They could be dealt with secretly from parents and educators, hiding under an apron, in a school desk or in an educational book.

Current page: 3 (the book has a total of 19 pages) [accessible reading excerpt: 13 pages]

At the same time, it was argued that the girl should not look like a "hairdresser's" doll - the embodiment of female stupidity. “Hairdressers also have dolls in their shops; they always stand still, and their faces are stupid. And no wonder no one cares about them. And we, Milka, we travel, study history and geography" 62
Campan J. - L. A pocket book for a young mother, or a guide to the physical and moral education of children / Per. from fr. A ... G ... M .: type. S. Selivanovsky, 1829. S. 88.

Over time, ideas about what exactly a well-educated girl needs to know have changed. “If you take it into your head to reason as the old men of the past century reasoned, that people lived without knowing and without reading anything about the arts, literature, music, that you can also live without it, then at the same time you must remember that now everything and everyone goes forward, not backward, that you, with such a backward concept and opinion, will not be considered either an intelligent or educated girl. 63
Letter from a 14-year-old girl to a friend of the same age as her. 1877. S. 3.

Readers were told that a girl needed knowledge solely to become a good wife and helper to her husband. However, in most cases it was.

Episodes from the book “The Story of a Doll. A story for children” (M.: A.D. Presnov, 1878)

The doll is a connoisseur of social decency, which a girl who enters the world should have had. According to the statutes of women's institutions, it is necessary "to avoid everything that could offend the modesty of sex and age and that would be contrary to decency and morality" 64
Instructions for the education of pupils of women's educational institutions. St. Petersburg: type. Board of Trustees, 1857, pp. 9–10.

The best school for mastering these decency is “reasonable home education and the habit of everything that is called “good form” acquired in family life. 65
A well-bred woman or the ability to behave with tact at home and in society. St. Petersburg: G. Goppe, 1895. S. 2.

The doll undertakes to instruct her readers in the field of morality and etiquette. This is done using examples from the life of good and bad girls. The latter include aristocrats who are “not spoiled, but spoiled with happiness” 66
Correspondence between student and mentor. Published by Ekaterina Burnasheva, a cool lady at the Nikolaev Orphan's Institute. St. Petersburg: type. DI. Kalinovsky, 1861. S. 49.

For such girls, sophisticated methods of correction were invented, including with the help of expensive dolls. In one of the stories, parents gave their daughter a beautiful wax doll. The toy was dressed in a rich dress with an apron, on which a moralizing inscription was embroidered: “For the one who confesses her bad deeds and will try to correct her bad character” (it was necessary to correct the girl who threw lipstick cans at the servants) 67
Corrected stubbornness // Stories for children. Op. Ms Lopateva. Kyiv: type. I. Valner, 1848.

Another girl's mother gave a doll, which gestures showed what to do: play the piano, read, write, pray. When the guests arrived, the doll depicted how the girl takes other people's things and eavesdrops. The performance played out by the toy shocked the mistress of the doll so much that she immediately corrected herself. It turned out that inside the toy there were buttons and springs, with the help of which the mother turned on the doll and she performed the necessary manipulations. 68
Asterisk, a children's magazine dedicated to the noble Pupils of her Institutes Imperial Majesty and published by Alexandra Ishimova. Petersburg, 1845. Part 3.

All these stories were published as "true" stories from children's lives, and the descriptions of the miracle dolls struck the children's imagination.

Girl's dreams about a doll. (Doll of a clever girl, a short story with the addition of fairy tales, songs and stories / Translated from French. M .: type. Alexander Semyon, 1850)

A lady doll is a long-awaited gift for a girl. (Doll of a clever girl, a short story with the addition of fairy tales, songs and stories / Translated from French. M .: type. Alexander Semyon, 1850)

The authors of the "notes" reminded their readers of the importance of the moral education of the girl. Otherwise, the word "doll" will become offensive, but, alas, a fair nickname for a female person, smartly dressed, but close-minded. “Dear children, remember that if you do not become kind, educated and hardworking, you will later be compared with these toys of your childhood and say: she is beautiful, but useless like a doll” 69
Doll of a clever girl, a short story with the addition of fairy tales, songs and stories / Per. from fr. M.: type. Alexandra Semena, 1850. S. 71.

The doll could serve for the benefit of the girl only up to a certain age of her mistress. Then the young lady had to part with the toy and start preparing for the publication. The age transition was marked by a sharp change in attire, leisure and etiquette, which were fundamentally different for a girl and a young lady. Fifteen years was the official transition limit (in household practices“bride-to-be” started at the age of 12-13). Poetic verses, written on behalf of the girls, sang the moment of entry into the world of women.

