Maxim Gorky works for preschool children. Tales M

Gorky Maxim

Russian tales

A.M.Gorky

Russian tales

Being ugly and knowing it, the young man said to himself:

I'm smart. I will become a sage. For us it is very simple. And he began to read thick works - he really was not stupid, he understood that the presence of wisdom is most easily proven by quotations from books.

And having read as many wise books as it takes to become short-sighted, he proudly raised his nose, reddened by the weight of his glasses, and declared to all that existed:

Well, no, you can't fool me! I see that life

This is a trap set for me by nature!

And love? - asked the Spirit of Life.

Thank you, thank God I’m not a poet! I will not enter the iron cage of inevitable duties for the sake of a piece of cheese! But still, he was not a particularly talented person and therefore decided to take the position of professor of philosophy. He comes to the Minister of Public Education and says:

Your Excellency, here - I can preach that life is meaningless and that the suggestions of nature should not be obeyed!

The minister thought: “Is this good or not?”

Then he asked:

Should you obey the orders of your superiors?

Definitely a must! - said the philosopher, respectfully bowing his book-wipe head. - Because human passions...

Well, that's it! Climb onto the pulpit. Salary - sixteen rubles. Only - if I prescribe that even the laws of nature should be taken into account, look without freethinking! I won't tolerate it! And, after thinking, he said melancholy:

We live in such a time that for the sake of the interests of the integrity of the state, perhaps the laws of nature will have to be recognized not only as existing, but also useful - in part!

“The hell with it!” the philosopher exclaimed mentally. “You’ll get to this point, how?”

And he didn’t say anything out loud.

So he settled down: he climbed into the pulpit every week and said to different curly-haired young men for an hour:

Dear sirs! Man is limited from the outside, limited from the inside, nature is hostile to him, woman is a blind instrument of nature, and for all this our life is completely meaningless!

He was used to thinking like this and often, carried away, spoke beautifully and sincerely; The young students clapped enthusiastically for him, and he, pleased, affectionately nodded his bald head to them, his red nose sparkled with affection, and everything went very well.

Dining in restaurants was bad for him - like all pessimists, he suffered from indigestion - so he got married and dined at home for twenty-nine years; in between, unbeknownst to himself, he fathered four children, and then died.

Behind his coffin walked respectfully and sadly three daughters with their young husbands and a son, a poet in love with all the beautiful women in the world. The students sang “Eternal Memory” - they sang very loudly and cheerfully, but poorly; over the grave, the professor’s comrades spoke flowery speeches about how harmonious the deceased’s metaphysics was; everything was quite decent, solemn and even touching at moments.

So the old man died! - one student said to his comrades when they left the cemetery.

“He was a pessimist,” said another.

And the third asked:

Well? Really?

Pessimist and conservative.

Look, bald! And I didn't even notice...

The fourth student was a poor man, he inquired with concern:

Will they invite us to the wake?

Yes, they were called.

Since the late professor wrote good books during his lifetime, in which he passionately and beautifully proved the purposelessness of life, the books were bought well and read with pleasure - after all, no matter what you say, people love beautiful things!

The family was well provided for - and pessimism can provide! - the funeral was organized by the rich, the poor student ate unusually well and, when he walked home, he thought, smiling good-naturedly:

"No - and pessimism is useful..."

And there was another case.

Someone, considering himself a poet, wrote poems, but for some reason they were all bad, and this made him very angry.

One day, he was walking down the street and saw: the driver had lost his whip lying on the road.

Inspiration struck the poet, and an image immediately formed in his mind:

Like a black scourge in the dust of the road

Lying - crushed - is the corpse of a snake.

Above him there is a swarm of flies buzzing alarmingly,

There are beetles and ants around.

The links of thin ribs turn white

Through the torn scales...

Snake! You remind me

My dying love...

And the whip stood on the end of the whip and said, swaying:

Well, why are you lying? A married man, you know how to read and write, but you’re lying! After all, your love has not died out, you both love your wife and are afraid of her...

The poet got angry:

It's none of your business!..

And the poems are bad...

And you can’t invent such things! You can only whistle, and even then not by yourself.

But still, why are you lying? After all, love hasn’t died out?

You never know what happened, but it needed to be...

Oh, your wife will beat you! Take me to her...

Well, just wait!

Well, God be with you! - said the whip, curling up like a corkscrew, lay down on the road and thought about people, and the poet went to the tavern, asked for a bottle of beer and also began to think, but about himself.

“Although the whip is rubbish, the poems are again rather bad, that’s true! It’s a strange thing! One always writes bad poems, and sometimes the other succeeds in good ones, how wrong is everything in this world! Stupid world!”

So he sat, drank and, delving deeper and deeper into understanding the world, finally came to a firm decision: “We must tell the truth: this world is absolutely no good, and it’s even offensive for a person to live in it!” He thought in this direction for an hour and a half, and then composed:

The colorful scourge of our passionate desires

Drives us into the coils of Death the Snake,

We are lost in a deep fog.

Ah - kill your desires!

They deceitfully lure us into the distance,

We drag ourselves through the thorns of grievances,

Along the way, our hearts of sorrow are wounded,

And at the end of it, everyone is killed...

And so on in this spirit - twenty-eight lines.

This is clever! - the poet exclaimed and went home, very pleased with himself.

At home, he read the poems to his wife - she also liked it.

Only,” she said, “the first quatrain seems to be wrong...

They'll devour you! Pushkin also started the “wrong” thing... But what is the size? Memorial service!

Then he began to play with his little son: sitting him on his knee and throwing him up, he sang in tenor:

Jump-jump

On someone else's bridge!

Oh, I'll be rich

I'll wash mine

I won't let anyone in!

We had a very fun evening, and in the morning the poet took his poems to the editor, and the editor said thoughtfully - they are all thoughtful, editors, that’s why magazines are boring.

Hm? - said the editor, touching his nose. - This, you know, is not bad, and most importantly, it is very in tune with the mood of the time, very much so! Hmmm, you may have found yourself. Well, continue in the same spirit... Sixteen kopecks line... four forty-eight... Congratulations!

Then the poems were published, and the poet felt like a birthday boy, and his wife kissed him diligently, languidly saying:

M-my poet, oh! Have a great time!

And one young man - a very good young man, painfully searching for the meaning of life - read these poems and shot himself. He, you see, was sure that the author of the poems, before rejecting life, was looking for meaning in it just as long and painfully as he himself, the young man, was looking for, and he did not know that these gloomy thoughts were sold for sixteen kopecks a line. He was serious.

Let the reader not think that I want to say that sometimes even a whip can be used to benefit people.

Evstigney Zakivakin lived for a long time in quiet modesty, in timid envy, and suddenly unexpectedly became famous.

And it happened like this: one day, after a luxurious feast, he spent his last six hryvnias and, waking up the next morning with a severe hangover, very dejected, sat down to his usual work: writing advertisements in verse for the “Anonymous Bureau of Funeral Processions.”

He sat down and, shedding profuse sweat, wrote convincingly:

They hit you on the neck or forehead,

All the same, you will lie in a dark coffin...

Are you an honest man or a scoundrel?

Still, they will drag you to the graveyard...

Will you tell the truth or lie?

It's all one: you will die!..

I took the work to the “bureau”, but they didn’t accept it:

Sorry, they say, there is no way to publish this: many dead people may be offended and even shudder in their graves. There is no point in admonishing the living to death; they will die of their own accord, God willing:

Zakivakin was upset:

Damn you! Take care of the dead, erect monuments, serve memorial services, but the living die of hunger...

In a disastrous mood of spirit, he walks the streets and suddenly sees a sign, and on it - in black letters on a white field - it says:

"Harvest of Death"

Also a funeral home, and I didn’t even know it! - Evstigney was delighted.

But it turned out that this was not a bureau, but the editorial office of a new non-partisan and progressive magazine for youth and self-education. Zakivakin was kindly received by the editor-publisher Mokei Govorukhin himself, the son of the famous lard maker and soap maker Antipa Govorukhin, a lively, albeit skinny guy.

Mokey looked at the poems and approved.

Gorky Maxim (pseudonym, real name - Peshkov Alexey Maksimovich) (1868-1936). The future writer's childhood and adolescence were spent in Nizhny Novgorod, in the house of his grandfather V.V. Kashirin, who by that time had failed in his “dying business” and was completely bankrupt. Maxim Gorky went through the harsh school of being “among people”, and then the no less cruel “universities”. Books, especially the works of Russian classics, played the most important role in his formation as a writer.

Briefly about Gorky's work

The literary path of Maxim Gorky began with the publication in the fall of 1892 of the story “Makar Chudra”. In the 90s, Gorky’s stories about tramps (“Two tramps”, “Chelkash”, “The Orlovs”, “Konovalov”, etc.) and revolutionary romantic works (“Old Woman Izergil”, “Song of Falcon”, “Song of the Petrel”).

At the turn of XIX - XX centuries, Maxim Gorky acted as a novelist (“Foma Gordeev”, “Three”) and playwright (“Bourgeois”, “At the Lower Depths”) in the first two decades of the 20th century. stories appeared (“Okurov Town”, “Summer”, etc.), novels (“Mother”, “Confession”, “The Life of Matvey Kozhemyakin”, an autobiographical trilogy), collections of stories, a number of plays (“Summer Residents”, “Children of the Sun” ”, “Barbarians”, “Enemies”, “The Last”, “Zykovs”, etc.), many journalistic and literary critical articles. The result of Maxim Gorky’s creative activity was the four-volume novel “The Life of Klim Samgin.” This is a wide panorama of the forty-year history of Russia at the end XIX - early XX centuries

Stories by Maxim Gorky about children

At the very beginning of his career, Maxim Gorky came up with works on children's themes. The first in their series was the story “The Beggar Woman” (1893). It clearly reflected Gorky’s creative principles in revealing the world of childhood. Creating artistic images of children in the works of the 90s of the last century (“Grandfather Arkhip and Lenka”, “Kolyusha”, “Thief”, “Girl”, “Orphan”, etc.), the writer sought to depict children's destinies in a specific social and everyday life. situation, in direct connection with the lives of adults, who most often become the culprits of the moral and even physical death of children.

