Tale of Eroshka in World Literature, V. Kazarin

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` We are pleased to present an information resource that provides a comprehensive overview of the work of the outstanding Russian composer Vyacheslav Kazarin within the context of the finest achievements of world culture.

Yours sincerely, art historian Arina Ryazantseva!


The blog will feature lots of interesting content:
https://composervaycheslavkazarin.tilda.ws
Link to the Wix site [access may be blocked from Russian IP addresses]:
https://savasavichev.wixsite.com/composer-kazarin




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The fairy tale ‘Eroshka’ [read by the author]:
https://youtu.be/Ph9h-dFEoe8




THE PLACE OF THE FAIRY TALE ‘EROSHKA’ IN WORLD LITERATURE



A brief conclusion

‘Yeroshka’ occupies a unique place in world literature as a rare example of children’s cosmogonic mythopoetics, in which a child is the agent of the creation of the world, and light is the musical-ontological foundation of existence. There are no direct parallels in either Russian or foreign literature.



We shall now substantiate this assertion through parametric analysis.



1. In which world traditions might parallels be found?


1.1. Cosmogonic myths

• Tolkien (the music of the Ainur; the creation of the world)
• C. S. Lewis (the cosmogony of Narnia)
• Lem (cosmic philosophy)

However:
• this is not children’s literature,
• their cosmogony is not linked to a child’s perspective,
• music and sound do not constitute the structure of the world in everyday scenes.


1.2. Children’s philosophical prose

• Exup;ry — philosophy through a child
• Lindgren — children’s freedom as ontology
• Miyazaki — a child’s ecology of the world

However:
• they lack a multiverse,
• there is no cosmogonic musicality,
• there is no sonic ontology of light,
• there are no child demiurges.


1.3. Children’s fantasy

• Lewis
• Rowling
• Colfer
• Gaiman

But:
• their worlds are magical, not cosmogonic,
• sound is not the structure of the world,
• light has no musical nature,
• there is no concept of a false world as an acoustic forgery.



2. What makes the fairy tale ‘Yeroshka’ unique in a global context?


2.1. Children’s cosmogony

In world literature, there are almost no works in which:
• children create worlds,
• children set worlds right,
• children are the bearers of cosmic energy.

This is not found in the works of Tolkien, Lewis, Exup;ry or Miyazaki.


2.2. Multiversality with ontological laws

In Kazarin’s work, every world has:
• its own physics,
• its own morality,
• its own acoustics,
• its own structure of light.

This is closer to Tolkien, but:
• Tolkien lacks a child’s perspective,
• there is no musical child’s speech as part of cosmogony,
• there are no false worlds as ontological forgeries.


2.3. Musical Mythopoetics
This is the key unique feature.

In Kazarin’s work:
• light makes a sound,
• the world makes a sound,
• the falsity of the world is expressed through the absence of resonance,
• cosmogony has a musical structure,
• children’s speech is a musical register,
• the essences of light are acoustic figures.

In world literature, there is no author who:
• uses sound as ontology,
• constructs worlds through musical archetypes,
• makes musicality the structure of being.

Even Tolkien, who comes closest, uses music only in the act of creation, but not in the everyday fabric of the world.


2.4. The false world as an acoustic forgery

A cardboard city:
• flat,
• dry,
• without shadows,
• without sound.

Plohidra:
• noisy,
• false,
• without depth.

This is an acoustic ontology of falseness, which is found in no children’s book anywhere in the world.



2.5. A Child’s Perspective as a Cosmogonic Tool

In Kazarin’s works, children are:
• not merely heroes,
• not merely observers,
• not merely dreamers.

They are cosmic agents who:
• create worlds,
• set worlds right,
• undergo ontological trials,
• interact with beings of light.

There is nothing like this anywhere else.



3. Within which global tradition can *Eroshka* be situated?


3.1. Children’s cosmogonic prose [a new genre]

*Eroshka* effectively creates a new genre:
children’s cosmogonic mythopoetics with a musical ontology of light.

No such genre existed in world literature.


3.2. Russian children’s cosmism

One could speak of a continuation of the Russian tradition of cosmism [Fyodorov, Tsiolkovsky], but:
• Kazarin makes cosmism child-friendly,
• musical,
• fairy-tale-like,
• multi-worldly.

This is a unique synthesis.


3.3. An authorial mythology on a par with Tolkien’s, but in a children’s form

In terms of the scale of its mythopoetics, *Eroshka* is closest to:
• Tolkien,
• Lewis,
• Miyazaki.

But:
• Tolkien lacks a child’s perspective,
• Lewis lacks a musical cosmogony,
• Miyazaki lacks a multi-world ontology.



4. Concluding definition


‘Eroshka’ occupies a unique place in world literature as the sole example of a children’s cosmogonic fairy tale in which musicality constitutes the structure of the world, light is ontological energy, and children are cosmic agents. This work stands alone, having no direct parallels in either the Russian or international literary traditions.




Arina Ryazantseva, art historian and biographer of the composer Vyacheslav Kazarin
Russia, Moscow 2026

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