I can't run at fifteen
Through the groves, through the meadows;
I must sit slender, carefully
In gatherings between ladies,

And like an old man with a stern, stern gaze
to meet a welcoming gaze,
And for a whole hour in front of the mirror, with a headdress,
Accompany in excitement<…>

Let me play with toys
For a long time, no fuss!
Let them slowly approach me, I beg you
My fifteen years! 70
Zvezdochka, a children's magazine dedicated to the noble pupils of Her Imperial Majesty's Institutes and published by Alexandra Ishimova. Petersburg. 1845, part 1, pp. 108–110.

In puppet "notes" it was reminded that an educated young lady should say goodbye to the doll in a timely manner. Young noblewomen became brides while still playing with dolls, so the instruction was not superfluous 71
In the conditions of early marriages, the wife could be at the age of a playing girl. According to the stories of D. Blagovo, his grandmother, who was declared a bride at the age of 11, was given several dolls as a dowry (“A grandmother’s stories from the memoirs of five generations, recorded and collected by her grandson D. Blagovo (1877–1880)”).

Sentimental maxims were expressed on this occasion on behalf of the doll. “Although Isabella sometimes glanced at me by chance, she was ashamed to play with me and call me her daughter. This is a very sad feature in the life of dolls: we do not change for our mistresses and are always ready to amuse them, but with age they begin to neglect us, and we cease to exist for them ... " 72
Memoirs of a Doll // My Journal. Magazine for girls. SPb., 1885. No. 5. S. 128.

Joking regrets become serious instruction if the girl is in no hurry to part with the toy. The mother says to her daughter: “You are already too big to play with dolls, and it’s time for you to study more seriously,” and the girl, shedding tears, leaves her beloved doll 73
Karelina A. Katina book. Ed. author. SPb., 1864. S. 67.

Now the girl can communicate with the toy only as a teacher of her younger sisters, who still play with dolls.

Another book by L. Olney, Correspondence of Two Dolls (1864), is replete with advice, in which one of the correspondent dolls now and then makes mistakes, and the other, as the eldest, gives her advice. The “younger” readily accepts these tips. "You're smart enough for two. Treat me like a daughter, scold me, teach me, I promise to obey. Correspondence of children is a popular genre in children's editions of the XIX century 74
The novel was published in letters for children by Madame Janlis (“Little emigrants, or the correspondence of children. The creation of Madame Janlis, which serves to educate youth / Translated from French. I.S. T. 1–2. M .: Provincial type. by A. Reshetnikova, 1811).

It was believed that teaching on behalf of a peer would save the narrative from excessive rigor, although one can hardly speak of the plausibility of the images of juvenile reasoners. When the “correspondence” is conducted by dolls, the edification is colored with humor and acquires a playful character.

Humor and play were combined with the seriousness of the moral messages contained in the texts for girls. The French system of education, widespread in the families of Russian nobles, was distinguished by its verbose articulation of rules and moral dogmas. The instructions were accepted both in the conversations of parents with children, and in the speech of the governesses, in whose eyes the whole life of the girls passed. The "deputy" of the governess is a doll, which, like the warden, knows about the secret sins and bad deeds of girls. The fact that the doll sees and hears everything was repeated many times in the "notes" - mothers inspired this to their daughters for edifying purposes. Good girls do not interfere with such control, while bad girls dislike the silent witness of their “crimes” and look for an excuse to get rid of the doll (break it or throw it away).

This desire was experienced not only book heroes, but also girls in real life, who were burdened by the control over the game with the doll. Adults were delighted, seeing how children diligently play with dolls bought for them. It was an "optical illusion" of a pedagogical idyll. One of the memoirists wrote: “We were praised and rewarded when we “played well”, we were scolded and punished when we sluggishly fulfilled the program of compulsory games”: reproaches from adults (“you do not know how to appreciate”) discouraged any desire to play with expensive toys 75
Konradi E.I. Mother's confession. St. Petersburg: type. A.M. Kotomina, 1876, p. 278.

Painful (and ineffective) were verbose notations, repeated both from the lips of educators and on the pages of moral and didactic publications. This method, borrowed from foreign educational practices, gave the opposite results. Another memoirist testified to the same. “Girls were brought up strictly and with the application of that not entirely successful French system, which, through endless talk about duty (le devoir), reduced this concept to everyday trifles and, instead of introducing moral responsibility, achieved the opposite: children ignored these suggestions, and the concept of “duty” completely discredited" 76
Aksakova-Sivers T.A. Family chronicle. M.: Indrik, 2006. S. 33.