So the unnamed “girl of six or seven years old” in the story “The Beggar Woman” found shelter for just a few hours with a “talented speaker and a good lawyer,” who expected “an appointment to the prosecutor’s office in the near future.” The successful lawyer very soon came to his senses and “condemned” his own philanthropic act and decided to put the girl out on the street. In this case, turning to the children's topic, the author strikes at that part of the Russian intelligentsia who willingly and a lot talked about the people's troubles, including children, but did not go beyond vanity.

The death of the beggar Lenka, who did not live even eleven years, (from the story “Grandfather Arkhip and Lenka,” 1894) and the no less tragic fate of the twelve-year-old hero of the story “Kolyusha” (1895), who “threw himself under the horses,” is perceived as a severe indictment of the social order of that time. in the hospital, he admitted to his mother: “And I saw her... the stroller... yes... I didn’t want to leave. I thought that if they crushed me, they would give me money. And they gave...” The price of his life was expressed in a modest amount - forty-seven rubles. The story “The Thief” (1896) has the subtitle “From Life,” with which the author emphasizes the ordinariness of the events described. This time the “thief” turned out to be Mitka, “a boy of about seven” with an already crippled childhood (his father left home, his mother was a bitter drunkard), he tried to steal a piece of soap from the tray, but was captured by a merchant who, having mocked the boy considerably, then sent him to the police station.

In stories written in the 90s on a children's theme, Maxim Gorky persistently made an important judgment for him that the “lead abominations of life”, which had a detrimental effect on the fate of many, many children, still could not completely eradicate in them kindness and interest in the reality around them, to the unbridled flight of children's imagination. Following the traditions of Russian classical literature, Gorky, in his early stories about children, sought to artistically embody the complex process of the formation of human characters. And this process often takes place in a contrasting comparison of a gloomy and depressing reality with a colorful and noble world created by a child’s imagination. In the story “Shake” (1898), the author reproduced, as the subtitle says, “A Page from Mishka’s Life.” It consists of two parts: first, the boy’s most joyful impressions are conveyed, caused by his presence “one day on a holiday” at a circus performance. But already on the way back to the icon-painting workshop where Mishka worked, the boy had “something that spoiled his mood... his memory stubbornly restored the next day to him.” The second part describes this difficult day with physical labor beyond the boy's strength and endless kicks and beatings. According to the author’s assessment, “he lived a boring and difficult life...”.

The story “Shake” had a noticeable autobiographical element, because the author himself worked as a teenager in an icon-painting workshop, which was reflected in his trilogy. At the same time, in “The Shake,” Maxim Gorky continued to expand on the important theme of overwork of children and adolescents, which was important to him; he had previously written about this in the story “Poor Pavel” (1894), in the stories “Roman” (1896), “Chimney Sweep” (1896) ), and later in the story “Three” (1900) and other works.

To a certain extent, the story “Girl” (1905) is also autobiographical in nature: the sad and terrible story of an eleven-year-old girl forced to sell herself was, according to Gorky, “one of the episodes of my youth.” Reader success of the story “Girl”, only in 1905-1906. published in three editions, undoubtedly stimulated the appearance of a number of remarkable works on children's themes by Maxim Gorky in the 1910s. Among them, first of all, the story “Pepe” (1913) from “Tales of Italy” and the stories “Spectators” (1917) and “Passion-face” (1917) from the cycle “Across Rus'” should be mentioned. Each of these works was in its own way key in the author’s artistic solution to the children’s theme. In the poetic narrative about Pepe, Maxim Gorky creates a bright, subtly psychologically illuminated image of an Italian boy with his love of life, self-esteem, clearly expressed features of national character and, at the same time, childishly spontaneous. Pepe firmly believes in his future and the future of his people, which he sings about everywhere: “Italy is beautiful, my Italy!” This ten-year-old “fragile, thin” citizen of his homeland, in his own, childish way, but persistently leading the fight against social injustice, was a counterbalance to all those characters in Russian and foreign literature who could evoke compassion and pity for themselves and could not grow up to become fighters for the true spiritual and social freedom of his people.

Pepe had predecessors in Maxim Gorky's children's stories at the very beginning of his creative career. At the end of 1894, he came out with a “Yuletide Story” under the remarkable title “About a boy and a girl who did not freeze.” Having started it with the remark: “In Christmas stories it has long been customary to freeze several poor boys and girls every year...”, the author categorically stated that he decided to do otherwise. His heroes, “poor children, the boy - Mishka Pimple and the girl - Katka Ryabaya,” having collected an unusually large alms on Christmas Eve, decided not to give it completely to their “guardian,” the always drunken aunt Anfisa, but at least once a year to eat their fill at tavern. Gorky concluded: “They - believe me - will not freeze anymore. They are in their place...” Being polemically pointed against the traditional sentimental “Yuletide story,” Gorky’s narrative about poor, disadvantaged children was associated with a severe condemnation of everything that was ruining and crippling children’s souls, that prevented children from showing their characteristic kindness and love for people, interest in everything earthly, thirst for creativity, for active work.

The appearance in the cycle “Across Rus'” of two stories on a children's theme was natural, since, deciding the most important question for himself about the historical fate of Russia in the coming 20th century, Maxim Gorky directly connected the future of his Motherland with the position of children and adolescents in society. The story “Spectators” describes an absurd incident that led to the orphan teenager Koska Klyucharev working in a bookbinding workshop being crushed by a horse with an “iron hoof” and his toes crushed. Instead of providing medical assistance to the victim, the gathered crowd indifferently “contemplated,” the “spectators” showed indifference to the suffering of the teenager, they soon “dispersed, and again the street became quiet, as if at the bottom of a deep ravine.” The collective image of “spectators” created by Gorky embraced the very environment of ordinary people who, in essence, became the culprit of all the troubles that befell Lenka, the hero of the story “Passion-face”, bedridden by a serious illness. With all its content, “Passion-face” objectively appealed not so much to pity and compassion for the little cripple, but to the restructuring of the social foundations of Russian reality.

Fairy tales of Maxim Gorky for children

In the works of Maxim Gorky for children, fairy tales occupied a special place, on which the writer worked in parallel with the cycles “Tales of Italy” and “Across Rus'”. The fairy tales clearly expressed ideological and aesthetic principles, the same as in stories on the theme of childhood and adolescence. Already in the first fairy tale - “Morning” (1910) - the problematic-thematic and artistic-style originality of Gorky’s children’s fairy tales was manifested, when everyday life comes to the fore, the details of everyday life are emphasized, and modern social and even spiritual and moral problems.

The hymn to nature and the sun in the fairy tale “Morning” is combined with a hymn to work and “the great work people have done all around us.” And then the author found it necessary to remind the children that working people “beautify and enrich the earth all their lives, but from birth to death they remain poor.” Following this, the author poses the question: “Why? You will find out about this later, when you become big, if, of course, you want to find out...” So the fundamentally lyrical fairy tale acquired “foreign”, journalistic, philosophical material, and acquired additional genre characteristics.

In the fairy tales following “Morning” “Sparrow” (1912), “The Case of Yevseyka” (1912), “Samovar” (1913), “About Ivanushka the Fool” (1918), “Yashka” (1919) Maxim Gorky continued his work over a new type of children's fairy tale, in the content of which a special role belonged to the cognitive element. The very small yellow-throated sparrow Pudik (“Sparrow”), who, due to his curiosity and indefatigable desire to become more familiar with the world around him, almost turned out to be easy prey for the cat; then the “little boy”, aka the “good man” Evseika (“The Case of Evseika”), who found himself (albeit in a dream) in the underwater kingdom in the vicinity of the predators that lived there and managed, thanks to his ingenuity and determination, to return to earth unharmed; then the well-known hero of Russian folk tales, Ivanushka the Fool (“About Ivanushka the Fool”), who in fact turned out to be not stupid at all, and his “eccentricities” were a means of condemning philistine prudence, practicality and stinginess.

The hero of the fairy tale “Yashka” also owes his origin to Russian folklore. This time Maxim Gorky used a folk fairy tale about a soldier who finds himself in paradise. Gorky’s character quickly became disillusioned with “heavenly life”; the author managed to satirically depict one of the oldest myths about the afterlife in world culture in a form accessible to children.

The fairy tale “Samovar” is presented in satirical tones, the heroes of which were “humanized” objects: a sugar bowl, a creamer, a teapot, cups. The leading role belonged to the “little samovar,” who “really loved to show off” and wanted “the moon to be taken from the sky and made into a tray for him.” Alternating between prosaic and poetic texts, forcing subjects so familiar to children to sing songs and have lively conversations, Maxim Gorky achieved the main thing - to write interestingly, but not to allow excessive moralizing. It was in connection with “Samovar” that Gorky remarked: “I don’t want there to be a sermon instead of a fairy tale.” Based on his creative principles, the writer initiated the creation of a special type of literary fairy tale in children's literature, characterized by the presence of significant scientific and educational potential in it.

Stories by Maxim Gorky about children

The origin and development of the genres of great prose in the work of Maxim Gorky is directly connected with the artistic embodiment of the theme of childhood. This process began with the story “Poor Pavel” (1894), followed by the stories “Foma Gordeev” (1898), “Three” (1900). Already at this, relatively speaking, initial stage of his literary career, the writer paid special attention to a thorough analysis of the complex process of formation of the characters of his heroes from early childhood. To a lesser or greater extent, material of this kind is present in the stories “Mother” (1906), “The Life of an Useless Person” (1908), “The Life of Matvey Kozhemyakin” (1911), “The Life of Klim Samgin” (1925-1936). The very desire of Maxim Gorky to narrate the “life” of this or that hero from the day of his birth and childhood was caused by the desire to artistically embody the evolution of a literary hero, image, type as fully and authentically as possible. Gorky’s autobiographical trilogy - primarily the first two stories (“Childhood”, 1913, and “In People”, 1916) - is a generally recognized classic example of a creative solution to the theme of childhood in Russian, and indeed in world literature of the 20th century.

Articles and notes about children's literature

Maxim Gorky devoted about thirty articles and notes to children's literature, not counting the many statements scattered in letters, reviews and reviews, reports and public speeches. He perceived children's literature as an integral part of all Russian literature and at the same time as a “sovereign power” with its own laws and ideological and aesthetic originality. Of great interest are the opinions of Maxim Gorky about the artistic specificity of works on children's themes. First of all, according to the author, a children’s writer “must take into account all the characteristics of the reading age,” be able to “speak funny,” and “build” children’s literature on a completely new principle that opens up broad prospects for imaginative scientific and artistic thinking.”

