“What is good and what is bad” Vladimir Mayakovsky
Baby son
came to my father
and the little one asked:
- What's happened
Fine
and what is
Badly? —
I have
there are no secrets -
listen, kids,
this dad's
answer
I place
in the book.- If there is wind
roofs are torn,
If
the hail roared,
Everyone knows -
this is it
for walks
Badly.
The rain fell
and passed.
Sun
in the whole world.
This -
Very good
and big
and children.If
son
blacker than the night,
the dirt lies
on the face -
It's clear,
This
very bad
for baby skin.
If
boy
loves soap
and tooth powder,
This Boy
very cute,
doing well.If it hits
trashy brawler
weak boy
I'm like that
Don't want
even
insert into the book.This one screams:
- Don't touch
those,
Who shorter! —
This Boy
so good
simply a sight for sore eyes!If you are
broke a row
little book
and a ball
octobers say:
bad boy.If it's a boy
loves work
pokes
in a book
finger,
about this one
write here:
He
good boy.From the crow
toddler
ran away, groaning.
This boy
just a coward.
This
very bad.This,
even though he’s only an inch taller,
argues
with a formidable bird.
Brave boy
Fine,
in life
will come in handy.
This
got into the mud
and I'm glad
that the shirt is dirty.
About this
They say:
he is bad,
slob.This
cleans his felt boots,
washes
myself
galoshes.
He
although small,
but quite good.
Remember
This
every son.
Know
any child:
will increase
from son
pig,
if the son -
little pig.Boy
went joyfully
and the little one decided:
"Will
to do well,
and I will not -
Badly".
Analysis of Mayakovsky’s poem “What is good and what is bad”
Mayakovsky's poetic heritage, intended for young readers, is full of optimistic intonations. It opens to its young recipients huge world- young, joyful, populated by hardworking and confident adults. Characters literary text The brave Red Army soldier, smart Komsomol members, workers and peasants become “walkers”, people's deputy, fighting for children's happiness, affectionate nanny. The gallery of positive images anticipates the heroes of the work “,” which appeared three years later. The author gives an unambiguous assessment of all the characters, not ignoring the disgusting idlers: stupid old praying women, a bourgeois, a talkative lady. In an effort to be honest and logical to the end, the poet divides even animals into different sides: he classifies a clean cat as a positive example, and a dirty dog as a negative example.
The textbook work, created and published in 1925, also contains instructive and trusting intonations. Bright and clear figurative structure, sincerity, clear stanza, unique style - strengths poetic text ensured its popularity among modern readers.
The unusually long title of the work demonstrates the main antithesis on which its composition is built. Abstract moral categories are interpreted from a point of view that a child can understand: “good” and “bad.” The poet entrusts the right to talk about moral guidelines to the father of the “baby son” - a character close and authoritative for young listeners.
The Code of Conduct, like a mosaic, is made up of individual episodes demonstrating options for praiseworthy or reprehensible actions. The series of examples begins with descriptions of weather that is suitable or impeding walking. The father then turns to images of boys. A dirty person, a brawler, a slob, a coward are placed on the negative pole. Hardworking and brave guys who maintain cleanliness and order, and take care of things, are proclaimed as role models.
The final episode is built taking into account the peculiarities of child psychology, which has not lost its relevance in modern reading. The father ends his speech with a generalization that has become an aphorism: bad habits, which arose in early years, tend to develop into adults. An honest conversation about serious topics evokes gratitude and joyful satisfaction in a child. “Little one” masters a complex subject and gains invaluable experience in making an independent decision - to follow the path of life marked with “good”.
Leningrad, workers' publishing house "Priboi", 1925. 20 p. c ill. Described from the chromolithographed cover. 27.5x20 cm. Published without title page. Circulation 10130 copies. Price 75 kopecks. One of the most famous Soviet children's books. Extremely rare!