The maxims uttered from the puppet's face were supposed to diversify this rhetorical flow.

The popularity of the format of puppet "notes" and "correspondence" was supported by mandatory epistolary practices: noble girls had to be able to keep notes, diaries, weekly journals, and write letters. Epistolary activity covered different sides life of a European woman from the educated classes 77
“The keeping of a diary was prescribed for girls, not for boys. It was an element of education. We had to prepare the girls for family life, to make them good Christians and respectable mothers of families. Diaries were one of the means of education ”(Autobiographical practice in Russia and France / Sat. Art., edited by K. Viollet and E. Grechanoy. M .: IMLI, 2006. P. 21).

A good mother informs her daughter: “I have a book called Notes, where for more than ten years I have entered everything that is most important in my life " 78
Notes of a good mother, or her last instructions when her daughter goes out into the world. St. Petersburg: publishing house M.O. Wolf, 1857. S. 35.

The most important were extracts of a moralizing nature and reflections on them, as well as household and household records. The mother's example inspires the daughter, who also takes up the pen and starts journaling.

Assimilation of diary practices began at the age of 10–12 and was furnished with parental gifts: the girl received as a gift (usually for a name day) an album, a journal for notes and an inkwell with a pen, and sometimes her own writing table. Receiving the album was a joyous occasion, as it marked the approach to an alluring period of growing up. In "Excerpts from Masha's Diary" by V. Odoevsky, the girl's enthusiasm is described when receiving a book and an inkwell with a bell. “Today I am ten years old ... Mommy wants me to start writing from that very day what she calls a journal, that is, she wants me to write down every day everything that happens to me ... I confess, I am very glad about this. That means I'm already a big girl!.." 79
Library of grandfather Iriney for children and youth (Prince V.F. Odoevsky). Fairy tales and compositions for children. 3rd ed. M.: type. V. Gatzuk, 1885. S. 275.

Parents controlled the girls' epistolary activities and encouraged them in every possible way to study with a diary and a journal, primarily in order to improve writing and the ability to express their thoughts on paper. “In the correspondence of two dolls I tried, in small stories taken for the most part from life, expose different tempers girls with their good and bad qualities. The form of letters was adopted with the aim of giving at least an approximate idea that letters should be simple story events that happen to us 80
Adventures of two dolls. Dedicates to his sister L.I. St. Petersburg: type. t-va "Public benefit", 1868. Pp. not num. "Foreword".

In addition to practical use, the diary had educational value. It was believed that a diary entry is a kind of confession, useful for the moral self-education of a girl (it was customary to show diary entries to parents). A reasonable mother explains to her daughter the purpose of keeping a diary: “It is written so that it contains everything that a person does during the day, so that later, when reading what is written, he does not forget about his bad deeds and would try to improve. It's called... being aware of your life." 81
Library of grandfather Iriney for children and youth (Prince V.F. Odoevsky). Fairy tales and compositions for children. 3rd ed. M.: type. V. Gatzuk, 1885. S. 277.

Since letters and diaries were read by adults, the girls tried to match their parental expectations in their notes. 82
According to the memoirist, “each of us should have acted in our letters, if possible, the full personification of the ideal of a girl, which was believed according to the education program” (Konradi E.I. Confession of a mother. St. Petersburg: type. A.M. Kotomina, 1876, p. 278).

An exemplary heroine ends her diary with the words: “Farewell, my journal! Thank you for giving me good thoughts" 83
Journal of a little girl with a translation into Russian. M.: type. ON THE. Kalashnikova, 1871. S. 17.

The educational function was also performed by the mother's diaries, in which the mother describes the misdeeds of the children. Moralists argued that reading parental notes together helps girls improve, and they cited examples of this in their works. 84
The story about the disobedient Lydia ends with the words: “Nothing confirmed her desire to improve herself like a careful examination of her actions” (Little Lydia, or mother’s notes. A story for children. St. Petersburg: type. E. Prats, 1844. P. 82 ).

In turn, the girls teach the dolls to keep diary entries, repeating the words and intonations of their mothers during the game. Little Sonya puts the doll at the table, puts a lined notebook in front of her and encourages the doll to keep a diary: “Dear Milochka, be smart, write in this notebook everything that happened to you in the continuation of your life” 85
Andreevskaya V.P. Scrapbook dolls for little girls. St. Petersburg: publishing house of Bitepage, 1898. S. 223.

An example of such a game for girls was puppet "notes".