Maxim Gorky advocated the constant expansion of the range of reading for a huge children's audience, which allows children to enrich their real knowledge and more actively show creativity, as well as increase their interest in modernity, in everything that surrounds children in everyday life.

INTRODUCTION

1. M. GORKY - THE FOUNDER OF CHILDREN'S LITERATURE

2. WORKS OF A.M. GORKY FOR CHILDREN

2.1 The fairy tale “Sparrow” - its closeness to works of oral folk art. Fairy tale characters. The image of Pudik, his desire to live “by his own mind”

2.2 Household fairy tale “Samovar”. Ridicule of stupidity, complacency, emptiness. Alternation of prose and poetic text in a fairy tale. The satirical nature of the tale

2.3 Story-tale “The Case of Evseyka.” Mark the fairytale fantasy element. The image of Evseika, the humor of the fairy tale, its peculiarity

3. ABILITY OF A.M. GORKY “FUN” TALKING TO CHILDREN ABOUT SERIOUS ISSUES, DEEP KNOWLEDGE OF CHILDREN’S INTERESTS AND REQUESTS

CONCLUSION

LITERATURE

INTRODUCTION

Maxim Gorky entered literature on the verge of two historical eras; he seemed to combine these two eras in himself. The time of moral turmoil and disappointment, general discontent, mental fatigue - on the one hand, and the maturation of future events that have not yet been openly manifested - on the other, found its bright and passionate artist in early Gorky. At the age of twenty, Gorky saw the world in such terrifying diversity that his bright faith in man, in his strength and capabilities, seems incredible. But the young writer was inherent in the desire for the ideal, for the beautiful - here he was a worthy successor to the best traditions of Russian literature of the past.

Maxim Gorky grew up in a popular environment, which gives his work a folk character, and his images romantic features, poetic harmony, sincerity and beauty. He inherited from his parents lively humor, love of life and truthfulness, folk traditions and a romantic, poetic attitude to life and creativity. A truly Russian folk trait of the writer was his love for children. Gorky felt sorry for them, remembering his not simple, but sometimes tragic childhood, he corresponded with the children and their letters brought him not just joy, they fed his creativity, finding the most hidden tender strings in the depths of his soul. Gorky's children's works are a golden fund of literature for children, which gives relevance to this study.

The purpose of the study is to study the creativity of A.M. Gorky, aimed at moral education and support of children.

The object of research is the work of A.M. Gorky.

Subject of research - A.M. Gorky - for children.

On the way to the goal, the following tasks were solved:

1). Define the work of M. Gorky as the founder of children's literature.

). Analyze M. Gorky’s fairy tales “Sparrow”, “Samovar”, “The Case of Yevseyka”.

). Assess M. Gorky’s ability to talk “funny” with children about serious issues, deep knowledge of children’s interests and needs.

The following methods were used in working on the topic: historical definition, analytical observation, data comparison, content analysis.

The work was based on the works of: N.D. Teleshova, I.N. Arzamastseva, S.A. Nikolaeva, A.A. Kunarev and others.

1. M. GORKY - THE FOUNDER OF CHILDREN'S LITERATURE

The life and creative destiny of Maxim Gorky (real name - Alexey Peshkov) is unusual. Born in Nizhny Novgorod in 1868 into an ordinary working class family. Lost his parents early. He spent his childhood in his grandfather's family. Alyosha didn’t have to study. He experienced the hardships of life early, traveled a lot around Rus', learned the life of tramps, the unemployed, the hard work of workers and hopeless poverty. From all this frailty, the pseudonym appeared - Maxim Gorky.

It is generally accepted that in Gorky’s work there are two main groups of works in terms of their artistic properties. One of them is realistic works, the other is romantic. Such a division should be accepted, but only under one condition: in no case should both of these groups be considered completely separately, because this inevitably leads to the separation of artistic quests from the social soil on which they arose, from the social life of Russia in the 90s.

The ideological and artistic similarity of Gorky's realistic and romantic stories is one of the main signs of his formation as a writer. But there are also significant aesthetic differences, manifested in the artistic interpretation of realistic and romantic images. Both the closeness and the difference between Gorky’s two main cycles of stories are different sides of the same process, the artistic formation of a new method in art. Only by comparing the realistic and romantic works of M. Gorky can one analytically trace how the transition to a new quality took place in Russian literature, which fully and comprehensively reflected the content of the era.

The problem of love develops in Gorky’s romantic fairy tales “About the Little Fairy and the Young Shepherd” and “The Girl and Death”. Gorky defined the theme of one of them as follows: “A new fairy tale on an old theme: about love, which is stronger than life.” The fairy tale “About the Little Fairy and the Young Shepherd” is built on an antithesis: the opposition of forest and steppe. An old shady forest with mighty beeches and velvet foliage is a world of peace and bourgeois comfort. Here the queen of the forest lives in contentment and bliss with her daughters, here they sympathetically listen to the speeches of the important and stupid mole, confident that happiness lies in wealth.

In the steppe there are neither lush palaces nor rich underground storerooms. Only the free wind plays with the gray feather grass, and the endless sky turns blue, and the steppe expanse plays with multi-colored colors. Gorky depicts the landscape in a romantic way: the steppe at sunset is painted in bright purple, as if a huge velvet curtain had been hung there, and gold was burning in its folds.

The kingdom of strength and freedom -

“My mighty steppe,” the shepherd sings.

Unlike the important mole, the shepherd has no property. But he has black curls, dark cheeks, fiery eyes and a brave heart. The sounds of his song are like the cry of an eagle. And the little fairy, who lived so happily and calmly in the palace of the Queen Mother, goes to the shepherd and dies. Maya, writes Gorky, “is like a lonely birch tree, which, loving freedom, moved out of the forest far into the steppe and stood in the wind.” The wind and thunderstorm killed her. The death of the fairy is symbolic: “the song of freedom does not go well with the song of love,” love is also slavery, it fetters the will of man. Dying, Maya says to the shepherd: “You are free again, like an eagle.”

The love of Maya and the shepherd is as strong as the love of Loiko Zobar and Radda. In her name, Maya gives up the palace, the forest, and her mother, who dies of grief. She tries to overcome even the insane, unbearable fear that grips her during a thunderstorm: after all, after the thunderstorm, Maya still remains with the shepherd. The exclusivity of feelings makes Gorky's heroes similar to the romantic images of Byron and Schiller, Pushkin and Lermontov. In the fairy tale about the little fairy, the image of a noble human heart also arises, rejecting the philistine canons established over the centuries. Fear of Fate and Death overcomes the feeling of Love. Maya tries to explain this to the shepherd and adds: “Perhaps I would have said more if I could take the heart out of my chest and bring it on my hand to your eyes.”

In the fairy tale “About the Little Fairy and the Young Shepherd” a motif appears for the first time, which, as it grows, will sound more and more insistently in other romantic works of Gorky. This is a hymn to freedom and a delight in the storm. During a thunderstorm, a shepherd stands in the blackened steppe as firmly as a rock, exposing his chest to the arrows of lightning. The description of the thunderstorm is done in rhythmic prose and is reminiscent of the later “Song of the Petrel”: “Arrows of lightning tore the clouds, but they again merged and rushed over the steppe in a gloomy, terrifying flock. And sometimes, with a clap of thunder, something round, like the sun, blinding with blue light, fell from the sky to the ground...”

Thus, the problems posed by the writer M. Gorky in his work are perceived as relevant and pressing for solving the issues of our time. Gorky, who openly declared at the end of the 19th century about his faith in man, in his mind, in his creative, transformative capabilities, continues to arouse interest among readers to this day.

bitter tale for children

2. WORKS OF A.M. GORKY FOR CHILDREN

1 The fairy tale “Sparrow” - its closeness to works of oral folk art. Fairy tale characters. The image of Pudik, his desire to live “by his own mind”

One of Gorky’s most striking children’s works can rightfully be defined as the fairy tale “Sparrow”. Sparrow Pudik did not yet know how to fly, but he was already looking out of the nest with curiosity: “I wanted to quickly find out what God’s world is and whether it is suitable for him.” Pudik is very inquisitive, he still wants to understand: why the trees sway (let them stop - then there will be no wind); why are these people wingless - did the cat cut off their wings?.. Because of his excessive curiosity, Pudik gets into trouble - he falls out of the nest; and the cat “red, green eyes” is right there. There is a battle between the mother sparrow and the red-haired robber. Pudik even took off from fear for the first time in his life... Everything ended well, “if you forget that mom was left without a tail.”

In the image of Pudik, the character of a child is clearly visible - spontaneous, disobedient, playful. Gentle humor and discreet colors create the warm and kind world of this fairy tale. The language is clear, simple, and understandable to children. The speech of the bird characters is based on onomatopoeia:

"- I'm sorry, what? - the mother sparrow asked him.

He shook his wings and, looking at the ground, chirped:

Too black, too much!

Dad flew in, brought bugs to Pudik and boasted:

Am I chiv? Mother Sparrow approved of him:

Chiv, chiv!”

The story about the little sparrow has been published more than once. Little Pudik did not want to obey his parents and almost disappeared. What happens: listen to mom and dad, and everything will be okay? Well, not really. Gorky does not scold Pudik at all, but sympathizes with him. Thanks to its audacity, the chick learned to fly. And to my mother’s condemning “what, what?” (see, they say, what happens if you don’t obey?) The chick answers convincingly and wisely: “You can’t learn everything at once!”

In the fairy tale “Sparrow” there is another moment of education. This is the cultivation of kindness towards the world and all its diversity. Pudik thinks that he, his dad and mom are the most perfect creatures on this earth. Indeed: they live high, under a roof and look down on the world.

Below, people walk back and forth who are much larger than Pudik in size and, of course, physically stronger than him. But people are “eaten by midges”, small creatures that are much smaller than Pudik himself and cause trouble for the big man. What could be worse than being literally eaten? And little Pudik eats these same midges himself. So what happens: Pudik is stronger than midges, which means he is stronger than a person?

“A man walks past the bathhouse,” we read in a fairy tale, “waving his arms.

“The cat tore off his wings,” said Pudik, “only the bones remained!”

This is a man, they are all wingless! - said the sparrow.

They have such a rank that they can live without wings, they always jump on their feet, wow?