Written in the spring of 1925. On May 20, 1925, Mayakovsky signed an agreement with the Priboy publishing house. The deadline for submitting the manuscript is May 22, 1925. Apparently, the poem has already been written. Released separate publication in November 1925 from fig. thin N. Denisovsky. Strict selection of details, compositional laconicism and rich colors largely adapt the innovative techniques of art. Nikolai Denisovsky to the child’s level of perception. These qualities are also present in the illustrations for the poem “What is good and what is bad?”, made in 1925 by N. Denisovsky. The artist finds witty design solutions, following the words of the poet almost verbatim. “If / a crappy fighter beats / a weak boy, / I / don’t / want / to / even / insert such a thing into the book,” writes Mayakovsky, and Denisovsky seals the drawing with a thick blot. The book constantly contains not only poetic, but also graphic hyperboles. For example, a crow, at the sight of which a cowardly boy takes flight, is significantly larger than a child. The cover drawing (in which you can find obvious touches from Lebedev’s “Ice Cream”) is repeated in a smaller version on one of the spreads: the father answers his son’s questions, holding in his hands the very book in which he himself is located. In some lithographs, the conventional manner of execution is emphasized by inclusions of foreign, clearly detailed fragments (a wallpaper pattern, a watch dial, a soap wrapper).
What is good and what is bad?
Baby son
came to my father
and the little one asked:
What's happened
Fine
and what is
Badly?-
I have
there are no secrets -
listen, kids, -
this dad's
answer
I place
in the book.
If the wind
roofs are torn,
If
the hail roared, -
Everyone knows -
this is it
for walks
Badly.
The rain fell
and passed.
Sun
in the whole world.
This -
Very good
and big
and children.
If
son
blacker than the night,
the dirt lies
on the face -
It's clear,
This
very bad
for baby skin.
If
boy
loves soap
and tooth powder,
This Boy
very cute,
doing well.
If it hits
trashy brawler
weak boy
I'm like that
Don't want
even
insert into the book.
This one screams:
Don't touch
those,
who is smaller? -
This Boy
so good
simply a sight for sore eyes!
If you are
broke a row
little book
and a ball
octobers say:
bad boy.
If it's a boy
loves work
pokes
in a book
finger,
about this one
write here:
He
good boy.
From the crow
toddler
ran away, groaning.
This boy
just a coward.
This
very bad.
This,
even though he’s only an inch taller,
argues
with a formidable bird.
Brave boy
Fine,
in life
will come in handy.
This
got into the mud
and I'm glad.
that the shirt is dirty.
About this
They say:
he is bad,
slob.
This
cleans his felt boots,
washes
myself
galoshes.
He
although small,
but quite good.
Remember
This
every son.
Know
any child:
will increase
from son
pig,
if the son -
pig,
Boy
went joyfully
and the little one decided:
"Will
to do well,
and I will not -
Badly".
1925.