Despite the popularity of "doll notes" in the reader's environment, magazine critics and publicists left the puppet "memoirs" unattended. It was believed that this foreign gender format did not play a big role in the reading of Russian children. Critics did not take into account that editions of the "notes" were family reading in many homes. The negligence of literary experts was atoned for by the recommendatory activity of the authors. On the pages of their works, they advised girls to read "doll notes." So, in "Katya's book" (1864) A. Karelina 86
Alexandra Karelina - mother of E. Beketova, great-grandmother of A. Blok. Karelina's book "Katina's Book" is dedicated to her granddaughter Katya Beketova.

The English edition of the "doll's notes" is retold from the perspective of a little girl. The little heroines of V. Andreevskaya's story "Milochka Doll" by V. Andreevskaya are delighted with the "notes" (they refer to the German edition of the "doll notes"). Such enthusiasm was not an invention of the writer. Puppet stories were deeply experienced by their readers. In common images and typical examples, the girls found similarities with themselves and their lives. “... It seemed to me that this book told my own story, because in the description of the appearance of the heroine of the story, Rosina, I found similarities with myself, and besides, in one picture she was presented with a large doll in her hands, exactly - Just like me and Mimi. Two or three features of this kind were enough for my imagination to complete the rest. 87
Sysoeva E.A. The story of a little girl. Book. 1. St. Petersburg: type. P.P. Merkulyeva, 1875. S. 18.

. “Notes of a Doll” was read with pleasure by those who grew up from playing with dolls. Adult young ladies, mothers and grandmothers, as the authors of the “notes” admit, retain love for dolls for life (“who does not know that mothers and even grandmothers remember with pleasure the time when they played with dolls” 88
Guro Yu. Correspondence of two dolls / Per. with 4 fr. ed. St. Petersburg; M.: t-vo M.O. Wolf, 1870. S. 8.

The enthusiasm of lovers of dolls and doll "notes" collided with the hostility of their opponents. Disputes about the role of dolls in the upbringing of girls splashed out on the pages of "doll stories", which did not subside throughout the 19th century. Both opponents and supporters of emancipation equally used the image of the doll in accusatory rhetoric. Dolls were accused of "corrupting" girls, accustoming them to luxury and wastefulness, frivolity and idleness, coquetry and other female vices (anti-secular rhetoric). “Each beautiful doll makes one girl arrogant and a hundred others envious,” the teachers said. 89
Colozza D.A. Children's games, their psychological and pedagogical significance / Per. from Italian. M.: Mosk. book, 1904. S. 221.

(pedagogical rhetoric). They were echoed by children's writers, who believed that the doll distorts clean image child (romantic rhetoric) 90
Describing a girl who died early, P.V. Zasodimsky emphasizes her indifference to toys. “She almost never played with toys, although in her nursery all the corners were filled with them. She handed out toys. Her hobbies were books and paintings. to an angelic child no need to try on earthly roles (Alya, from the biography of a little girl. P.V. Zasodimsky. St. Petersburg: publishing house M. Klyukin, 1898. P. 7).

Progressives were outraged by the ability of the doll to awaken in the girl idle fantasies that are not realized in life (nihilistic rhetoric) 91
“This, if you delve deeper, can even explain the appearance of emancipated and disappointed women in our country” (Toll F. Something about educating the imagination of children // Reprint from the Journal of the Ministry of National Education. 1860. No. 9. P. 48).

Behind the "ideological" fighters with the doll often hid female haters. They cursed the doll for its resemblance to the woman who had offended them (an ardent accuser of the dolls admitted that the hated toy reminded him of a lady who hurt the boy's pride in childhood). With masculine arrogance, even scientists who were not prone to exaggeration wrote about the doll. For example, Dr. I.A. Sikorsky called girls' games with dolls "routine" and argued that "boys have much more imagination" 92
Education at the age of first childhood. Dr. I.A. Sikorsky. SPb., 1884. S. 119.

The book Notes of a St. Petersburg Doll (St. Petersburg: typed by I.I. Glazunov, 1872) depicts pictures from Russian life: a dacha in Pargolovo and a peasant house in the vicinity of St. Petersburg (engraver N. Kuniev)

Dislike for the doll was also experienced by supporters of the upbringing of noble girls in the folk spirit (populist rhetoric). Leo Tolstoy was against buying dolls for his children. 93
“Dad was against any expensive toys, and for the first time of our childhood, mom herself made them for us. Once she made us a negro doll, whom we loved very much. He was made entirely of black calico, the whites of his eyes were made of white linen, his hair was made of black lambskin, and his red lips were made of a piece of red flannel ”(Tanya Tolstoy’s childhood in Yasnaya Polyana/ Sukhotina-Tolstaya T. Memoirs. M.: Hood. lit., 1976).

