A little golden key as a symbol

   As it already marked, in a fairy tale about Pinokkio there is

 no key metaphor and the most significant symbol – a golden

 key.

So where did our writer take an image of "a little gold key"?

 Whether from household word usage, whether from a

 nontechnical metaphor? Or from the most widespread

 metaphor of art of symbolism – the object of satire of mature

 Tolstoy?

 Probably, but all the same  it is

 doubtful.The probability of loan from

 "Alice"by  Lewis Carroll sharply

 raises because of coherence,

 correlation of coincidence. It is

necessary to make the assumption:

 Tolstoy  simply placed on

 Caroll`s curtain the image which was

made in  Kollodi`s fairy

tale directly on a wall. Such carrying

 over is especially proved

 that it could be carried out without

 breaking genre borders:

 despite dissimilarities  of "Pinokkio" and "Alice"they are

 nevertheless works  of one genre. Both works are  literary

fairy tales and  for the third fairy tale of "the third Tolstoy" it

 was easy and natural to join their genre number.

Time account in a fairy tale is very exact: the writer never

 forgot to note the change of days by a dream and awakening

 of heroes, evening and morning dawns, moonrises and 

 sunrises. The quantity of adventures for days decreases  and

 time is stretched, goes more slowly; the quantity of episodes

 grows - and time goes faster, is compressed; the  last two

 days most of all fantastic events happen(two third of a fairy

 tale)

But in the penultimate chapter of a fairy tale, there, where

 heroes (and the author)  are grasped by the found happiness

 to self-oblivion, time starts to "flicker", loses expressiveness,

 blurs, and it is impossible to understand day or three day

 separate this chapter from the final.

       The paradoxical image in Tolstoy's own fairy tale "The

 little gold  key" better looks through Italy, than in the

 processing of a fairy tale of Kollodi`s "The adventures of

 Pinokkio". No Russian realities, like Parsley or the policeman,

 are present. The writer "russified" the Italian fairy tale .

world has "reality", the measure of convention, the "natural

 laws" in the limits of this world perceives itself as original,

 outside of them - as invented, unreal. Laws of "The little gold

key" suppose giving human lines to animals but it`s not magic:

 "About ghosts is, of course, nonsense". Magic

 transformations (there are  a lot of in  Kollodi`s book) are

 deduced from "The little gold key" - they are excessively

 fantastic for the world of this fairy tale, are incompatible with

 its common sense.