If they had wings, they would catch us like dad and I catch midges...

Nonsense! - said Pudik. - Nonsense, nonsense! Everyone should have wings. It’s worse on the ground than in the air!.. When I grow up big, I’ll make everyone fly.

Pudik did not believe his mother; He didn’t yet know that if he didn’t trust his mother, it would end badly.

He sat on the very edge of the nest and sang poems of his own composition at the top of his lungs:

Eh, wingless man,

You have two legs

Even though you are very great,

The midges are eating you!”

Pudik literally grew in his eyes, became proud and squealed: “I’m quite small, but I eat midges myself.” But then he falls out of the nest and finds himself in front of the mouth of a big red cat, which is preparing to eat him, the famous and best Pudik in the world. Pudik experiences a chilling fear that he might become food for a scary cat. It turns out that the cat is the strongest?

And then the mother sparrow comes to the rescue. She fearlessly rushes at the cat and takes it away from Pudik. Is mom really the strongest? And what is stronger is not mother, but mother’s love. And children reading the fairy tale understand this. They immediately realized how mistaken the little stupid chick was, considering himself stronger than a person. But they realized that a mother, any mother - a person, a bird, a kitten - would not let her child be offended. She will not spare not only her tail, but also life itself. This means that you need to love your mother and be grateful to her for her dedication and daily care.

And yet, we must respect life, animals and birds. After all, everyone has mothers, everyone is happy that they live, everyone has their own dreams and desires. And because the world is inhabited by different creatures, it is beautiful, challenging and interesting. This is how, without preaching and in an accessible form, Gorky teaches the little reader a great lesson in life.

The fairy tale “Sparrow” is written in the style of oral folk art. The story sounds leisurely and allegorical. As in folk culture, sparrows are endowed with feelings, thoughts, and human experiences. As in a folk tale, there is something heroic and comic here. As in a folk tale, Gorky’s work contains a large educational factor.

Thus, the fairy tale “Sparrow” is one of the brightest works for children included in the treasury of world culture.

2.2 Household fairy tale “Samovar”. Ridicule of stupidity, complacency, emptiness. Alternation of prose and poetic text in a fairy tale. The satirical nature of the tale

Sparrow Pudik loved to brag. But he is far from being a samovar. What a braggart! I forgot every measure. And he will jump out of the window, and marry the Moon, and take on the responsibilities of the sun! Boasting does no good. The samovar is falling apart: they forgot to pour water into it. The cups rejoice at the inglorious death of the samovar braggart, and the readers have fun.

Sending “Samovar” to the children of his friend, Gorky informed them that he wrote it “with his own hand and on purpose” for “Tata, Lelya and Boba, so that they would love me, because although I am an invisible person, I can write different stories about cockroaches, samovars, grandfathers of brownies, elephants and other insects. Yes!.."

The fairy tale “Samovar” contains many light, witty poems that children readily remember. The writer included “Samovar” in the first book he compiled and edited for children, “Yolka” (1918). This collection is part of the writer's big plan to create a library of children's literature. The collection was intended to be a fun book. “More humor, even satire,” Gorky admonished the authors. Chukovsky recalled: “Gorky’s own fairy tale “Samovar,” placed at the beginning of the entire book, is precisely a satire for children, denouncing self-praise and conceit. “Samovar” is prose interspersed with poetry. At first he wanted to call it “About the samovar who became arrogant,” but then he said: “I don’t want there to be a sermon instead of a fairy tale!” - and changed the title."

Indeed, there is no “sermon” in the fairy tale, but there is certainly a moral teaching. However, it is enclosed in such a funny, playful form that the reader perceives it easily and cheerfully, without the slightest protest. The hero of the fairy tale Samovar really loved to boast; he considered himself smart, handsome, he had long wanted the Moon to be taken from the sky and made into a tray for him. “The samovar got so hot that it turned blue all over and was trembling and buzzing:

“I’ll let it simmer a little more,

And when I get bored, -

I'll jump out the window right away

And I’ll marry the moon!”

An old kettle, in which water is also boiling, argues with the samovar. Gorky skillfully betrays their dialogue, which is interrupted by remarks from the dishes standing around. The dialogue is so bright and juicy that it makes you believe that this is really a samovar and a teapot arguing. “So they both kept boiling and boiling, preventing everyone who was on the table from sleeping. The teapot teases:

She's rounder than you.

But there are no coals in it, -

samovar answers.

Each character in this tale has his own voice. The blue creamer, from which all the cream has been poured, irritably says to the empty glass sugar bowl: “Everything is empty, everything is empty! I'm tired of these two." And the sugar bowl answers in a “sweet voice”: “Yes, their chatter annoys me too.” The teapot, cups, samovar stew communicate with each other only in poetry, and everyone puffs and snorts... The samovar falls into pieces - and that’s the end of the fairy tale.

In one of his letters to children, Gorky noted: “Although I am not very young, I am not a boring guy and I know how to show quite well what happens to a samovar in which they put hot coals and forgot to pour water.” However, the meaning of the tale, of course, does not end there; it reveals itself to the little reader in the final muttering of the stew:

Look: people are forever

They complain about fate

And they forgot the stew

Put it on the pipe!

Thus, an ordinary samovar received the status of a living creature and showed how pompous and stupid it is in its boastfulness. Even the teaware, which he practically never parted with, did not want to sympathize with him. Gorky masterfully uses everyday objects to condemn human weaknesses and vices, showing in their images what bragging, boasting and disrespect for others can lead to.

2.3 Story-tale “The Case of Evseyka.” Mark the fairytale fantasy element. The image of Evseika, the humor of the fairy tale, its peculiarity

And about the fisherman - a “fictional” story. The boy Evseyka miraculously ends up on the seabed and talks to the fish. The character of the hero in the fairy tale “The Case of Evseyka” is more complicated, because the hero is older than Pudik in age. The underwater world where the boy Evseyka finds himself is inhabited by creatures who have difficult relationships with each other. Small fish, for example, tease a big crayfish - they sing a teaser in chorus:

Cancer lives under the stones

The fishtail is chewed by the crayfish.

The fishtail is very dry.

Cancer does not know the taste of flies.

The underwater inhabitants are trying to drag Yevseyka into their relationship. He stubbornly resists: they are fish, and he is a man. He has to be cunning so as not to offend someone with an awkward word and not get himself into trouble. Evseika’s real life is intertwined with fantasy: “Fools,” he mentally addresses the fish. “I got two B’s in Russian last year.”

The fairy tale is not just instructive, it is also very educational for the young reader. In a witty and humorous form, Gorky conveys the sometimes dangerous, sometimes comic life of the underwater world. Pisces laughs at the boy’s appearance, which does not correspond to Pisces’ ideas of beauty; Pisces are offended by a carelessly spoken word.

In ordinary life, Evseyka would not stand on ceremony with fish, but once in their world, he weighs his words, tries to be polite, realizing that he could easily lose his life. The instinct of self-preservation awakens in him, and the talent for diplomacy opens up. “Now I’m going to start crying,” he thought, but he immediately realized that if you don’t cry, there are no tears in the water, and he decided that there’s no point in crying - maybe somehow he’ll be able to get out of this unpleasant story somehow .

And all around - oh my God! - different sea inhabitants have gathered - there is no number! A sea cucumber climbs onto your leg, looking like a poorly drawn piglet, and hisses:

I would like to get to know you better... The sea bubble trembles in front of my nose, pouts, puffs - reproaches Evseyka:

Good, good! Neither cancer, nor fish, nor shellfish, ah-ah-ah!

Wait, maybe I’ll still be an aviator,” Yevsey tells him, and a lobster climbed onto his knees and, moving his eyes on strings, politely asks:

May I know what time it is?

The sepia floated past, just like a wet handkerchief; siphonophores flicker everywhere like glass balls, a shrimp tickles one ear, someone curious also probes the other, small crustaceans even travel along the head, tangled in the hair and tugging at it.

"Oh oh oh!" - Evseika exclaimed to himself, trying to look at everything carefree and affectionately, like dad when he is to blame and mom is angry with him.”

Evseyka showed cunning and resourcefulness. No matter how much the fish boasted about their scales, fins, tails, and most importantly, their intelligence, the boy outwitted them and got to the surface. The dream was so true and vivid that Evseika, waking up and emerging from the water, believed that it was not a dream at all.

Towards the end, the action of the fairy tale moves through a chain of funny situations and witty dialogues. In the end, it turns out that Evseyka dreamed of all these wonderful events when he, sitting with a fishing rod on the seashore, fell asleep. This is how Gorky solved the traditional problem of the interaction between fiction and reality in literary fairy tales. And for the little reader, the fairy tale “Evseyka” is science: never lose courage, be smart and dexterous to get out of trouble, even when mom and dad aren’t around. Evseika more than once remembered how dad would behave in this situation. And this helped him cope with the problem.

Thus, the fairy tale “Evseika” is one of the best works of art in children's literature, in which the talent of Gorky the writer and the kindness of Gorky the person were clearly demonstrated. It is distinguished from a folk tale by the writer’s bright artistic talent in describing details and images.

3. ABILITY OF A.M. GORKY “FUN” TALKING TO CHILDREN ABOUT SERIOUS ISSUES, DEEP KNOWLEDGE OF CHILDREN’S INTERESTS AND REQUESTS

“I warmly greet the future heroes of labor and science. Live in harmony, like the fingers of a musician’s wonderfully working hands. Learn to understand the meaning of work and science - two forces that solve all the mysteries of life, overcome all obstacles on the path shown to you by your fathers, on the path to a bright, happy, heroic life.” Gorky wrote these words in one of his last letters to children. And he was friends with them all his life.

Once, in a distant town, a little reader borrowed the story “Childhood” from the library. And - it just so happened - I lost her. Losing a library book is unpleasant and embarrassing. The boy was very upset. Well, I just got desperate. He didn't know what to do. And, in the end, he wrote a letter to Moscow, the author of the book, Gorky himself. And he told everything as it is. And he began to wait to see what would happen. And after some time a parcel arrived from Moscow. The boy had no acquaintances in Moscow, and he immediately understood that this package was from Gorky. The parcel contained two copies of “Childhood”.