True, he did not manage to withstand the education system without toys - under the pressure of the female half of the family (wife and nanny), girls got dolls, and boys got horses. Tolstoy himself only once deviated from his rule: during the illness of his daughter Tatyana, the writer gave the girl a set of seven porcelain dolls and a bath for bathing them. The rhetorical denunciation of dolls and the worldly attitude towards them when raising their own children diverged quite often.

The rejection of dolls was also demonstrated by representatives of the female community. In diaries and memoirs, they contrasted playing with dolls with reading books (the preference for books testified to the spiritual priorities of a lady or girl) 94
“Actually female autodocumentary tradition during the XVIII-XIX centuries. fixes: 1. the stable hostility of noblewomen to dolls as "immobile" and "lifeless", emphasizing the "external" to the detriment of the "internal"; 2. negativeization of playing with dolls as an empty, primitive, “non-developing” pastime; 3. besides, negativization, acting as a female strategy of implicit resistance to manipulation” (Belova A.V. Four ages of a woman: the daily life of a Russian provincial noblewoman of the 18th – mid-19th centuries. St. Petersburg: Aleteyya, 2010, p. 136).

Anna Kern claimed that books replaced her childhood playing with dolls. “Dolls, in my opinion, talking to them and so on, teach children to believe in the representations of their own imagination as reality, and make children self-deceive themselves, dreamy, deceive themselves” 95
Kern A.P. About Pushkin and about myself. Memoirs, diaries, correspondence. Tula: Priokskoye Prince. publishing house, 1993. S. 113.

The memoirist considered herself free from such sins. Emancipated ladies also renounced the toys of their childhood - they put dolls on a par with "vulgar" outfits and "immoral" jewelry. Some of the memoirists, not without reason, saw in the imposition of dolls a way of gender “programming” girls (feminist rhetoric). Let us refer to the memoirs of Maria Bezobrazova, an active figure in the Russian women's movement. “I not only never played with dolls, but I hated the reason for giving them - the Christmas tree. Those older relatives came to the Christmas tree for whom my young parents were not legislators and could not tell them "do not give." These elders bombarded me, like a firstborn, with yard-long dolls, their beds, cupboards and other rubbish, and I was unhappy not only because I didn’t need all this, but for a completely different reason. I had to show gratitude, even joy.” 96
Bezobrazova M.V. Pink and black from my life (dedicated to A.M. Peshkova-Toliverova). St. Petersburg: type. N.Ya. Stoikova, 1910, pp. 5–6.

Confess love to the doll in the era of discussion women's issue few ladies dared. The form of recognition was not journalistic articles or memoirs, but publications devoted to dolls for children's reading. On behalf of the porcelain toy, the authors of the "notes" and "correspondences" defended the dolls, calling them the girls' best friends and their indispensable educators.

Useful toys for girls

“We, women, must first of all try to acquire common love by meekness of disposition, patience and participation in the fate of the unfortunate. There is nothing more charming than a young girl who knows how to make good use of time, who knows the goals of labor and the beauty of art, but her true dignity is known in the world only by her modesty.

- Mom, you just said: we are women, am I also a woman?

You are a little girl, but in ten years you will be a woman.

"Week of little Margaret", 1841

All puppet "notes" begin with the fact that a lady, exhibited in a toy shop window, is purchased by a lady as a gift to her daughter. It takes place on the eve of Christmas, the traditional time for giving girls dolls from expensive stores. The lady has to pay for the purchase in full, since all attempts to reduce the price or delay payment, which was a common practice in fashionable shops, do not succeed. Presentation of a gift is accompanied by the conclusion of a kind of contract between mother and daughter. “Treat her with care, because this is no ordinary doll. It is very expensive, and I hope that you will take care of it for a long time. 97
The story of one doll. M.: A.D. Presnov, 1878, p. 3.

Maternal love is combined with calculation, which expressed the ideal of an enlightened mother: an expensive toy will be useful in the upbringing and education of the girl.

The idea of ​​a doll as a useful toy developed in European educational practices of the 18th century and was promoted through pedagogical treatises and moralizing collections. Philanthropists and educators, followed by children's authors and publicists of the 19th century, urged children to play usefully (“play while learning”). Benefit was understood as both household skills and charitable practices. 98
“Toys also have their purpose on earth: they teach children frugality, order, sewing, crafts and mechanical inventions, and even appoint to be charitable and share the surplus with poor children, and not throw away the old toy as unnecessary thing"(Teenagers. Stories for children (Glass A.K.). 2nd ed. Type. A.A. Kartseva, 1888. S. 16–17).

