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Сказки голубой феи
Сборник сказок Лидии Алексеевны Чарской (1875—1937), впервые опубликованный в 1912 году. «Я прилетела <…> передать тебе то, про что шумит лес и журчит речка, про что поют соловей и весна, рассказать о том, как живут, радуются и страдают маленькие королевы, как веселятся крошечные феи. И про суровых и кротких королей, про добрых волшебников, про бедных и несчастных людей и еще про многое-многое другое расскажу тебе сказки. А ты, большая, передашь эти сказки маленьким людям...». В сборник входят сказки: «Веселое царство», «Волшебный оби», «Галина правда», «Герцог над зверями», «Дочь Сказки», «Дуль-Дуль, король без сердца», «Живая перчатка», «Король с раскрашенной картинки», «Мельник Нарци
- GenresChildrens
181 pages, Kindle Edition
Published July 7, 2014
6 people are currently reading
11 people want to read
About the author
Lidia Charskaya
227 books11 followersLidia Alekseyevna Charskaya (Russian: Лидия Алексеевна Чарская) was a Russian writer and actress. Charskaya was her pseudonym; her real last name was Churilova.
Charskaya worked as an actress at the Alexandrinsky Theatre from 1898 to 1924. From 1901 to 1916 she published about eighty books, several of which became bestsellers. Her most popular work was the novel Princess Dzhavakha (1903).[1] In the 1940s, when Boris Pasternak was writing his novel Doctor Zhivago, he said that he was "writing almost like Charskaya", because he wanted to be accessible and dreamed that his prose would be gulped down "even by a seamstress, even by a dishwasher."
Her novels fall into four general categories: stories that take place in boarding schools for elite girls; historical novels about women; autobiographical novels that follow the heroine from boarding school to a career; and detective and adventure stories. The main theme of most of her works is friendship among girls. The protagonists are usually independent girls and women who look for adventure or some kind of diversion from the everyday routine. Critics have commented that these characteristics account in large part for the wide popularity of Charskaya's works among young girls in early 20th century Russia.
Charskaya's reputation began to fade in 1912 after the critic Korney Chukovsky published an article in which he wrote that her books were formulaic, repetitious, and excessive with respect to female emotions. She stopped publishing in 1916, and in 1920 her works were banned. From 1924 until her death in 1938 she lived in poverty, supported mostly by friends. Throughout the Soviet period her work was lowly regarded, although there is plenty of evidence that young girls continued secretly to read her works, at least through the 1930s. In the late 1980s and 1990s Charskaya's works were revived in Russia, as several of her works appeared in new editions.
Charskaya worked as an actress at the Alexandrinsky Theatre from 1898 to 1924. From 1901 to 1916 she published about eighty books, several of which became bestsellers. Her most popular work was the novel Princess Dzhavakha (1903).[1] In the 1940s, when Boris Pasternak was writing his novel Doctor Zhivago, he said that he was "writing almost like Charskaya", because he wanted to be accessible and dreamed that his prose would be gulped down "even by a seamstress, even by a dishwasher."
Her novels fall into four general categories: stories that take place in boarding schools for elite girls; historical novels about women; autobiographical novels that follow the heroine from boarding school to a career; and detective and adventure stories. The main theme of most of her works is friendship among girls. The protagonists are usually independent girls and women who look for adventure or some kind of diversion from the everyday routine. Critics have commented that these characteristics account in large part for the wide popularity of Charskaya's works among young girls in early 20th century Russia.
Charskaya's reputation began to fade in 1912 after the critic Korney Chukovsky published an article in which he wrote that her books were formulaic, repetitious, and excessive with respect to female emotions. She stopped publishing in 1916, and in 1920 her works were banned. From 1924 until her death in 1938 she lived in poverty, supported mostly by friends. Throughout the Soviet period her work was lowly regarded, although there is plenty of evidence that young girls continued secretly to read her works, at least through the 1930s. In the late 1980s and 1990s Charskaya's works were revived in Russia, as several of her works appeared in new editions.
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