A simple and touching incident speaks of what a sympathetic person Alexey Maksimovich Gorky was. And how tenderly he treated the guys. He wrote kind letters to his son Maxim. He loved to joke with his granddaughters - Marfa and Daria. Grandfather called them either girls, then girlies, then girlies, then girlies, then girlies, then girlies. Those are cheerful old ladies. That's kids. That is by highly respected learned girls.

The history of Gorky's stories and fairy tales for children begins unusually: with an earthquake. It happened on December 15, 1908 in southern Italy. The earthquake began early in the morning, at six o'clock. Everyone was still fast asleep. A few minutes later the city of Messina was already in ruins. Messina has suffered from tremors before, but now the city suffered especially hard. Thousands of people died. And the wounded could not even be counted.

Messina is a port. All ships nearby swam to the shore. The Russian ships “Bogatyr”, “Slava”, “Admiral Makarov” also came to anchor. The sailors began to save the city residents. The next morning Gorky arrived in Messina. He lived nearby at that time, on the island of Capri. I worked there and received treatment. “What can I do for the victims? - thought the writer. - They need medicine, clothes, money. They need to build new houses to continue living.”

Gorky had a powerful weapon in his hands - the word. His books were sold all over the world. Readers in different countries listened to his words. They knew that he loved people and wished them well. And Gorky appealed to the whole world: come to the aid of Italy. People responded to his call. Money and things began to be sent to Messina. Many donations came to Gorky. One day, money and a letter written in a child's handwriting arrived from Russia. Gorky read the letter. Unknown to him, kids from Bailov (a suburb of Baku) wrote: “Please give our money... to the writer Maxim Gorky for the Messinians.” The letter was signed: “School of naughty people.”

Where did these naughty people get the money from? They earned it themselves! The play was staged and the tickets sold out. The children were led by Alisa Ivanovna Radchenko, a talented teacher. Subsequently, she worked together with Nadezhda Konstantinovna Krupskaya. The envelope contained a photograph of twelve participants in the performance.

Gorky replied: “Dear children! I received the money you collected for the Messinians and I sincerely thank you for everyone you helped. I sincerely wish for you, good little people, that throughout your life you will be as sensitive and responsive to the grief of others as you were in this case. The best pleasure, the highest joy of life is to feel needed and loved by people! This is the truth, do not forget it, and it will give you immeasurable happiness. ...Be healthy, love each other and - do more pranks - when you are old men and women - you will begin to remember the pranks with a cheerful laugh. I press your paws tightly, may they be honest and strong all the days of your life!..”

Then the children from the “School of Naughty People” - Borya, Vitya, Gynt, Dima, Fedya, Jeffrey, Zhenya, Irena, Lena, Lisa, Mema, Mary, Nora, Pavel and Elsa - sent Gorky a letter.

The letter from six-year-old Fedya said: “We have 3 main naughty kids at school: Jeffrey, Borya and Fedya. Besides, I’m a big sluggard” (Here and below, materials stored in the A.M. Gorky Archive are used). Jeffrey wrote even more briefly: “I fell into the pool. Hooray!" - and illustrated his message with a drawing. And Borya wrote: “Uncle Alyosha! I love you, do you have a horse, a cow and a bull? Write us a story about a little sparrow. And also write us some fictitious story about the boy fishing. I kiss you... I would like to see you.”

Gorky this time did not leave his little friends’ letters unanswered. In his second letter to the naughty people, Gorky, having amicably scolded them for so skillfully distorting the Russian language: instead of “lazy” they write “lintyay”, and instead of “performance” they write “spil-talk”, he admitted: “I really like to play with children , this is an old habit of mine, little, about ten years old, I babysat my little brother... then I babysat two more children; and finally, when I was about 20 years old, on holidays I gathered children from all over the street where I lived and went into the forest with them for the whole day, from morning to evening. It was nice, you know! There were up to 60 children, they were small, from four years old and no older than ten; running through the forest, they often found themselves unable to walk home. Well, I had such a chair made for this, I tied it on my back and on my shoulders, the tired ones sat in it, and I carried them home through the field perfectly. Wonderful!"

The children were delighted with Gorky's letters. “My dear Gorky! - Nora wrote. - Your letter is very affectionate. Mom and Dad love you, and so do I. …I’m a girl, but I wear a boy’s dress because it makes me feel comfortable.” Lisa asked: “How are you doing? What are the Messinians doing? Vitya was interested in nature: “Are there sponges in the sea that surrounds Capri? How many miles are there along and across Capri? What is the name of the sea that surrounds Capri? Seven-year-old Pavka wrote: “Dear Maximushka Gorky! To please you, I am sending you a letter. I love to read very much and, returning from school, where I had a lot of fun, I sit down to read a book. I read about all sorts of plants and animals, their lives are very interesting. You wrote to us that we are all snub-nosed, and I saw your card, on it you yourself are snub-nosed, which I am very happy about.”

And Gorky said that, having received the children’s letters, he “laughed with joy so much that all the fish stuck their noses out of the water - what’s the matter?” But the most important thing is that Gorky fulfilled the request of one of the three main naughty people: they wrote about a sparrow and about a young fisherman!

From the letter to the naughty people it is clear how the story with the samovar was written. “Although I’m not very young,” Gorky slyly noted, “I’m not a boring guy, and I know how to show quite well what happens to a samovar in which they put hot coals and forgot to pour water.”

Apparently, Gorky more than once happened to meet with children and talk about the samovar. In the end, Gorky wrote down on paper an oral story that he had written a long time ago. He knew the value of kindness. He was touched by the action of the Bail boys. He thanked the good little people the way only he could thank them: with stories, fairy tales, poems.

“...if these lines ever reach Gorky,” wrote Alisa Ivanovna Radchenko in 1926, “let him know that the naughty girls of that time lived up to his hopes, became good, sensitive, sympathetic people and socially useful workers...”

CONCLUSION

Maxim Gorky entered world literature as a realist writer, for whom the truth of life was a powerful driver of his creativity. Gorky had a powerful weapon in his hands - the word. His books were sold all over the world. Readers in different countries listened to his words. They knew that he loved people and wished them well. It is generally accepted that in Gorky’s work there are two main groups of works in terms of their artistic properties. One of them is realistic works, the other is romantic. Such a division should be accepted, but only under one condition: in no case should both of these groups be considered completely separately, because this inevitably leads to the separation of artistic quests from the social soil on which they arose, from the social life of Russia in the 90s.

The problems posed by the writer M. Gorky in his work are perceived as relevant and pressing for solving the issues of our time. Gorky, who openly declared at the end of the 19th century about his faith in man, in his mind, in his creative, transformative capabilities, continues to arouse interest among readers to this day.

But Gorky, a recognized genius writer of socialist realism, was also a wonderful children's writer. His children's works are filled with the light of love, kindness and understanding of the child's soul. One of Gorky’s most striking children’s works can rightfully be defined as the fairy tale “Sparrow”. In the image of Pudik, the character of a child is clearly visible - spontaneous, disobedient, playful. Gentle humor and discreet colors create the warm and kind world of this fairy tale. The language is clear, simple, and understandable to children. The speech of the bird characters is based on onomatopoeia.

Sparrow Pudik loved to brag. But he is far from being a samovar. What a braggart! I forgot every measure. And he will jump out of the window, and marry the Moon, and take on the responsibilities of the sun! Boasting does no good. The samovar is falling apart: they forgot to pour water into it. The cups rejoice at the inglorious death of the samovar braggart, and the readers find it fun and instructive.

For the little reader, the fairy tale “Evseyka” is also science: never lose courage, be smart and dexterous to get out of trouble, even when mom and dad are not around. Evseika more than once remembered how dad would behave in this situation. And this helped him cope with the problem of getting out of the water kingdom onto land.

Thus, Maxim Gorky was able not only to understand the soul of the child, he loved her with all his soul. When creating children's works of art, he made sure that reading books was interesting, instructive and entertaining for children. Gorky's fairy tales are written in a kind folk style, but they have their own unique flavor, are imbued with the writer's good humor and are replete with vivid images and details, which brings them closer to the world of childhood experiences.

LITERATURE

1.Gorky Maxim [Text] // Writers of our childhood. 100 names: biobibliographic dictionary in 3 parts. Part 3. - M.: Liberea, 2000. - P. 134-142.

.Gorky, M. Literary heritage [Text] / M. Gorky // Gorky, M. Complete. collection op. T.7. - M.: Khud. lit., 1975. - P. 166.

.Gorky, M. Elka [Text] / M. Gorky // Gorky, M. Complete. collection op. T.1. - M.: Khud. lit., 1975. - pp. 125-159.

.Gorky, M. About children's literature [Text] / M. Gorky. - M.: Det. lit., 1972. - 248 p.

.Kunarev, A.A. Early prose of M. Gorky. Moral and aesthetic quests [Text] / A.A. Kunarev // Russian literature. XX century: reference materials. - M.: Education, 1995. - P. 234-238.

.Maxim Gorky and new children's literature [Text] // Arzamastseva, I.N. Children's literature: a textbook for students. higher ped. textbook head / I.N. Arzamastseva, S.A. Nikolaev. - 3rd ed. reworked and additional - M.: Publishing house. Center Academy, 2005. - pp. 280-289.

.Teleshov, N.D. Notes of a writer [Text] / N.D. Teleshov. - M.: Det. lit., 1982. - 265 p.

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A.M.Gorky

About fairy tales

You ask: what did folk tales and songs give me?

With word painting, with ancient poetry and prose of the working people - with their literature, which originally appeared before the invention of writing and is called “oral” because it was passed on “from mouth to mouth” - I became acquainted with this literature early - years six or seven years old. Two old women introduced me to her: my grandmother and my nanny Evgenia, a small, spherical old woman with a huge head, similar to two heads of cabbage placed one on top of the other. Evgenia’s head was unnaturally rich in hair, hair - no less than two horse tails, they were stiff , gray and curly; Evgenia tied them tightly with two scarves, black and yellow, but her hair still came out from under the scarves. Her aitso was red, small, snub-nosed, without eyebrows, like a newborn baby; little blue cheerful eyes were inserted into this plump face and seemed to float in it.

Grandmother also had a lot of hair, but she pulled a “head” over it - a silk cap like a cap. The nanny lived in her grandfather’s family for twenty-five years, if not more, “nursed” her grandmother’s numerous children, buried them, and mourned them together with the mistress. She also raised the second generation - my grandmother’s grandchildren, and I remember the old women not as housewife and worker, but as friends. They laughed together at their grandfather, cried together when he offended one of them, together they slowly drank a glass, two, three. The grandmother called the nanny - Enya, her nanny - Akulya, and when quarreling, she shouted:

Oh you, Akulka, black witch!