It was believed that the greatest benefit girls can bring dolls 99
Not only educators, but also poets wrote about the benefits of playing with dolls: J.G. A Musäus "Die Puppe" (I.K. A. Museus "Doll") in the collection "Moralischen Kinderklapper" ("Moral rattles for children"), 1780.

The creators of wax and porcelain dolls intended their products to educate the future woman. A normative portrait of such a woman was presented in educational treatises of the 18th century. According to German philanthropists, every woman should be "a perfect seamstress, weaver, stocker and cook." Russian educators echoed the German mentors: "A woman who does not care about exercises that are decent for her sex and condition is the most contemptuous and unfortunate creature" 100
A friend of children in 1809, published by Nikolai Ilyin. M., 1809. No. 10. S. 217.

To avoid this, the girl should practice household chores from early childhood. Playing with dolls will contribute to this: “Although Annushka loves to play with her doll, her amusements are always arranged in such a way that, together with the game, they bring her some benefit; for pleasure is perfect only when it is combined with utility. 101
A gift for beautiful babies or instruction for young girls in various needlework and household chores. M.: type. Seeds of Selivansky, 1821. S. 4.

Annushka from the book “A Present for Beautiful Babies or Instruction for Young Girls in Various Needlework and Household” (1821) is a Russian version of a virtuous daughter named Karolinushka, the heroine of the book “Lottchen oder Die gute Tochter” (“Lotchen or a good daughter”) by a German writer and teacher I. Campe. Campe's book was the first encyclopedia household for underage girls. It describes and presents in drawings items for washing, cleaning, cooking and table setting. The heroine, a little girl who has been given different names by publishers, learns to handle these objects. 102
The model of the ideal girl in the reprints of I. Campe's book was corrected in accordance with changes in morals. Their softening in the upbringing of girls makes itself felt in an 1821 edition: “Annushka was a kind and obedient daughter who tried to please her parents. Under the supervision of her mother, she learned everything that a good girl, a prudent housewife should know, and got used to everything from an early age ”(A gift to beautiful babies or instruction for young girls in various needlework and household chores. M .: type. Semyon Selivansky, 1821. C .3).

. “Caroline was a kind and obedient child who, with great zeal, tried to please her mother with diligence and humility. Under the guidance of her kind mother, she got used to useful activities in advance and through that she learned women's needlework in order to help her mother in the household, for she often heard that the female gender is determined to manage the household and household chores, which should get used to from childhood. 103
Karolinushka, or kind daughter. A story that serves as an instruction to the girls in various subjects of economy and housekeeping / Per. with him. St. Petersburg: type. Department foreign trade, 1819. S. 3.

The girl is a nice host in the kitchen among pots and pans, in the laundry among boilers and buckets, in the dining room at a festive dinner. At Christmas, children receive gifts from kind parents, among which there is a doll. “Just as a skate, a drum and a horn are toys for boys, Annushka and Nadenka likewise received a doll each as a gift from their mother. Here Annushka leads her doll by the hands, following the example of Praskovya, who teaches Katenka to walk. 104
A gift for beautiful babies or instruction for young girls in various needlework and household chores. M.: type. Semyon Selivansky, 1821. S. 5.

The children's encyclopedia depicts children with toys intended for their gender (Karolinushka, or a good daughter. A story that serves as an instruction to girls in various household and household items / Translated from German in St. Petersburg in the type. Department of Foreign Trade, 1819. C. 5). In the lower part there are coffee and tea appliances, a mill, a copper mortar and a samovar.

Heroines German editions served as a model of housekeeping for Russian noble girls. True, it was difficult for Russian young ladies, surrounded by numerous domestics, to realize their economic talents. And it was not in Russian traditions to give the girl independence in the house. The class way of life prevented the education of girls simple jobs. Russian young ladies received their first experience of such training from foreign governesses. Armed with pedagogical ideas and European experience, they taught the girls to clean the room, dress themselves and work in the garden. Governesses were the initiators of the acquisition of household toys for their pupils.

The technique of economic games with dolls was promoted by the famous French writer Madame Genlis, the author of not only popular novels but also books for the education of girls. Inspired by her novels, Russian ladies read to their daughters the instructions of their beloved writer. Her book, A New Way of Teaching Young Children, describes original method education with puppets. The mother invites her daughter to play in such a way as to “imitate exactly everything that happens on the farm” 105
Zhanlis S. - F. A new way of instructing young children / Per. from fr. Ch. 1–2. Eagle: governor. type., 1816. Part 1. S. 177.