DENISOVSKY, NIKOLAY FEDOROVYCH(1901, Moscow – 1981, Moscow) - painter, graphic artist, theater artist, poster artist, Honored Artist of the RSFSR. Born into the family of graphic artist F. Denisovsky. He studied in Moscow at the Stroganov School of Art and Industry (1911–1917) with S. Noakovsky and D. Shcherbinovsky, at the State Art Museum (1918–1919) in the theater and decoration workshop of G. Yakulov. In 1917, under the leadership of G. Yakulov, he participated in the painting of the Pittoresk cafe on Kuznetsky Most in Moscow. While still studying, he tried his hand as a graphic designer at the Chamber Theater and at the Free Opera of S. Zimin (since 1914). In 1920–1921 he designed performances at the N. Forreger Workshop and the Demonstration Theater in Moscow. Collaboration with G. Yakulov continued until 1928. In 1918–1928, together with other students of G. Yakulov, he worked on sets and costume designs for the plays “Oedipus the King” (award from the Theater Department of the People's Commissariat for Education), “Measure for Measure”, “The Red Rooster”, “Princess Brambilla”, “Girofle-Girofle”, “Señora Formica”, “Colla di Rienza” for Demonstration and Chamber theaters. In 1918 he participated in the decoration of Moscow for the celebration of May 1. Immediately after graduating from Vkhutemas he worked as a department secretary art education People's Commissariat of Education at D. Shterenberg. During these years he became close to V. Meyerhold, V. Mayakovsky, V. Bryusov, L. Popova, A. Rodchenko, V. Stepanova. In 1922–1924 he was sent by the People's Commissariat for Education to Berlin and Amsterdam as secretary of the First Russian Art Exhibition. One of the organizers and chairman of the board of OBMOKHU, participant in all its exhibitions in 1919–1922. Together with other members of the Society, he made stencils for V. Mayakovsky’s ROSTA Windows, painted propaganda trains, and created posters. One of the founding members of the Society of Easel Painters (1925–1932), participant in 2–4 OST exhibitions. In 1929 he left OST. In the 1920s, he collaborated with Moscow and Leningrad satirical magazines (Red Pepper, Smekhach, Crocodile, Buzoter, Behemoth, Searchlight, Beach, etc.). In 1925 he painted a series of paintings, “Bourgeois at the Resort.”
For the exhibition works of art for the tenth anniversary October revolution, which opened in January 1928 in Moscow, created the canvas “The First Meeting of the Council of People’s Commissars.” In the late 1920s - early 1930s he went on creative business trips to the mines of Donbass (1929), factories of Kerch (1930), gold mines Far East(1930), in part of the Red Army (1931) and based on the results of these business trips, he created several graphic cycles (“In the Donbass” and “At the Kerch Metallurgical Plant”, both 1929) and book-albums (“Comrade Artyom”, 1930; “ Gold", with its own text, 1931; "Coal, cast iron, steel", 1932). Based on graphic series in the early 1930s, he created paintings on industrial themes: “Miners”, “Steam Hammer”, “Cast Iron Yield”, etc. Illustrated books for Gosizdat and other publishing houses, in particular “The Goose Step” by E. Sinclair (1924), “January 9th” by M. Gorky (in the collection “January 9th”, 1930), “Stars in the Forest” by A. Barto (1934), etc. He worked a lot on illustrations for poems by V. Mayakovsky: “What is good and what is bad?” (1925), “Left March”, “To a Comrade Typist”, “Optimist Factory”, etc. Friendly relations with V. Mayakovsky continued until the poet’s death. It was N. Denisovsky who in 1930 decorated V. Mayakovsky’s apartment on Gendrikov Lane for the celebration of his 20th anniversary creative activity poet. Participated in exhibitions: VII Exhibition of the group “L'arenier” (“Spider”) (1925, Paris), “Russian drawing for ten years of the October Revolution” (1927, Moscow), exhibition of acquisitions of the State Commission for the acquisition of works of fine arts for 1927– 1928 (1928, Moscow), Fourth exhibition of paintings by contemporary Russian artists (1928, Feodosia), Modern book art at the International Press Exhibition (1928, Cologne), exhibition German artists(1928, Berlin), “Graphics and book art in the USSR” (1929, Amsterdam), exhibition of Russian graphics (1929, Riga), Art and Handicraft Exhibition of the USSR (1929, New York, Philadelphia, Boston, Detroit), exhibition of Russian art (1929, Winterthur, Switzerland), exhibition of acquisitions of the State Commission for the acquisition of works of fine arts for 1928–1929 (1930, Moscow), exhibition of works of revolutionary and Soviet themes (1930, Moscow), “Socialist construction in Soviet art” (1930 , Moscow), “Modern Russian art"(1930, Vienna), exhibition Soviet art(1930, Berlin), First Exhibition of Fine Arts of the USSR (1930, Stockholm, Oslo, Berlin), exhibition of reported works by artists sent to areas of industrial and collective farm construction (1931, Moscow), “Anti-imperialist exhibition dedicated to the International Red Day” (1931 , Moscow), international exhibition“The Art of the Book” (1931, Paris; 1932, Lyon), exhibition Soviet graphics, books, posters, photos and art industry (1931, Johannesburg), exhibition of works by artists sent to areas of industrial and collective farm construction (1932, Moscow), anniversary exhibition “Artists of the RSFSR for XV years” (1932, Leningrad), exhibition of Soviet art (1932, Koenigsberg), exhibition on health care (1932, Los Angeles), Second exhibition of Soviet graphics, books, posters, photography and art industry (1932–1933, Johannesburg), art exhibition “15 years of the Red Army” (1935, Kharkov) , art exhibition “Industry of Socialism” (1939, Moscow), exhibition of graphics on the history of the CPSU (b) (1940, Moscow), exhibition best works Soviet artists(1941, Moscow), all-Union art exhibitions 1947 and 1950 (both in Moscow), art exhibition dedicated to the 40th anniversary of the Great October Revolution socialist revolution(1957–1958, Moscow), etc. Since the late 1910s, he worked extensively and fruitfully in the field of posters. In 1929–1930, together with V. Mayakovsky, he created a series of drawings for posters of the People's Commissariat of Health. In 1931 he became a founding member of the Association of Revolutionary Poster Workers. During the war years he was one of the organizers and leaders of TASS Windows, and since 1956 - an artist creative association"Agitation poster". He worked as an artist in Izogiz (1931–1935) and “Vsekokhudozhnik” in Moscow (1931–1935, 1947–1949). In the 1930s he continued to work in the theater, designing performances at the Maly Theater (since 1933). In 1934 he headed a team of artists who developed and implemented a project for decorative decoration of residential areas, industrial and transport facilities, etc., commissioned by the Kramatorsk Machine-Building Plant. In the 1930s–40s he continued to study easel painting, painted portraits and thematic paintings. He taught at the Vkhutein in Leningrad (1928–1930), then at the IPK at the Moscow State Art Institute. V. I. Surikova (1935–1938), MIPiDI (1949–1952), LVHPU (1952–1954). Author of articles on fine arts, memories. Honored Artist of the RSFSR (1962). Personal exhibitions: 1956, 1961 (both - Moscow).
Artist Alexey Laptev, who illustrated “What is Good...” in 1930, repeated Denisovsky’s most successful semantic and compositional discoveries (“the trashy brawler” is crossed out with a wavy line, etc.), but gave his drawings a somewhat more realistic character and supplemented the compositions with landscape motifs . The artist recalls that “at the editor’s request, he had to show Mayakovsky the sketches. But I didn’t have time. I went to see him - he lived near the Polytechnic Museum, but I didn’t find him at home. And the next day the newspapers reported his death...” In the 1930s the poem became a real bestseller; it was published in Moscow, Gorky, Rostov-on-Don, Pyatigorsk.
232 -
Baby son
came to my father
and the little one asked:
What's happened
and what is
Badly? -
there are no secrets -
10 listen, kids, -
this dad's
in the book.
If the wind
roofs are torn,
the hail roared, -
Everyone knows -
20 this is
for walks
233 -
The rain fell
and passed.
in the whole world.
Very good
and big
30 and children.
blacker than the night,
the dirt lies
on the face -
very bad
for baby skin.
40 If
loves soap
and tooth powder,
This Boy
very cute,
doing well.
If it hits
trashy brawler
weak boy
50 I'm like that
insert into the book.
This one screams:
Don't touch
234 -
who is smaller? -
This Boy
so good
60 is a sight for sore eyes!
broke a row
octobers say:
bad boy.
If it's a boy
loves work
70 per book
about this one
write here:
good boy.
From the crow
ran away, groaning.
This boy
80 is just a coward.
very bad.
even though he’s only an inch taller,
with a formidable bird.
Brave boy
235 -
90 will come in handy.
got into the mud
that the shirt is dirty.
About this
he is bad,