And you are a gray-haired witch, a shaggy scarecrow,” answered the grandmother. They often quarreled, but for a short time, for an hour, then they made up, they were surprised:

What were they yelling for? We have nothing to share, but an orem. Eh, fools...

If the grandfather heard the old women’s repentance, he confirmed:

That's right: fools.

And so, it used to be, on winter evenings, when a blizzard whistled, shied, scraped against the glass of the windows, or the bitter frost crackled, my grandmother would sit in the little room next to the kitchen to weave lace, and Evgenia would sit in the corner, under the wall clock, spinning threads, I climbed onto the chest, behind the nanny, and listened to the conversation of the old women, watching how the copper pendulum, swinging, wanted to rip off the back of the nanny's head. The bobbins tapped dryly, the spindle hummed, the old women said that at night another child had been born to the neighbors - the sixth, and the father was still “without a place”; in the morning his eldest daughter came to ask for bread. We talked a lot about food: at lunch my grandfather swore that the cabbage soup was not fat enough, the veal was overcooked. At someone’s name day, the Uspensky priest’s guitar was broken. I know the priest, when he visits his grandfather, he plays Uncle Yakov’s guitar, he is huge, maned, red-bearded, with a large mouth and many large white teeth in it. This is a real pop, the same one that Evgenia’s nanny talked about. And she told it like this: God decided to make a lion, molded the body, adjusted the hind legs, adjusted the head, glued the mane, inserted the teeth into the mouth - ready! He looks and there is no material at the front legs. He called the devil and said to him: “I wanted to make a lion, but it didn’t work out, I’ll do it another time, but take this scoundrel, you fool.” The devil was happy: “Come on, come on, I’ll make an ass out of this shit.” The devil stuck long arms on the wretch - he became a priest.

In my grandfather’s house, the word “God” sounded from morning to evening: they asked God for help, invited him to be a witness, and scared God - he would punish him! But, apart from verbal, I did not feel any other participation of God in household affairs, and my grandfather punished everyone in the house.

In the nanny's tales, God was almost always stupid. He lived on earth, walked through villages, got mixed up in various human affairs, and everything was unsuccessful. One day evening overtook him on the road, God sat down to rest under a birch tree - a man was riding on horseback. God was bored, he stopped the man and asked: who is this, where, where, this and that, unnoticed, night approached, and God and the man decided to spend the night under a birch tree. The next morning they woke up and looked - and the peasant’s mare had foaled. The man was delighted, and God said: “No, wait, it’s my birch tree that has foaled.” They argued, the man doesn’t give in, and God doesn’t either. “Then let’s go to the judges,” said the man. They came to the judges, the man asked: “Solve the case, tell the truth.” The judges answer: “Seeking the truth costs money, give me money and tell the truth!” The man was poor, and God was greedy, he regretted the money, and said to the man: “Let’s go to the Archangel Gabriel, he will judge for nothing.” Whether long or short, they came to the archangel. Gavrila listened to them, thought, scratched behind his ear and said to God: “God, this is a simple matter, it’s easy to solve, but I have this problem: I sowed rye on the sea-ocean, but it doesn’t grow!” “You’re stupid,” said God, “does rye grow on water?” Then Gavrila pressed him: “Can a birch tree give birth to a foal?”

Sometimes God turned out to be evil. So, one day he walked through the village at night with Saint Yuri, in all the huts the lights were extinguished, and in one there was a fire burning, the window was open, but curtained with a rag, and it seemed as if someone was moaning in the hut. Well, God needs to know everything. “I’ll go and see what they’re doing there,” he said, and Yuri advised: “Don’t go, it’s not good to watch a woman give birth.” God didn’t listen, pulled off the rag, stuck his head out the window, and the midwife hit him on the forehead with a milk jug - once! Even the jug is in shards. “Well,” said God, rubbing his forehead, “a person who was born there will not be happy on earth. I can vouch for that.” A lot of time has passed, about thirty years, and again God and Yuri are walking through a field near that village. Yuri showed a strip where the bread rose thicker and higher than on all other strips. “Look, God, how well the earth has done for the peasant!” And God boasts: “This means the man earnestly prayed to me!” Yuri and say: “And that’s the same guy, remember: when he was born, they hit you on the forehead with a pot?” “I haven’t forgotten this,” said God and ordered the devils to destroy the man’s streak. The bread is lost, the man is crying, and Yuri advises him: “Don’t eat more bread, raise some livestock.” Another five years have passed, God and Yuri are walking again through the fields of that village. God knows: a good herd is walking, and he boasts again: “If a man respects me, then I will please the peasant” *. But Yuri could not resist, he again said: “And these are the cattle of that man...” God sent a “pestilence” on the cattle, ruined the man. Yuri advises the ruined man: “Get some bees.” Another year has passed. God comes, sees a rich beekeeper, and boasts: “Here, Yuri, what a happy beekeeper I have.” Yuri remained silent, called the man over, and whispered to him: “Call God to visit you, feed him honey, maybe he’ll get rid of you.” Well, the man called them, fed them honey, wheat rolls, set them with vodka and mead. God drinks vodka, and he keeps bragging: “The man loves me, he respects me!” Here Yuri reminded him for the third time about the bump on his forehead. God stopped eating honey and drinking mead, looked at the man, thought and said: “Well, okay, let him live, I won’t touch him again!” And the man says: “Thank you, God, but I’ll die soon, I’ve already worked out all my strength in vain.”

-------------* To please - to do, to give a benefit. (Author's note.)

Grandmother, listening to such tales, laughed, and sometimes laughed until she cried and shouted:

Oh, Enka, you're lying! Is God really like that? He's kind, you fool!

The nanny, offended, grumbled:

This is a fairy tale, not reality. And there is also such a god, take him from grandfather Vasily...

They began to argue, and this annoyed me: the argument about whose god is real was not interesting, and it was not clear to me, I asked my grandmother and nanny to sing a song, but they took turns and angrily shouted at me:

Get off! Leave me alone!

When I was eight years old, I already knew three gods: my grandfather’s was strict, he demanded from me obedience to my elders, obedience, humility, but all this was poorly developed in me, and, by the will of his God, my grandfather diligently hammered these qualities into my skin; Grandmother’s god was kind, but somehow powerless and unnecessary; the god of nanny fairy tales, a stupid and capricious funny man, also did not arouse sympathy, but he was the most interesting. Fifteen to twenty years later, I experienced great joy when I read some of the nanny’s tales about God in Romanov’s collection of “Belarusian Fairy Tales.” According to the nanny's fairy tales, it turned out that everything on earth was stupid, funny, roguish, wrong, judges were corrupt, they sold the truth like veal, noble landowners were cruel people, but also stupid, merchants were so greedy that in one fairy tale the merchant, who lacked half a thousand rubles, sold his wife and children to the Nogai Tatars for fifty dollars, and the Tatars gave him half a ruble to hold in his hands and drove him into captivity, to the Crimea to themselves, along with a thousand rubles, with his wife and children. I think that even then the nanny’s fairy tales and grandmother’s songs inspired me with a vague confidence that there was someone who “saw and sees everything stupid, evil, funny, someone alien to the gods, devils, kings, priests, someone very smart and brave.

Maksim Gorky, also known as Alexey Maksimovich Gorky (born Alexey Maksimovich Peshkov (1868-1936) - one of the central figures of Russian literature of the 20th century. Studying his creative path helps to better understand the main features of the artistic and spiritual development of our lives. A.M. Gorky is the heir and continuer of the best traditions of Russian classical literature. Gorky's influence on children's literature is associated not only with the theoretical innovation of his articles, but also with the artistic innovation of works in which the world of childhood was revealed. A progressive writer, Gorky breathed new, revolutionary content into the depiction of childhood. He is convinced that the “leaden abominations of life” have not killed kindness and honesty in children; love for people and interest in life; protest against the stupidity and stinginess of the rich.

“Tales of Italy,” written for adults, almost immediately during the period of revolutionary upsurge of the beginning of the 20th century. began to be published for children. “Tales of Italy” sang the joy of work, the equality of people, and affirmed the idea of ​​the unity of workers.

One of the best tales of the cycle is the tale of Pepe. The boy loved nature: “Everything occupies him—flowers flowing in thick streams through the good earth, lizards among lilac stones, birds in the chased foliage of olive trees.” The image of Pepe is given in the perspective of the future - poets and leaders grow up from people like him. And at the same time, it embodies the characteristic features of the ordinary people of Italy with their kindness, openness, and love for the land.

Gorky embodied his creative principles regarding literature for preschool children in fairy tales specially intended for children. The writer laid the foundations of a new children's fairy tale. In total, he created six fairy tales: “Morning” (1910), “Sparrow” (1912), “The Case of Yevseyka” (1912), “Samovar” (1913), “About Ivanushka the Fool” (1918), “Yashka” ( 1919). They defined genre characteristics and outlined the main ways of development of fairy tales of a new type. Gorky's fairy tales reflect true life, realistic details of everyday life, modern problems and ideas.

The fairy tales “Sparrow”, “The Case of Evseyka” and “Samovar” were written by Gorky for children from the “School of Naughty” kindergarten in Baku.

Fairy tale "Sparrow" first appeared in the collection of fairy tales “The Blue Book” in 1912. In 1917, it was published as a separate book by the Parus publishing house. Describing the adventures of little Pudik in an entertaining way, the author raises a serious question about the continuity of the older and younger generations. Focusing on the peculiarities of perception of small children, Gorky shows how the curious yellow-throated sparrow Pudik gets acquainted with life. The writer teaches the child to carefully look at his surroundings, to look for the real reasons for certain events. Gorky's tale is close to the folk fairy tale epic about animals. The writer uses in it the technique of humanizing birds and animals, common in folk tales, while preserving their real features: sparrows fly, live in the foliage, and are afraid of cats. Thus, in Gorky, as in the epic about animals, the real is combined with the fantastic.

The language of the fairy tale is precise and poetic. Onomatopoeia comically reproduces the chirping of sparrows and at the same time serves as a means of depicting the character of the perky dreamer-sparrow:

“Child, child,” the mother worried, “look, you’ll get crazy!”