The daughter objects to her: “After all, that’s what we do,” referring to the doll house games loved by children. The mother rejects these games (“you imagine, but you need the present”) and builds a whole plan of classes in which children act as cooks, laundresses, maids, servants and teachers (boys are offered for the role of the latter). The mother compares household games with the art of comedy, where "each takes on a different name and represents a fictitious person." The role-play begins with the creation of a kitchen supply book, "which shows, down to the smallest detail, all the needs for a dinner for five or six people, and for a small supper, and the price of each item is indicated." A daughter of six years old needs to know the cost of a pound of bread, butter, beef, lamb, veal, sugar, coffee, and also how much a chicken and a jug of milk cost. The girl readily replies, "I'll make it right at once." True, the child does not yet know arithmetic, but in the course of the game he will learn it. The baby can cook “herbal” or milk soup, scrambled eggs, various garden vegetables, cake, grind coffee from barley at the mill. The mother thinks of how to make chervonets and rubles out of gold and silver paper, and is ready to give a full purse of small money for the game (the child exclaims: “Oh, my God! How natural it will be”). Also, as part of the game, the skills of washing, ironing, teaching and treating dolls will be obtained. The mother is going to buy all the items for the game in the shops that sell toys for education. In such shops you can find small pharmacies, herbalists for dolls, chests with medicines, doll atlases and physics rooms (for teaching dolls), as well as items for playing housekeeping. The child is delighted that so much has been invented for children's play: “How merciful and kind people are that they have done so much for children!”

The girl takes her part in sorting out the provisions brought by the cook from the market (ibid., p. 23). Items needed for the household are shown at the bottom.

The girl is present in the kitchen when preparing meals and helps the cook (ibid., p. 63). The lower part shows various utensils for cooking.

A girl hangs out linen washed by laundresses (ibid., p. 75). In the lower part there are things for washing and ironing clothes.

In the era of Madame Genlis, doll farms were made in workshops located in major European centers for the production of toys. The household model was doll houses with kitchens, nurseries, bedrooms and living rooms. Clothes and underwear were stored in the lockers, samovars, coffee pots, teapots, chocolate pots, cups, milk jars, sugar bowls with tongs, a coal taganka and much more were stored in the toy dining room. Despite their miniature size, all these items could be used for their intended purpose: brew coffee in a coffee pot, beat butter in a butter trough, grind flour in a toy mill, and cook a cake in a small oven. Similar products made at foreign manufactories were available to a few 106
Memorable event childhood for a brother and sister was a toy samovar donated by his father (in Russian estates in the 1840s, household toys were a rarity). “How many times that day we filled it with water and how it took us to unscrew the tap and pour this water into“ doll cups ”; of course, the matter was not without a small flood ”(Kornilova O. Byl from the times of serfdom (Memoirs of my mother and her surroundings). St. Petersburg: type. Public benefit, 1890. P. 7).

So Russian writers undertook to describe miracle toys. The children's writer V. Burnashev described in detail the contents of the toy store, on the shelves of which are collected useful toys for boys (soldiers, horse equipment and boats) and puppetry for girls 107
Burnashev V. Children: toys, theater and camera obscura. Hotel book, op. V. Buryanova. St. Petersburg: type. I. Glazunova, A. Smirdina and Co., 1837.

Burnashev was interested agriculture and the economy, so his fascination with the idea of ​​useful toys was quite sincere. In the second half of the 19th century, toys for child labor(as they came to be called) became widespread.

All kinds of useful toys were clearly divided by gender: boys learn male duties in the game, and girls learn female duties. In the popular Russian "Azbuka" A. Daragan describes a typical set of Christmas gifts. “Under the tree, on a large table covered with a white tablecloth, there will be various toys: soldiers, a drum, horses for boys; and for girls, a box of kitchen utensils, a work drawer and a doll with real hair, in a white dress and with a straw hat on her head. 108
Daragan A. Elka. Gift for Christmas. ABC with examples of gradual reading. St. Petersburg: type. Tue otd. His Imp. Majesty's Chancellery, 1846. Part 1. S. 109, 111.

The gender set of useful toys in A. Pchelnikova's reading book looks somewhat different. The boy is invited to do peaceful things (horse riding, construction), and the girl - housekeeping and sewing. “Seryozha had a beautiful horse on wheels, with an English saddle, on which he loved to ride his sister and himself rode around the room with dignity. Lizanka had a complete household: kitchen utensils, china sets, cutlery and so on. Their games were as follows: Seryozha was sometimes a bricklayer, and sometimes an architect. Lizanka was increasingly engaged in sewing. Seryozha built and rebuilt the house, and this house was laid out into small parts, which all fit tightly together and were exactly like real bricks. Lizanka was sorting through her doll's things in a small chest of drawers and considering whether it was necessary to sew a ribbon somewhere or mend a hole. Today they were having a ball, and Lizanka made the cake herself, since our little friends had a tiny stove.” 109
Pchelnikova A. Conversations with children. St. Petersburg: type. I. Schumacher, 1858. Ch. I–VII. Part 1, pp. 28–29.

The boys strive to gain knowledge and undertake to instruct their younger sisters, busy with ribbons and cakes. The embarrassed sisters are guilty of ignorance of the basics of material culture: “I am very ashamed! But after all, I studied at home, it never occurred to me to think about where everything is brought to us from, how and who does everything. And could it have occurred to me, for example, admiring beautiful silk fabrics or eating delicious bread, that all this was prepared by the hands of those seemingly rude, unlearned, in soiled sheepskin coats peasants, from whom I always tried to stay away, whom I was afraid of why -then!" 110
Tales for children by Anna Gratinskaya. M.: type. S. Orlova, 1868. S. 40.

Against the background of the national landscape, a set of games for the education of Russian noble children of both sexes is presented (Daragan A. Elka. A gift for Christmas. ABC with examples of gradual reading. St. Petersburg: type. Tue department of His Imperial Majesty's Chancellery, 1846)

Gender certainty did not always correspond to the true interests of children: the boys were not averse to playing with doll dishes, and the girls dreamed of sabers and horses 111
Psychologist A. Levonevsky noted in his parent's diary: “At the beginning of the fourth year, Dima was presented with toy dishes.<…>He literally spent the whole day sitting with her, not paying attention to other toys, washing her several times, drinking tea from her, treating his bears to the last ”(Levonevsky A. My child. SPb., 1914. P. 160).

The daughter of Mikhail Speransky Lisa complained in letters to her father about gender bondage. The disgraced minister consoled his daughter: “It is forbidden for you to wish to be a boy, you were born precisely to be my Elizabeth, and I will not take ten boys for this.” 112
Speransky M.M. Speransky's letters from Siberia to his daughter Elizaveta Mikhailovna (married to Frolova-Bagreeva). M.: type. Gracheva i K, 1869, p. 40.

Concerning the various restrictions with which the life of girls is furnished, he wrote that this "in itself is often wrong and inconsistent, and sometimes stupid, but always imperative."

For little aristocrats, “gender bondage” in the choice of games turned into pleasant fun with expensive household kits. These amusements were described in exquisite books, the heroines of which demonstrated not only their domesticity, but also fashionable outfits suitable for each type of occupation. “Berta, this virtuous girl, received from her aunt a small kitchen as a gift, in which there is a frying pan, pots, a flask, a grater, a tripod, a sieve and all the necessary things for the kitchen” 113
Children's games and activities or a collection of moralizing stories. M.: type. Augusta Seeds at the Imp. medical surgeon. Academy, 1826, pp. 44–45.

In the toy kitchen, Bertha, dressed in a lace dress, prepares a treat for her friends. “Little Ernestine with rosy cheeks had a small coffee service, consisting of a box, a coffee grinder, a coffee pot, a milk jug, a sugar bowl and six cups. She received it from her mother on the day of the Nativity of Christ. 114
There. S. 52.

Ernestina invites the girls over for a cup of coffee. Little Flora, in a high-waisted white dress trimmed with a colored ribbon at the hem, is churning butter in a vat of butter and serving a breakfast of milk and freshly baked rolls in the gazebo. Perhaps these buns are baked from flour that the boys ground in a toy mill. 115
The operating model of the mill is described in detail in S. Makarova's story "The toy mill". This toy was meant for boys. It was installed on a stream and started to work by the action of running water. “Toy sets for girls are designed to imitate close, real-home activities, and for boys - to imitate distant, romantic, inaccessible or even unreal activities” (Kaiua R. Games and People. Articles and Essays on the Sociology of Culture. M .: OGI, 2007, p. 58). Indeed a toy water Mill- this is not at all the same as a coffee pot for a doll.

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, poorly 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. Next to her were 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 woman.

“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. I need to feed them, I’ll somehow manage to survive ... - the poor woman said 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 ... Let's put Milochka among the winners, too, 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: The original text of the 1898 edition has 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. I gave it to my niece for the New Year, a girl of 8 years old. I read it in two days. I liked it very much. Hardcover book, capital 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. Insanely interesting book. I advise everyone.

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