“With what, with what?” asked Pudik.”

There is no direct moral in the fairy tale; all the movements of the plot and the development of images help the child understand Pudik’s delusions and appreciate the courage and dedication of the sparrow mother. Specifically, the confusion of the sparrow, which almost fell into the paws of the cat, is visibly shown. Pudik gains wisdom and experience, becoming an active participant in life.

“You can’t learn everything at once” - this confession by Pudik proves that he understood the main thing: you should trust the experience of adults, do not judge rashly, and do not consider yourself a know-it-all.

Fairy tale "The Case of Evseyka" was first published in 1912 in the newspaper Den. In 1919, it appeared with some changes in the Northern Lights magazine. It contains extensive educational material, presented poetically, in an entertaining and accessible form for children. Gorky sees nature through the eyes of the boy Evseika. This gives the writer the opportunity to introduce comparisons that children can understand into the tale: sea anemones look like cherries scattered on rocks; Evseyka saw a sea cucumber that “looked like a poorly drawn piglet,” a lobster moved “with its eyes on strings,” and sepia looked like a “wet handkerchief.” When Evseyka wanted to whistle, it turned out that this could not be done: “water gets into his mouth like a cork.”

The image of the “little boy” and the “good man Evseyka” is revealed in many ways. The writer shows both Evseika’s behavior and his thoughts. Evseyka is resourceful and decisive. Finding himself in an unusual and dangerous situation among the predatory inhabitants of the underwater kingdom, he is looking for an opportunity to quickly return to land. Gorky draws the reader's attention to the thoughtfulness of every action of Evseika.

He thought the cancer was "serious"; “I realized that I needed to change the conversation”; in response to a tricky question whether his father eats fish, he said: “No, he doesn’t eat fish, he’s very bony...”

One episode from Evseika’s life was taken, but one in which his best qualities were revealed.

Compositionally, Gorky uses a technique long known in children's literature: an unusual adventure with Yevseyka takes place in a dream. But the line between dreams and reality is nowhere drawn in a straight line. This updates and refreshes the old fairytale technique.

“The Case of Yevseyka” is an excellent example of a literary fairy tale of a special type - scientific and educational.

Fairy tale "Samovar" was first published in 1918 in the collection “Yelka”. The cheerful fairy-tale plot of "Samovar" is based on a real event from the writer's life, which he mentions in the story "In People." Initially, Gorky called the tale a little differently: “About a samovar that became arrogant.” But, preparing it for publication, he changed the title, saying: “I don’t want there to be a sermon instead of a fairy tale.” "Samovar" is a satirical tale. Satirical features appear in “humanized” objects: a creamer, a sugar bowl, a teapot, a stewpot. Focusing on children's perception, the writer shows how a sugar bowl feels when a fly has climbed into it, what the cups clink, and what the samovar sings boastfully:

“Do you notice, teapot, that the moon

Extremely in love with the samovar?”

The tale alternates between prose and poetic text. Poetic lines are easy to remember. They help create visible pictures of what is being told and enhance the satirical meaning of the tale: “This little samovar really loved to show off, he considered himself handsome, he had long wanted the moon to be taken from the sky and made a tray out of it for him.” .

Dmitry Narkisovich Mamin-Sibiryak(1852-1912) was born in the Visimo-Shaitansky workers' village, in the family of a factory priest. From childhood, he observed the life and everyday life of factory and mine workers, listened to their songs, stories, and legends. He saw the lack of rights and poverty of the mining people, their spontaneous indignation - “a silent struggle”, “an undying spirit of protest.” All this left an indelible mark on the spiritual development of the writer.

Mamin-Sibiryak wrote about 140 works for children. They were published in progressive magazines: “Children’s Reading”, “Sunrises”, “Young Russia”, and published as separate books.

Many children's books are inspired by his love for his daughter Alyonushka. However, the decisive role in the awakening to children's literature was played by the writer's observations of the tragic fate of children in autocratic feudal Russia, the influence on him of the progressive ideas of that time, and thoughts about the fate of the younger generation. Therefore, Mamin-Sibiryak considered children's literature more important than anything else, because children are the future of humanity, and they contain future opportunities.

Mamin-Sibiryak wrote journalistic and artistic essays for children (“Glorious is the city of Veliky Novgorod”, “Conquest of Siberia”, “On the Chusovaya River”), social stories and stories (“Spit”, “Under the Ground”, “Under the Blast Furnace”, “The Breadwinner”), stories about animals (“Medvedko”, landscape sketches (“Green Mountains”), satiristic, sketch and fairy tales (“The Tale of King Pea”, “Postoiko”, “Forest Tale”)

The writer’s works for children opposed the children’s books of reactionary writers of that time, who hid the social contradictions of modern society from children and instilled in them a naive faith in God’s providence and philanthropy.

The writer often deliberately built his stories around the unexpected meeting of a child exhausted by overwork and hunger with the masters, showing that this meeting not only does not alleviate, but even aggravates the suffering of the little robot.

Mamin-Sibiryak’s stories about small artisans are anti-populist in nature. The writer debunks the illusion of liberal populists about the saving power of village life.

But he does not hide the terrible situation of children in the city. in “The Stone Well” the reader is presented with a gallery of downtrodden, embittered, dull children from overwork. Their outlook is amazingly poor. They have not seen and do not know anything except their yard, the street, they cannot even imagine how grain grows, however, the life of peasant children is no better.

The writer always depicts the child hero in the flow of people's life, in the environment of production, family and social life of workers.

The work team is depicted by the author as realistically as the little hero, whom we see either surrounded by miners or artisans. The child is always at the center of the story, but the reader will long remember many images of adults: the blast furnace master, prospector Rukobitov, etc.

Mamin-Sibiryak was also a great master of literary fairy tales. His scientific fairy tales (the collection “Fireflies”, “Forest Tale”, “Green War”, etc.) essentially open up that wonderful tradition of Russian natural history fairy tales, which became so widespread in the works of the 20th century writers Prishvin, Bianki, Charushin.

The best collection of works for children is “Alenushka’s Tales”.

The writer showed himself here not only as an excellent expert in child psychology, but also as an intelligent teacher, and in allegorical tales the writer preserves their natural qualities in the form of animals, birds and insects.

The hedgehog in the fairy tale “Smarter than All” not only personifies folk virtues. From the dispute between the inhabitants of the poultry yard, the child receives a complete understanding of their lifestyle and habits.

Mamin-Sibiryak's tales are a classic example of a cheerful children's book, rich in imaginative plot. With an amazing understanding of the natural impulses that evoke play emotions in a child, he draws the course of the game, its unique impulsive movement.

The best works of Mamin-Sibiryak are known far abroad. Deeply, truthfully and comprehensively depicting life, promoting moral principles, the writer’s children’s books even today worthily fulfill the noble mission of educating the younger generation.

Korolenko Vladimir Galaktionovich - prose writer, publicist. Born into the family of a district judge, who came from an old family of Ukrainian Cossacks.

Korolenko began studying at a Polish boarding school, then at the Zhiomir gymnasium, and graduated from the Rivne real gymnasium.

In 1871, he graduated from high school with a silver medal and entered the St. Petersburg Institute of Technology in the hope of moving to university in a year, but poverty, chronic starvation, and during the first year of his student life he had to dine only five times forced Korolenko to leave his studies.

Since January 1873, he has made his living by coloring atlases, drawings and proofreading. In 1874, around the world of fellow Rovenians, Korolenko moved to Moscow and entered the Peter the Great Agricultural and Forestry Academy. I am fascinated by the lectures of KA Temiryazov.

In 1876, for submitting a collective protest written by him against the actions of the administration in connection with the arrest of one of the students, Korolenko was expelled from the academy for one year.

The restoration of the academy was refused after one year, and in August 1877 Korolenko became a student for the third time, this time at the St. Petersburg Mining Institute. However, I only had to study for eight months; Material insecurity and the need to earn money for the family distracted me from studying. During these years, he later wrote, “even my old dream of becoming a writer faded.”

In 1879, following a denunciation by an agent of the Third Section, Korolenko, who had been exposed by him, was arrested. The next 6 years spent in prisons and in exile became his “walk among the people.”

In August 1881, for refusing to sign a special oath of allegiance to Tsar Alexander III (which the government demanded from some of the political exiles after the murder of Alexander II), Korolenko was exiled to Eastern Siberia. He lived for three years in the freedom of Amge, 275 versts from Yakutia.

Since 1885 he was allowed to return from exile. The next 11 years spent by Korolenko in the provinces were the years of heyday of his creativity, active social activities, and family happiness.

“Man is created for happiness, like a bird is created for flight” - this aphorism was the slogan of Korolenko’s creative and social activities. He devoted his entire life to the struggle for human happiness. Crystal honesty, incorruptible sincerity and truthfulness in everything: in thoughts, deeds, in relation to people - were his life compass.

The writer paid special attention to disadvantaged, oppressed people and sought to instill in them the conviction of the triumph of justice and freedom.

Korolenko treated children with great sensitivity. From a distant exile, he asked friends and relatives to send books to read to their children - fairy tales by Pushkin, poems by Lermontov, “The Little Humpbacked Horse” by Ershov and others.

In his works, Korolenko often depicted children. Particularly famous was his story “In a Bad Society”, published in the magazine “Russian Thought” in 1885 and then in a revised form under the title “Children of the Dungeon” - in the magazine “Spring” (1886). In this story he spoke about the fate of children - beggars, starving, sick, living underground in the city cemetery. Acquaintance and friendship with these children is the first serious lesson of the boy Vasya, the son of a local judge. He begins to understand that the soulless laws of the so-called “decent society” contradict the principles of humanity and love.

Korolenko’s story “The Blind Musician,” which was also published in an abridged version for children, is imbued with a deep knowledge of the psychology of the child. The boy Pyotr Popelsky, blind from birth, overcomes his physical illness at the cost of hard work and, it would seem, achieves happiness in life: he becomes a famous musician and marries his beloved childhood friend.

However, this is just an illusion of happiness. A blind musician finds true happiness when he truly connects with the suffering, thoughts, and aspirations of the people, when he begins to feel needed and useful to people.

Children's reading also included chapters about Korolenko's childhood, his “Stories of My Contemporary”, the stories “Wonderful”, “Soe Makra”, “Ogonki” and many other works. Writer

Korolenko asserts his understanding of happiness. The story “The Blind Musician” is indicative in this regard. He endowed his hero, Pyotr Popelsky, with what he knew well from his own inner experience. This is an innate desire for light, for the fullness of life, overcoming obstacles on the path to light, the hero’s path, like the author’s path, lay through knowledge of the people, immersion in their life; and the main happiness is affirmed in the story as a feeling of the fullness of life through serving others, “reminding the happy of the unhappy”

Korolenko’s attitude to romanticism is revealed in the story “Frost” (1901). Here his character is Pole Ignatovich, brought up on the poetry of romanticism, a romantic by nature, in his view of life and people, falling either into delight and the deification of man, or into contempt for the human race, for the “vile” human nature. One can only mourn the death of people like Ignatovich.

He is a realist, who is invariably attracted by manifestations of romance in life, reflecting on the fate of the romantic, harsh, by no means romantic reality. Korolenko has many heroes (starting with “Wonderful”), whose spiritual intensity, the very burning irresponsibility, lifts them above the dull, sleepy reality, serve as a reminder of the “highest beauty of the human spirit.” But it is no less important for Korolenko to notice, under the thick, rough crust of everyday life, a living movement, sometimes one moment of awakening (like the ferryman Tyulin). “Each of us has our own outstanding period in life,” the writer noted in Marusinaya Zaimka, talking about the eternal plowman Timokha. The hunter Stepan, and Tyburtsy, and the “Falconer” have their heroic hour, even a moment, even in the gendarmerme from “Wonderful”, in the headman from “Moroz”, not everything died.

The writer cherishes these imperceptible and instantaneous lights, they are the support of his humanism, the basis of his historical optimism.

“... to discover the meaning of the individual on the basis of the meaning of the mass” - this is how Korolenko formulated the task of literature back in 1887. This requirement, realized in the work of Korolenko himself, closely connects him with the literature of the subsequent era, which reflected the awakening and activity of the masses.

24. Poets of the late 19th and early 20th centuries. NOT COMPLETELY!

Poetry of the late 19th and early 20th centuries is rich in movements and schools. This is the period of modernism (from French: modern - modern). Among the most noticeable silver currents. century allocated. acmeism, futurism, POETRY OF SYMBOLISM. She is characterized by increased ext. to the music of words, an appeal to the mystic. f-fii, to the sounding music. form. Many of the Symbolist poets created works for children. Returning to the theme of childhood forces them to return from the other world to Earth.

Balmont saw beauty as the goal of life. He was an impressionable, vulnerable, artistic person. I tried to capture every moment. moment of life, live it. Balmont continued Fet's line in our poetry. The music of speech fascinated Balmont. He was called Pagonini Russian. verse. The magic of sounds was his element. The semantic function was often impaired. The basis of his poems is sweetness. (150 of his poems were set to music by such composers as Rokhmaninov, Myasnikov). In his poetry for children, Balmont rarely resorted to a cumbersome series of epithets and simplifications. When creating poetry, he was much more strict in his choice of means. For my 4-year-old daughter, I wrote a series of children's fairy tales, “The Bright World” (full of gnomes, fairies, monsters and mermaids). Fairy tales are joyful morning songs filled with Scandinavians. and South Slavic folklore. The frivolity of the plots and the absence of serious problems is reflected in the names (fairy outfits, fairy walk). Evil does not exist in this fairy-tale world. The fairy flies away from the thunderstorm on the back of a dragonfly, the wolf serves the fairies and eats grass. In the fairy-tale world of Balmont, the same idyll reigns as in early childhood. Balmont asserted the natural right of children to joy, beauty and immortality. In his poems, words and music give rise to a poetic image. In the collections of poems for adults “Only Love”, children’s reading included the poem “golden fish”, which personifies the miracle of music at a fairy-tale holiday. Balmont's poems can be offered to children at an early age - they are musical.

A. Blok (1880-21) He wrote many reviews on the production of children's fairy tales on stage. His notebook was scattered with thoughts about education and children's books. He was a regular contributor to the magazines “Tropinka” and “Ogonki”. Created 2 books for children “All year round - poems for children”, “Fairy tales. Poems for children." For him there is a high poetic culture. Blok’s verse “Velobochka”, intended for the senate primer, was very popular. The plot is connected with the tradition of coming on Palm Saturday. These transparent poems convey the harmony and tranquility that reigns in the souls of adults and children on the eve of the holiday. Blok could convey amazing images and the atmosphere of the holiday. In children The reading included poems “Bunny”, “in the meadow”, “teacher”, lullabies. They show his characteristic techniques - the clash of black and white, warm and cold, old age and childhood.

Acmeism. Hood. The discovery of the Acmeists was the understanding of the subtlest half-tones of a person’s mood, expressed through real objects of existence.

Mandelstam. “From early childhood, a bookcase is a person’s companion for life.” 4 books out of 10 episodes. det. In 1925 - Primus and 2 trams, 26- Balls, Kitchen. Mandelstam wrote poetry as a joke, he rejoiced at every moment. find.

Futurism. They denied the heritage of previous literary eras. A syllable and a sound could appear in previously unheard of combinations, striving to create their own language. V. Mayakovsk - His poem “The Exhausted Picture of Spring” Leaflets is famous. After the lines of foxes there are dots.

This is word painting. The author divides words into syllables, breaks a line, refuses punctuation, amuses himself with the play of sounds without thinking at all about the meaning or grammar - this is a formalistic experiment on words and verse, devoid of an aesthetic goal.

Sergei Alexandrovich Yesenin born October 3, 1895 (died 1925) in the village of Konstantinov, Ryazan region. His father is the peasant Alexander Nikitich Yesenin, his mother is Tatyana Fedorovna. The poet spent his childhood with his mother's parents.

Yesenin began writing poetry early, at the age of nine, but he himself attributes his conscious creativity to the age of 16-17, the period of study in a church teacher’s school. During these years, Yesenin read a lot of Pushkin, Lermontov, Koltsov. A particularly strong feeling remained for Pushkin, a feeling that lasted for the rest of his life.

In the fall of 1912, Sergei Yesenin arrived in Moscow and from the spring of 1913 he worked in the printing house of the I.D. Partnership. Sytin first as an assistant proofreader, and then as a proofreader. In the winter of 1914, he quits work and devotes himself entirely to poetry. Yesenin’s first poems appeared in the magazines “Parus”, “Zarya”, “Mirok” and in the newspaper “Nov”: ​​“The scarlet light of dawn was woven on the lake”, “The bird cherry is pouring snow”, “Kaliki”, “Mother’s Prayer”.

His early poems reflected his search for a position in life and his own creative style. Sometimes he imitates songs common in the bourgeois and peasant environment with their characteristic motifs of love, sometimes happy, sometimes unrequited (“Tanyusha was good,” “Under the wreath of forest daisies,” “It’s a dark night, I can’t sleep”).

Yesenin often and fruitfully turns to the historical past of his Motherland. In such works as “Song of Evpatiy Kolovrat”, “Us”, “Rus”.

The main motive of the early Yesenin was the poetry of Russian nature, reflecting his love for the Motherland. It was during this period that many poems were written that are still known and loved by children. It is noteworthy that Yesenin’s first published poem was “Birch,” which appeared in the children’s crane “Mirok” in 1914. Since then, the poet’s attention to poems for children has been constant. He published children's poems in the magazines Mirok, Protalinka, Good Morning, Sincere Word, and Parus.

Yesenin’s early poetry for children, perhaps more clearly than in “adult” poems of the same period, reflected his love for his native land (“Swamps and swamps”, “Good morning”), for Russian nature (“Birch”, "Bird cherry"), to rural life ("Grandma's Tales").

In his early poems, the poet followed the traditions of folk song lyrics. His images are reliable due to the warmth and liveliness of feeling. The lyrical hero sees the picture of the world not with external, but with internal vision, passing what is visible through the heart. Hence the special vocabulary that “humanizes” nature:

Winter sings and echoes,

The shaggy forest lulls

With the ringing of pine trees.

All around with deep melancholy

Sailing to a distant land

Gray clouds.

And there's a snowstorm in the yard

Spreads a silk carpet,

But it's painfully cold.

Sparrows are playful,

Like lonely children,

Huddled by the window.

The little birds are cold,

Hungry, tired,

And they huddle tighter.

And the blizzard roars madly

Knocks on the hanging shutters

And he gets angrier.

And the tender birds are dozing

Under these snowy whirlwinds

At the frozen window.

And they dream of a beautiful

In the smiles of the sun is clear

Beautiful spring.

Let others drink you,

But I have left, I have left

Your hair is glassy smoke

And the eyes are tired in autumn.

O age of autumn! He told me

More precious than youth and summer.

I started to like you twice as much

The poet's imagination.

I never lie with my heart,

I can confidently say

That I say goodbye to hooliganism.

It's time to part with the mischievous

And rebellious courage.

My heart is already drunk,

Blood is a sobering mash.

And he knocked on my window

September with a crimson willow branch,

So that I am ready and meet

His arrival is unpretentious.

Now I put up with a lot

Without coercion, without loss.

Rus' seems different to me,

Others are cemeteries and huts.

Transparently I look around

And I see whether there, here, somewhere,

That you are alone, sister and friend,

Could have been the poet's companion.

What could I do for you alone?

Brought up in constancy,

Sing about the twilight of the roads

And the disappearing hooliganism.

The reading of modern children includes such early poems by Yesenin as “Winter Sings”, “Powder”, “The fields are compressed, the groves are bare...”, “Bird cherry”. The first of them (“Winter sings - it calls…”) was published in 1914 in the magazine “Mirok” under the subtitle “Sparrows”. In its lullaby rhythm one can hear either the voice of the winter forest, or the knock of a blizzard on the shutters, or the howl of a blizzard across the yard. Against the backdrop of a cold and snowy winter, “orphan children” - little sparrows - are depicted in contrast. The poet sympathetically emphasizes their helplessness and insecurity:

The little birds are cold, hungry, tired, and huddle closer...

Yesenin also refers to the description of winter in the poem “Porosha”, published in the same year and in the same magazine “Mirok”. The winter there is different, alluring, magical:

Bewitched by the invisible, The forest slumbers under the fairy tale of sleep...

The source of Yesenin’s images is folk speech, poetic at its very core. For example, a folk riddle is expanded by the poet into a whole picture: