Now an observer, now a traveler, but always open to the impressions of the surrounding world, the voices of birds and animals, the rustles of the forest, Yesenin notices the most intimate in nature. For each period of the life of nature (autumn, winter, spring and summer), Yesenin finds special poetic colors and unique intonations.
The poet widely used inversions accepted in folk lyrics (“often ringing ...”), constant epithets (“white birch”), personifications (“Winter sings - calls out, / Green forest cradles ...”). His metaphors and comparisons are easily perceived precisely because of their kinship with folk imagery.
At the same time, Yesenin was unusually fluent in the folk language.
Sasha Black(1880-1932) - the pseudonym of the poet and prose writer Alexander Mikhailovich Glikberg, one of the most famous satirists of the pre-revolutionary period. In his satires, he most often denounced the vulgarity of the townspeople and politicians. Gradually, these themes gave way to the distant theme of childhood. Own childhood years are reflected in the poems "New Game", "Preparation", "Injustice", in the story "Housekeeper" and other works. In children's literature, the name of Sasha Cherny stands next to the names of Chukovsky and Marshak.
In 1911, the writer made his debut in children's literature (the poem "Bonfire"). In 1912 his first children's story- "Red Stone", and in 1913 - "The Living Alphabet" in verse, which became famous. Gradually, creativity for children becomes his main occupation. In children's poetry, satire gives way to lyrics.
The main part of his work for children falls on the years of emigration. Among the many troubles of emigration, the poet singled out the problem of children, who could completely leave the "circle of priceless Russian Beauty." For the children of emigrants, he compiled a two-volume reader " Rainbow. Russian poets for children» (Berlin, 1922). The largest of Sasha Cherny's poetry collections "Children's Island (Danzig, 1921) was intended for family reading. The heroes of his poetic and prose works were Russian geniuses: Lomonosov, Krylov, Pushkin.
Sasha Cherny performed at children's matinees, arranged for orphans in Russian orphanages. Being closed, bilious and sad among adults, next to the children he was completely transformed. His wife recalled his love for toys, the ability to "invent for himself an occupation that, like games, had no purpose other than fun ...".
Gorky and Chukovsky highly appreciated the poetry of Sasha Cherny. The latter called him "the master of quick drawing".
The poet humbled his causticity and acrimony of the satirist at the first glance at the children's paradise and was glad to speak in the "paradise" language. With his usual sharpness of vision, he no longer noticed ugly and vulgar details, but trifles that create the charm of everyday children's life. Many times he painted portraits of children and scenes from children's life in verse:
ABOUT KATYUSHA
Frost outside,
Wolves are crying in the field
Snow covered the porch
Whitened all the trees...
AT the room is warm,
The furnace burns like a diamond
And the moon in the glass
Looks round.
Katya-Katya-Katya
Put the toys to bed
hairless doll,
I don't wear a dog
Horse legless
And a hornless cow -
Everyone in a lump
In mother's old stocking
with a hole
To be able to breathe.
“Let me sleep!
I'll take care of the laundry..."
Oh, how much foam!
splashed walls,
The basin squeaks
Water dangles
Katyusha puffs,
The stool swings...
red paws
Rinsing rags,
Over soapy water
Squeeze hard, hard -
And into the water again!
From the window to the stove itself,
Like white sheep
Hanging on ropes
horse vest,
Mishka napkin,
dog stockings,
doll shirts,
doll child,
Cow panties
And two velvet mice.
Katya finished with washing,
Sitting splayed on the floor:
What else to do?
Climb under the bed to the cat
Throw a damper behind the stove
Or cut the bear under the comb?
(1921)(by heart)
The poet did not take on the role of an educator, preferring to learn spontaneity from the "little men". In his poems, the place of teaching is occupied by an open declaration of love.
All the charm of the earthly world is embodied in children and beasts. With equal sympathy, the artist draws caricatures of children and animals, placing them side by side. His dog Arapka prays like a child for both of them together:
Dear God! Master of people and animals! You are all the best! You understand everything, You protect everyone...
One of the largest writers of the Russian emigration, Vladimir Nabokov, noted the characteristic feature of the poet: “It seems that he does not have such a poem, where at least one zoological epithet would not be found.
The prose writer Sasha Cherny was able to portray the beast in such a way that the nature of a cat or dog seems to be equivalent to a human character. So, the story Cat Sanatorium» (1924) and " Fox Mickey's Diary (1927) give two completely different points of view on the world. The clever fox terrier in her notes subjects people, cats, pampered lapdogs to continuous and merciless criticism. Beppo the cat from the "Cat Sanatorium" - at least bright personality, with its own lifestyle and moral principles. Abandoned by his master, Beppo desperately struggles with the vicissitudes of fate and constantly reflects; criticism of reality is only part of his "philosophy". Psychological portraits of a dog or a cat, of course, resemble certain types of people, but the writer is interested in the characters in the cat's or dog's perception, which denies human stereotypes.
Magical fiction was Sasha Cherny useless. He masterfully improvised his wonderful stories, finding their beginnings and ends in the everyday chaos of the lives of children, animals and adults. In his work one can feel the spirit of immediate reality. Based on the works of Sasha Cherny, one can imagine in detail the culture of childhood in the first third of the 20th century, when the "children's island" seemed to adults something like a paradise, a happy refuge in the midst of a sea of political and everyday bustle.
25. Prishvin and children's literature.
Mikh.Mikh. Prishvin (1873-1954) was one of the singers of nature, who bequeathed to children to love her, to learn her secrets, without trying to break or remake something in her. The first story of the writer - "Sashok" - was published in children. magazine "Rodnik", when the author was already 33 years old. In this story there are themes, ktr. Prishvin will be committed to his entire creative work. life: the unity of the uniquely beautiful and mysterious nature and the interdependence of nature and man. Features of Prishvin's personality and talent - optimism, faith in people. opportunities, in good beginnings, naturally inherent in everyone, poetic perception of the world. Textbook children. the story was, for example, the final chapter of his book about thin. creativity "Crane Homeland" (1929) - "Guys and ducklings." The plot of this chapter is simple: a small wild duck takes ducklings across the road, and the guys who saw this “throw their hats” to catch them. And the conclusion is just as simple - the narrator's appeal to the readers: take care of the birds that inhabit the forest and waters, let them do a holy deed - raise their children! Prishvin believed that to separate children. lit-ru from an adult insurmountable barrier does not follow. Prishvin admitted that he was most afraid of "playing along with children, age discounts." He invested in the works for them the full measure of knowledge about surrounding life and nature. The writer found a special intonation, a manner of communicating with children of different ages. His stories, addressed to teenagers, are characterized by a soft conversational manner that encourages own observations and thoughts; in such stories, ready-made conclusions are excluded, the author's opinion is not imposed. Det. Prishvin created stories throughout his creative work. life. Subsequently, they were merged into several. cycles: "Golden Meadow", "Fox's Bread", "Grandfather's Boots". The writer believed in the healing, enriching secret power of nature and sought to introduce his little reader to it. In those stories where children also act, this desire is expressed more openly, since it touches upon moral issues, the behavior of children in the natural world. The tiny story "Fox Bread" gave its title to a book published in 1939. The heroine of the story, Zinochka, is involved in a kind of game by the author: having learned from him about what the forest dwellers eat, she suddenly noticed a piece of bread in the basket and “was stunned”: - Where did this bread come from in the forest? - What's so surprising? After all, there is cabbage there ... - Hare ... - And chanterelle bread. Taste. Carefully tasted and began to eat. Good fox bread.
Even the smallest reader can independently extract the meaning inherent in such a story. Zinochka, most likely, would not have eaten "just bread" and even praised her if he had not been "fox". The author allows himself only a shadow of irony; he treats his little heroes with care and tenderness. And in the story "Dead Tree" the children themselves come to the conclusion who is to blame for the fact that a beautiful living tree withered. The people are to blame - after all, it was they who damaged it so that the movement of juices stopped in it. And although the worm and woodpeckers soon learned about this, they were not the cause of death, “because they have neither a human mind nor a conscience that illuminates guilt in their foreheads. Kzhd. one of us will be born a master of nature, but he only has to learn a lot to understand the forest in order to get the right to dispose of it and become a real master of the forest. The writer here can only sum up the feelings of the children, express their thoughts.
He wrote specifically for children to educate a new person. In 1825 he writes a fairy tale Prior to that, in 1910. writes a book For dotkov and for children "with about poetry, incl. “Tuchkin little things” (“clouds / four little clouds floated across the sky.”) This is one of the first children's poems by Mayakovsky. The collection never came out. In it, the author was fond of assonances.
Poems 1925-29 are written for children. 1st work - fairy tale "About Sim, who is thin and about Petya, who is fat."(25g.). Here Mayakovsky declares a class position, comparing children and their parents. receiving contrast. Petya's father - Burzhuychikov; Petya "climbs into a vase of jam" with his very mug. “Petya is 5, and Sima is 7, and 12 together for everyone.” “Sim’s appearance, strong man” is solid, dense.
There has been controversy surrounding this book since then. In the “book for children” (30), Pokrovskaya speaks of innovation, but also that Mayakovsky’s book is “a literary phenomenon, not a pedagogical one.” "Discussion modern fairy tale”(50) a different opinion is supported:“ try to explain to small children the difference between bourgeois / proletarian, but Mayakovsky did it! Mayakovsky does not hide the didacticism of his history, writes a special conclusion, sums up.
In 1925 Mayakovsky creates a picture book "What is good and what is bad." “The little son came to his father and asked the little one: what is good and what is bad.” The weather is bad, muddy, and also “if a fighter beats a frail boy when he hits me, I don’t even want to put this in a book.”
Social order of 1925 fairy tale "We walk". Komsomol members are smart, and old women are stupid, because go to church.
1926 - three children's poems "What is not a page, then ... a lioness", "This is my little book about the seas and about the lighthouse", "" A book about Vlas - a lazy and lazy person." 2nd book - about the work of the Lighthouse. Mayakovsky encourages children to shine like a beacon. In the 3rd book, the main character is ridiculed, calling for children to learn.
In 1927 "We are waiting for you, comrade bird." , "Horse-fire" (beginning of 28), "Journey around the earth." In 1927 an interview with Mayakovsky about children's literature was published in Prague. He himself was in Prague at that time. He said that his current hobby is children's literature. In the Warsaw interview, he developed the theme: the child must hatefully get to know social side of life (poor and rich, the cost of labor, etc.)
"Read and roll to Paris and China." About how people travel around the world: Paris, Japan, etc. Mayakovsky himself appears in the 12th, last chapter. Oyu explains why the earth is round, "like a ball in the hands of a boy." Uses a ladder.
In the "May Song" the writer also uses a ladder. She even wrote music. Mayakovsky addressed the theme of labor already in the poem “Horse Fire”. In "who to be" the child sees only the best in every profession. Professions are listed: driver, doctor, conductor, etc. Speaking of the sailor's profession, Mayakovsky introduces an element of child's play.
In "Comrade Teenager" he combines lyrical and pamphlet intonations.
How to treat Mayakovsky's children's poems? Khanin D. in the 30s wrote the article "The Burning of Mayakovsky." He reported on the removal of Mayakovsky’s children’s poems from libraries: “What is good and what is bad”, “Read and roll”, “This little book is mine”, “Horse fire” and all others, except for “Whom to be”.
Eivin noted that during the life of Mayakovsky, his children's works were hushed up, and after his death they were removed from libraries.
"A new wind - a book - for children" - an article by Khinin, in which he condemned the removal of Mayakovsky's books from libraries.
27. Features of the skill of the OBERIU group.
The Leningrad literary and philosophical group "Association of Real Art" entered the history of the avant-garde under the abbreviated name OBERIU (1927-1930). This abbreviation, according to the authors, should be perceived by the reader as a sign of nonsense and absurdity. In their manifesto dated January 24, 1928, the Oberiuts declared that they were “real and concrete people to the marrow of their bones”, that it was necessary to abandon the everyday literary understanding of reality for the sake of “a new sense of life and its objects”
The philosophical basis of the circle as a whole was a synthesis of the ideas of I. Kant's Critique of Pure Reason, the philosophy of intuitionism and real consciousness(A. Bergson and N.O. Lossky), the phenomenology of G. Shpet and the “techniques of behavior” of the ancient Chinese sage Lao Tzu.
In the group of "plane trees", as they also called themselves, in different time included writers I. Bakhterev, A. Vvedensky, Yu. Vladimirov, N. Zabolotsky, N. Oleinikov, Daniil Kharms, K. Vaginov, D. Levin, philosophers J. Druskin and L. Lipavsky. In this circle, original intellect and broad education were valued, giving the right to develop new concept culture of the young age. The difference of the Oberiuts was that they refused to search in the spheres of mystical-religious, ethical-philosophical or ideological-aesthetic thoughts. Their young minds turned to mathematics, geometry, physics, logic, astronomy and natural sciences. At first they also rejected the Aristotelian theory of reflection, actively implementing their views in real life.
One of the Oberiuts was Daniil Kharms. Arrested, during interrogation on January 13, 1932, he explained to the investigator the intention of the poem "Million" (1930): “In “Million” I replaced the theme of the pioneer movement with a simple march, which I also conveyed in the rhythm of the verse itself, on the other hand, attention child reader switches to combinations of numbers. In the March issue of "Chizh" for 1941, he publishes the poem " Circus Printinpram, in which Harms continues to defend the right of numbers, so to speak, to self-determination. Clowns, strong men, learned swallows and mosquitoes, tigers and beavers are not just acting, but are playing mathematical games.
Dispassionately and pedantically, the Oberiuts analyzed real or fictitious “cases”. Perhaps that is why their work was assessed by the reader, brought up in conservative traditions, as "cruel" or out of ethics. The Oberiuts in their own way solved the problem of irony, which is very difficult in children's literature (it is known that of all types of comic, irony is the last thing children perceive): in particular, Kharms allowed himself to laugh at the moral and didactic clichés of children's literature, at pedagogy in pictures.
The work of Nikolai Zabolotsky did not coincide in everything with the Oberiut concept of poetry. The poet was fond of the natural philosophical ideas of Leibniz, Timiryazev, Tsiolkovsky, folk astronomy, he believed in the mind inherent in all living and inanimate nature. In his poems, animals and plants are no longer literary personifications and allegories, but thinking beings. N. Zabolotsky - the only one among the Oberiuts had Teacher Education(in 1928 he graduated from the Leningrad pedagogical institute named after A. I. Herzen). The poet's poems written for children's publications show his understanding of child psychology, familiarity with pedagogy.
The generation of children and adolescents of the 60-80s was more familiar with Zabolotsky from “adult” poems (“Ugly Girl”, 1955; “Don't Let Your Soul Be Lazy”, 1958), from the poetic arrangement of “The Tale of Igor's Campaign” (1938, 1945 ) included in school curriculum, according to the "children's" adaptations of the novels by F. Rabelais "Gargantua and Pantagruel" (1934) and C. de Coster "Till Ulenspiegel", according to the translation of the poem "The Knight in the Panther's Skin" by C. Rustaveli, processed for youth.
The Oberiuts went to the creation of their style from a “real” understanding of such phenomena as movement, thinking, memory, imagination, speech, sight and hearing. In each phenomenon, they found a certain shift, inaccuracy, escaping from "correctness", i.e. reality was revealed to the Oberiuts as the realm of the absurd. In the poems of Kharms, a funny absurd world is spinning, where everything is the opposite: they didn’t eat porridge, but drank it, walked backwards, and something incomprehensible “chirped kindly ...
Yuri Vladimirov demonstrated the wonders of poetry in a short poem "Drum", using forty-five single-root words. The text literally rumbles like drum thunder. The goal of the virtuoso is to convey the fluidity of the sounds that form speech.
Poems of the Oberiuts, especially for children, are different games. The favorite motif of the "plane trees" is confusion (you can compare Chukovsky's "Confusion" with "Ninochkin's purchases" and " Weirdos » Yury Vladimirov). Oberiuts have found new ways of dialogue with the reader, "borrowed" from children's rules of communication: a funny trick, a prank, a provocation. Kharms has especially many such examples (for example, “The Brave Hedgehog”, “You were in zoological garden?”, “The Adventures of the Hedgehog”, “Seven Cats”, “Bulldog and Taxi Driver”, etc.).
Chukovsky, Marshak, Barto, Mikhalkov became masters of children's poetry largely thanks to their studies with children, while the Oberiuts went the furthest, completely rejecting the classical genres of lyrics, but recognizing all genres of folk children's poetry: counting rhymes, riddles, fables, shifters, game choruses. More often than other sizes, the "children's" trochee was used with its accentuated stresses, compressed spring of rhythm. Often the poems of the Oberiuts resemble a recording of a farce performance, comic dialogues of ridiculous characters. Words seem to accidentally fall into a line, unexpectedly rhyme. At the same time, their usual, erased meaning is washed away and the insoluble cores of words are exposed.
The arrival of the poets of the OBERIU group in children's literature was not accidental. In addition to worldly necessity, the reason lay in the convergence of their searches with the alogism of children's life, which is all shift and inaccuracy. The Oberiuts published their works mainly in children's magazines. They worked closely with Marshak's "academy". Kharms left the most significant mark in Russian literature for children, despite his repeated confessions that he does not like children - for impudence. Of particular importance for the history of Russian children's literature is the fact that Kharms and Vvedensky are the world founders of the literature of the absurd. This circumstance proves that children's literature can be a testing ground for the most daring experiments, that in other cases it can outstrip the general movement of literature for adults.
The fate of poets-jesters is tragic. In 1931, Vvedensky and Kharms were arrested and deported, young Yuri Vladimirov (born in 1909) died an accidental death. In 1938, Zabolotsky (1903 - 1958) was arrested, he was released only in 1945. In 1937 Kharms (1905-1942) and Vvedensky (1904-1941) were arrested again, after the third arrest in August 1941 Kharms was sent from prison to mental asylum, where he died, and Vvedensky died in custody.
28. Prose for children 20-30
The task was to create a new fairy tale They eradicated a fairy tale, fantasy. Labor progress was at the forefront. This was done by Narkompros. Lunacharsky, Gorky, Krupskaya dealt with these problems. The first two are for the preservation of the tale, Krupskaya is against.
E. Mandelstam in drafts of a note for the 20s "Children's Writer". It is ironic to talk about the above. owls. problems in the reconstruction of liters. Shown here as unprofessional. come in a litre. Chukovsky in "from 2 to 5" - also defended the fairy tale.
Gorky already in 1913 wrote a note “on the publication of the classic. Russian literature” and for the period from 18 to 22 72 titles of Russian and foreign were released. liters. Later, with the reports of Gorky and Marshak, they returned to the fairy tale.
1919-20 - 1st children's magazine " Northern lights» - print here. fairy tales of a new type. For example, anti-religion. fairy tale "Yashka" - We went out extra. materials, app. "Library".
since 1923 in St. Petersburg - an almanac - "Sparrow" - the Almanac differed from the magazine in the periodicity of publication. In 1924 he became the journal "nov. Robinson "- with Marshak at the head. M united under the cover of Ilyin (Stories about our city, What is a pen?), Boris Zheltikov, Bianki, Charushin, Pasternak, Aseev, illustrators - Kustodiev and others. Much was said about the realm of technology.
Craftsman, Wandering photographer, how to work - sections of the magazine, cat. led. Zheltikov. Forest newspaper department - Bianchi, Laboratory department. the new Robinson was led by Ilyin.
Other magazines. Since 1924, Murzilka and Pioneer have been published in Moscow. On May 16, the first issue of Murzilka was published. Until 1937, Murzilka was a dog (?) Scottish. artistic Palmer Konstantinovich
Gaidar The fate of the drummer and Olesha 3 fat men
1920 "Nikita's Childhood" - in w. "Zel. wand"
Raisa Kudasheva
Zhidkov "How I Caught Little Men"
Bianchi "Who sings with what?" - Fairy tales with the most realistic content.
M. Gorky "little sparrow"
Gorky's review. "About irresponsible people" - objected to the critics of the newspaper - critics - it is necessary to speak seriously. Gorky - I say with a child you need to talk funny. “A person whose ears are stuffed with cotton wool” + “an article about unscrupulous work” - excerpt - 1931 - analysis of the book “Animal Life according to Brem” - reworked by Gremyansky ... .. Admitted by the state. uch. council
prose of the 20s - experiment and search - tale \ oral manner \, etc. - from the book. Olesha - from book 3 tolska \ not in folk art.\. Revolution theme. and civil War Blyakhin "Red Devils", Makarenko "Pedagogical. poem". Panteleev, Belykh "Republic of Shkid". In these books - the images not only re-educate children, but also teachers - Viktor Nikolayevich \Vic Nee - for short \ - the main theme of re-education. Neverov "Tashkent City of Bread" \Skobelev\ - here Mishka Dodonov is not homeless, but he goes in search of a better life to Tashkent \for bread\ and gets acquainted with Seryozha - the element of a tale.
Prishvin's stories - 1906-1908 - “The birds are not frightened in punishment” and “Behind the magic kolobok” - “The block is poetry and something else” - 20 years - the stories “hedgehog” 1924 and “chanterelle bread” 1939 - some then a collection. + 1939 - Bazhov's "Malachite Box".
Stories - VALENTINA ASEEVA - sons, magic word, blue leaves- gave birth. in Kyiv, in Omsk, he worked with children and in 1937 - Grishka. 1939 - "Grandma". (Platonov F Cheloveov "2 stories" - there he writes about V. Bokov "road" and about "Babka" Aseeva) -
Gaidar 1904-1941 - Revolutionary Military Council \ not affairs. differences, but plays in red and white - Zhigan, The Fate of the Drummer, Chuk and Gek \ - 1926 - the theme of children and war Cartridges, On the fraternal ruins. - the theme of the father - short stories "Campaign", "Marusya" ... Timur and his team \40s \ + always good heroes sing a song! Mishka Kvakin is not negative. the character is alive. "Military secret" - a fairy tale about "the boy Kibalchish and his firm word." "Commandant of the Snow Fortress", "The Fate of the Drummer" 1937-38 - not about the war, but about the harsh and dangerous things no less than the war itself. Came out in 1939 - it says that the enemies. revol. and new. life torture. use children for criminal purposes. , "Smoke in the forest" - 30 years.
The story "On the count's ruins" -
SERGEY GRIGORIEV "Red buoy" - 1923 - Maxim is an orphan. "Optic. eye":
AL. TOLSTOY - Pinocchio. 1923 - edited the book Pinocchio and the Tree Doll. 1935 - interrupts work at Identity. in agony"
Paustovsky 32.34 - "Bark Bugaz" and "Colchis".
Lev Aseev 30 g “Konduit”, “Shvambranie” - combined and published the book “Konduit and Mop” - konduit is a journal for recording faults in the gymnasium, and Shvabrania is a fictional country. "Cheremysh brother of the hero" - he invented that he was related to the pilot.
1936 - Kataev "The lonely sail turns white" - he wanted a tetralogy - in Odessa in 1905.
Reuben Fraerman 1939 - the story "Wild Dog Dingo or the Tale of First Love"
Shergin's collections - Artangelogorodets - fairy tale intonation 1936 “Arch. short stories", + " Shish Moscow "-1930, 1939 something else "Misha Lasky", "Vanya Danish". + "Martynka" - a character of fairy tales
Pisakhov 1920 "Do not listen to your forehead"
Pasternak "The Book of Luvers"-1922 - see "Pasternak in the Revolution" Zaitsev article - prose about childhood in the Urals. Perm, Yekaterinburg. - Pasternak was lame.
1924 Yuri Olesha 3 fat men - 1921 "Playing in the chopping block" - the ruler and he is offered to stage plays - actors of the revolution. and in the course of the drink, the tyrant must be executed. The plot is the same. tuti and suok - Tibul, prosperro. M.O. Chudakov - "The skill of Yuri Olesha" - there is no naturalness in the dialogues - like separate remarks. There are no words. will express. - they are informational. Tale of azapomin, because unusual metaphors - a head and a cabbage head, Skaz presented. the space of the circus - the city = a chest full of something. Unusual montage of the story. stand. people and watch \Gaspar see how they are realizing - people \ when he passed - there people look out of the windows and watch how the crowd reacts to him. they do not see him. Parrot's eye = lemon seed.
1920 - Talnikov - his style - lit. cubism.
Gaspard in a circus booth - how important the set is in Olesha's fairy tale
Shatner "Lucky Loser"
30 - years - in addition to stories - in Tolstoy's "Green Stick" - "Children Nikita".
1937 - Tale of Lazorev's tale "Old Man Hotabych"
1939 Nekrasov - the adventure of Captain Vrungel
Volcoalex. Milentevich in "The Magician" emerald city» - \Frank Baum - magic. countries of OZ, ufen Dzhus and der. soldiers. seven subtitles kings - later
Novos - Living Hat, Cucumbers
from the end of 30-45 year appeared. Zoshchenko - late 30s-40s
29. Analysis of the story by A.N. Tolstoy "Childhood of Nikita"
"Nikita's Childhood". The autobiographical story for children "Nikita's Childhood" ("The Tale of Many Excellent Things" - in the first edition) was written by Tolstoy in 1920 for a children's magazine in France; in 1922 it was published in Berlin, and for Soviet children it was first published in 1936. "Childhood of Nikita" is a poetic narrative about the years of the formation of man. This is an original, original creation of the creative memory of the writer. The work describes, it would seem, a chronicle of the main events of the hero's life during the year, the last year before the start of the teaching. But the relationship between the life of a ten-year-old child and the life of nature creates a peculiar lyrical coloring of the story:
"Nikita swam under the stars, calmly looked at distant worlds."
“All this is mine,” he thought, “someday I will sit on an airship and fly away ...”
This is how a boy perceives nature when, in the summer, after threshing, he rides on a wagon; Nikita is close to her, dissolves in the world around him. After the New Year tree, Nikita returns home alone, seeing off the guys who were invited to visit: “It seemed to Nikita that he was walking in a dream, in an enchanted kingdom. Only in the enchanted realm is it so strange and so happy in the soul. Unity with nature, the feeling of being an integral part of it creates in the boy's soul an almost constant expectation of happiness, wonderful, fantastic. Therefore, we understand Nikita's close attention to everything that surrounds him. The author often animates natural phenomena, he creates poetic images starling, cat, horse, hedgehog, oriole.
“Zheltukhin sat on a bush of grass, in the sun, in the corner between the porch and the wall of the house, and looked with horror at the approaching Nikita” - this description of the starling is given both by the author’s gently smiling look, and by some intuitive poetic vision of Nikita, and by the humanized perception of Zheltukhin.
Nikita's vision of the real echoes his fantastic ideas, coming from the boy's dream, from the desire to poeticize the world. He infects others with this desire. So, Lily is looking with him for a vase that Nikita once dreamed of. And when, in fact, this vase was found by children on a clock in a dark room, and there was a ring in it, Nikita says with confidence: "It's magical." Tolstoy includes in the narrative and pictures of everyday life, with life-like truthfulness draws human characters. The carpenter Pakhom, who is making a bench for Nikita, the sensible boy, the shepherd Mishka Koryashonok, the teacher Arkady Ivanovich, arouse sympathy.
The unfading vitality of Tolstoy's story is still determined by the writer's ability to "turn to a person who cannot be understood without understanding the earth and the sun", without understanding nature. "Memory of Childhood" often helped Tolstoy in his communication with the reader-child, when the writer developed fantastic, fairy-tale plots. He began to publish in children's magazines from 1909, creating fairy tales, different in plot and varied in creative manner. Some were dominated by fantastic motifs. Mermaids, brownies, a gluttonous shoe, a black man, etc. acted in them. But many fairy tales were created on a realistic basis. First of all, these are fairy tales about animals: “Hedgehog-hero”, “Polkan”, “Sparrow” and others. They feel the elements of a folk tale, the accuracy of observations over nature; they are in many ways close to Kipling's stories.
31. The formation of scientific and educational literature for children in 20-30 years.
Boris Stepanovich Zhitkov(1882 - 1938) - writer, traveler.
Boris was born on August 30, 1882 in Novgorod in an intelligent family. His father was a teacher, so it is not surprising that elementary education Boris got home. The first years of life in the biography of Boris Zhitkov were spent in Odessa. After graduating from the gymnasium, Zhitkov began to study at the Imperial Novorossiysk University (in Odessa).
The next step in education in Zhitkov's biography was studying at polytechnic institute Petersburg. There Boris chose a different specialty. If in Odessa University he attended the natural department, then at the St. Petersburg Institute - shipbuilding.
After graduating from the institute, he traveled a lot, worked as a navigator, captain of a ship. Also in the biography of Boris Stepanovich Zhitkov, many other professions were tried. But his constant passion was literature.
Zhitkov's story was first published in 1924. He expressed his knowledge and impressions of travel in his works. So in the biography of Boris Zhitkov, many series of adventure and instructive stories. Among his most famous publications: "Evil Sea" (1924), " Sea stories"(1925)," Seven Lights: Essays, stories, novels, plays "(1982)," Stories about animals "(1989)," Stories for children "(1998) .. The writer died on October 19, 1938 in Moscow.
His first story was published when he was already 42 years old. Rigid discipline in creative work in combination with his talent, over the course of 15 years of work in literature, he could publish a fantastic number of books - about fifty! Boris Zhitkov combined rich worldly experience with versatile knowledge and a rare gift as a narrator-improviser.
Books for children brought him worldwide fame. Boris Zhitkov laid the foundation for the scientific and artistic genre in children's literature by writing an encyclopedia for the youngest children "What did I see?" ("Why is it"). This book can be read with a child, because it is intended for children from three to six years.
The heroes of his works were people of bright, sharp characters: he met such people more than once in his life full of adventures. And the magnificent stories about animals have generated interest in the living world among millions of children.
The literature presented in the bibliographic list will help you learn more about the work of Boris Stepanovich Zhitkov, get acquainted with his works and re-read them again with your children.
Books by B. S. Zhitkov are presented in the following sections: “Stories about the sea”, “Stories about animals”, “What happened” (real life cases) and “What I saw” (stories for young children). At the end of the list in the section "Literature about the writer" you will find books and articles about the life and work of B. S. Zhitkov.
Entries within sections are arranged alphabetically by authors and titles. For the convenience of readers, each source has a code number and the library department in which the book is located.
Writer's works
Tales of the sea
The stories of the first collection "Sea Stories" introduce readers to a world with which the author is well acquainted. In addition to life authenticity, they capture with sharp drama, fascinating stories. After all, a person in the sea is dependent on the capricious elements, extremely tense and ready to meet any surprise. The question of courage, the courage of people in the face of harsh elements is in the first place in these stories. In each of his stories - an example of human courage, overcoming fear, disinterested help, a noble deed.
Stories about animals
There are not many things in the world that would attract kids so much, they were so cute to them, like animals, birds, pets - the whole colorful world of life. Zhitkov came to this area as an original writer, with his own stock of observations obtained in early childhood or in numerous voyages and travels.
In the stories themselves, one can feel a deep understanding of the psychology of the child, because he is, in fact, interested in learning about such exotic animals as an elephant, a monkey, a mongoose. Or, for example, the story "Stray Cat", in which the writer tells about the fate of a simple cat, which had to fight for survival in this world on its own. And I must say that she came out of this test with honor.
All the animals in Zhitkov's stories are as if alive, because even when describing the writer finds features in their behavior that testify to manifestations of kindness, courage, self-sacrifice in the human sense.
What happened
In these stories, the writer tests the morality and courage of his characters in the face of danger. The plots here unfold more concisely: they contain one event, one life situation. The attention of the little reader is held by a sudden, unexpected twist in the plot. For example, in the story "Red Commander" the man was not afraid of the horses rushing towards him, and as a result they stopped. Thus, he saved a woman with small children who were sitting in a britzka.
What have I seen
The most famous book writer "What did I see?" ("Why"), on which more than one generation of children grew up. It is intended for very young readers - from three to six years. A connoisseur of child psychology, Zhitkov narrates it in the first person. Four-year-old Alyosha, called "pochemuchka", not only tells about something, but also reports his impressions of things and events. Thanks to this, a huge educational material does not suppress the baby, but excites his curiosity: after all, a peer is talking. “His feelings, the reasons that gave rise to them, will be the closest, clearest to the little reader,” the author was sure.
And not only does the kid get knowledge about things from this book - he is also given lessons in communicating with people. In addition to Alyosha, there are such characters as a military uncle, mother, grandmother, and friends. Each of them is individual, each has its own actions, and the main character begins to understand what exactly he needs to educate in himself.
Few of today's schoolchildren, few of their parents did not read and did not remember books with gratitude M. Ilyina. They have taken a firm place in Russian and world literature, which tells about science by means of art - in scientific and artistic literature.
Most books M. Ilyin wrote for kids, but adults also read them with undying interest. This is always a sign of artistic authenticity, high quality factor children's book.
M. Ilyin (pseudonym of Ilya Yakovlevich Marshak, brother of the poet S. Marshak) as a child, he loved to observe the life of nature, wrote romantic poems about the forests and animals of distant tropical countries, as a teenager he was fond of chemical experiments. Nature, science, poetry remained his passion for life. And he - not often happens - managed to harmoniously combine all these interests in his activities.
Having become a chemical engineer, M. Ilyin continued to study all his life; mastered the basics of many sciences, looked for those features of their methods, their history that were needed for the cause that became the main thing in his life - fiction story about these sciences.
"Conquest of nature"- one of the books of M. Ilyin is called. But this, perhaps, could be called a collection of his works. The ingenious and unceasing work of mankind, knowing nature and learning to conquer its forces, is the general theme creative work of M. Ilyin. You can’t name another writer who would remain so faithful to one theme all his life and, never repeating himself, would develop it so comprehensively, on the most diverse material - either climbing into the depths of time, then turning to the present, then looking into the future.
By the very essence of his talent and his aspirations, M. Ilyin was an artist-propagandist, an artist-publicist. This was especially clear in his book "The Tale of the Great Plan". It was written when the work of the first five-year plan was just beginning, in 1930. M. Ilyin agitated for a planned socialist economy not by reasoning, not by appeals, but by selecting expressive and precise facts and comparing them. He conquered the minds of readers with a strict logic of presentation. He influenced their imagination, awakened emotional attitude to his story with a temperamental depiction of the great works begun by the Soviet people.
This book went far beyond the children's audience and, just like the next one - "Mountains and People", dedicated to the upcoming work of the Soviet people, was read by both children and adults. Both books have been translated into dozens of languages, often without even mentioning that they are written for children.
At the beginning of his literary work, M. Ilyin wrote several books on the history of technology, which he later combined under the general title "Stories about things". They already outline that intersection of the cognitive theme with the educational and propaganda idea, which to a large extent determined the originality of the writer's literary method. "Stories about things" is devoted to the history of inventions, but their true hero is not things, but humanity that created them.
Later, shortly before Patriotic War, M. Ilyin with his wife E. Segal, co-author of several books, began the implementation of a grandiose plan - How a Man Became a Giant book, the first in our literature for teenagers the history of philosophy and material culture. The early death of M. Ilyin (in 1953) interrupted this work. The history of labor and human thought, starting with primitive society, it was supposed to bring to the birth of a socialist state. In the published parts, the story about the thousand-year struggle for a materialistic understanding of the world, about the improvement of labor methods and tools of labor is brought to the Renaissance.
But the writer, carried away by his era, the work of his people, could not go down in history for a long time. Work on the book "How a Man Became a Giant" was interrupted by publicistic speeches against fascism during the war years, and work on works on modern science and technology.
Together with E. Segal, he wrote for junior schoolchildren "Stories about what surrounds you" dedicated to the history and methods of making the most common school and household items. The book develops children's powers of observation, shows how complex simple things are, how much ingenuity and labor have been spent to make them comfortable and good.
In a book on meteorology "Man and Element", maybe with the greatest force M. Ilyin's ability to find unexpected characteristics and comparisons, widely branched systems of images, almost exact as terms, was manifested - images that easily and naturally fit into scientific material. So captivating story, which opens up wide possibilities for the impact of people on climate in the near future, which, probably, in many young readers, he aroused the desire to work in the field of meteorology. This is obviously how teenagers and youth should be helped in choosing a profession - not to inform about the specifics of a particular specialty, but to captivate readers with a story about the essence of any science or field of technology that provides a wide choice of specialties.
More than thirty books were created by M. Ilyin- their circulation approaches at us to five million copies. His works have been translated into forty-four languages. The work, of which he was one of the readers, the work of an artistic narrative about science and technology, was continued by a large detachment Soviet writers . In this detachment, M. Ilyin is right-flanked. His books live and will live for a long time.
Bianki Vitaly Valentinovich- prose writer.
Born into the family of a famous ornithologist, he graduated from the natural department of the Faculty of Physics and Mathematics of Petrograd University, linking his fate with biology and propaganda for life natural science knowledge. Participated in many travels, scientific expeditions; studying the life of nature, he learned to see the extraordinary in it, to rejoice in its beauty. He became one of those "experienced people" who were attracted to work in children's literature by S.Ya. Marshak, collaborated in the famous Leningrad magazines "Chizh" and "Ezh".
Since 1923, Bianchi has entered literature as a professional children's writer-naturalist, filling an essentially empty niche. In those years, Bianki and Prishvin were brought together by many things, first of all, the desire to instill in the child a sense of belonging to all life on earth. However, in the creative manner of Bianchi, independence immediately manifests itself: if the subjective perception of nature is important for Prishvin, her philosophical reflection, then for Bianchi the standard of artistic truth is the accuracy and objectivity of the created picture, its scientific content (the knowledge of a biologist, naturalist dictated the rules to the artist).
Bianchi's most famous book is " Forest newspaper for every year”, which was created over a number of years as a kind of natural history encyclopedia for children. Its history begins in 1924, when it was opened as a section of the Sparrow magazine (hereinafter - New Robinson), the first separate publication took place in 1928. Then the Forest Newspaper was constantly updated with new materials, its geography changed, the population grew, expanded a range of scientific and educational problems (only during the life of the writer, the book went through 9 separate editions). Popularity was explained not only by the novelty and abundance of the material, but also by the discovery of Bianchi by a new form of scientific and artistic work, a true encyclopedia of Russian nature. The material was selected, as in a real newspaper, there were essays, articles, and short notes, letters, drawings from readers, and riddles. At the same time, it is a "newspaper" that does not grow old, but continues its life, adapting itself to the seasonal changes of the year; this is a game book where the reader is involved in a system of continuous observations in practical matters, receives useful advice, information about scientific research and discoveries; it's finally one work of fiction, parts of which are connected by common heroes (hunter Sysy Sysoich, young Nat Kit Velikanov).
Bianchi's favorite genre is the fairy-tale genre, to which the writer gave a very characteristic definition- "fairy tales-non-tales", i.e. fairy tales with a hard realistic foundation. This sometimes leads to a very unexpected rethinking of well-known plots: for example, his Gingerbread Man is a hedgehog (“Forest Gingerbread Man - a prickly barrel”), which is not at all fabulous, but in a completely natural way defeating his enemies, forest brothers who are in trouble do not send an ant " dance”, they come to the rescue in time (“How the Ant hurried home”). "Tales-non-tales" by Bianchi combine the features of a scientific and artistic work and folklore, the development of a fairy tale plot makes it possible to dramatize, rely on its game performance. In connection with folk tradition there is also the moral of Bianchi's fairy tales, in which goodness and justice always turn out to be stronger, but only the one on whose side knowledge wins: in the fairy tale "The First Hunt" a puppy is depicted that went hunting for the first time, and the little reader begins to learn the laws of nature and its secrets inhabitants.
Already in small fairy tales, Bianchi's desire for greater concreteness and psychological clarity in creating the characters of heroes is noticeable, in this regard, the transition to larger forms - a fairy tale, for example, Robinsonade "Mouse Peak", "Orange Neck" is understandable. Special place occupy psychological stories where the hero is a hunter, a naturalist, an attentive observer. Stories for older children are included in Sat. “Unexpected Encounters”, consisting of several cycles (“Thoughtful Stories”, “Stories about Silence”, etc.). In the article “Parenting with Joy,” Bianchi wrote: “No toy will bind the whole heart of a child to itself, as live pets do. In any ward bird, even in a plant, the child will first of all feel a friend ”(Life and work of Vitaly Bianchi. P. 191). The struggle in introducing the child to the world of nature was for Bianchi precisely a struggle; already from the moment he entered literature, he had to resist the vulgar sociological view of children's literature.
Ideological persecution also affected the fate of Bianchi, who was deported in the 1930s to the city of Uralsk, and later to the Novgorod region. There he wrote books for adults, travel impressions formed the basis of the book "The End of the Earth" (1933), "Birds of the World" (published in 1960), at the same time the story "Odinets" (1933) was completed.
An animal writer, Bianchi acted as the organizer of a whole trend in literature, which is successfully developing today. N. Sladkov, N. Pavlova, illustrator and writer E. Charushin took part in the creation of the "Forest Newspaper"; in the direction formed thanks to the creative efforts of Bianchi, the work of G. Skrebitsky, P. Marikovsky, S. Sakharnov and others developed.
Evgeny Ivanovich Charushin Born in 1901 in the Urals, in Vyatka, in the family of Ivan Apollonovich Charushin, one of the prominent architects of the Urals. According to his projects, more than 300 buildings were built in Sarapul, Izhevsk, Vyatka. He rendered significant influence for the construction of the cities of the Kama and Cis-Urals, a vast region where he was the leading architect, including because of his status - the chief provincial architect. The profession of an architect requires, as a necessary condition, to be a good draftsman. Like his father, an architect, the young Charushin himself drew superbly from childhood. Drawn by a novice artist according to his own words"mostly animals, birds and Indians on horseback."
Living nature for a young artist was enough. She was everywhere. Firstly, the parental house itself with a huge overgrown garden was densely populated with all kinds of living creatures. It was a real home zoo - cackling, grunting, neighing, meowing and barking. Piglets, turkey poults, rabbits, chickens, kittens and all kinds of birds lived in the yard - siskins, waxwings, goldfinches, various birds shot by someone on a hunt, which they nursed and treated. Cats lived in the house itself, cages with birds hung on the windows, there were aquariums and jars with fish, and a certain Bobka also lived in the house.
It was a dog with three paws, a bosom friend of little Zhenya Charushin. This dog “always lay on the stairs. Everyone stumbled and scolded him. I caressed him and often told him about my childhood sorrows. Secondly, in addition to all this moving and stirring abundance of nature, it was always possible to run to the scarecrow workshop, which was located a stone's throw from the Charushins' house. There the animals could be seen at rest.
Zhenya Charushin's favorite reading was books about the life of animals. Seton-Thompson, Long, Biar are his favorite authors. But one day his father gave him 7 heavy tomes for his birthday. It was a book by A. E. Brem "Animal Life". It was such a coincidence that Charushin was born on the day of the death of the great German zoologist Alfred Edmund Brehm. His fundamental work in seven volumes was the most expensive book for Yevgeny Ivanovich Charushin. He kept it and read it all his life. “I read it avidly,” Charushin recalled, “and no Nat Pinkertons and Nick Carters could compare with Brem.” And the fact that the novice artist painted more and more animals and birds, this is also a considerable part of Bram's influence.
After graduating in 1918 high school, where he studied with Yuri Vasnetsov, Charushin was drafted into the Red Army. There he was used "according to his specialty", and he was appointed assistant decorator in the cultural enlightenment of the Political Department of the Red Army Headquarters Eastern Front. After serving 4 years, almost all civil war, he returned home and decided to study as a professional artist. In Vyatka, one could study only in the decorative workshops of the Vyatka Provincial Military Commissariat. But this was not serious, the Provincial Military Commissariat could not give a real drawing school. Young Charushin understood this, and in the fall of that year he left for St. Petersburg. The cherished goal of any budding artist is the Academy. And Evgeny Charushin entered the painting department at the St. Petersburg Academy of Arts (VKhUTEIN), where he studied for five years, from 1922 to 1927, with A. Karev, A. Savinov, M. Matyushin, A. Rylov.
Upon graduation, Charushin came with his work to the Children's Department of the State Publishing House, which was headed by the then famous artist Vladimir Lebedev. In those years, the authorities faced the task of creating fundamentally new books especially for small citizens. Soviet state. Books had to be highly artistic and, at the same time, informative and interesting and informative. Lebedev liked Charushin's drawings from the animal world, and he supported the young artist in his searches and creativity. The first book illustrated by Yevgeny Ivanovich was V. Bianchi's story "Murzuk". It attracted the attention of not only young readers, but also connoisseurs of book graphics, and the drawing from it was acquired by the State Tretyakov Gallery.
In 1930, “Full to the brim with childhood observations and hunting impressions, I began, with the ardent participation and help of S.Ya. Marshak, to write myself”. Charushin E. tried to write short stories for children about the life of animals. Maxim Gorky spoke very warmly about the stories of the novice author. But this turned out to be the most difficult thing in his life, since, by his own admission, it was much easier for him to illustrate other people's texts than his own. In their texts, disputes very often arose between Charushin the writer and Charushin the artist.
Before the war, Evgeny Ivanovich Charushin created about two dozen books: "Chicks", "Volchishko and others", "Raid", "Chicken City", "Jungle is a bird's paradise", "Animals of hot countries". He continued to illustrate other authors - S.Ya. Marshak, M.M. Prishvin, V.V. Bianki.
During the war, Charushin was evacuated from Leningrad to his homeland, to Kirov (Vyatka). He drew posters for "Windows TASS", painted pictures on a partisan theme, designed performances at the Kirov Drama Theater, painted the room kindergarten one of the factories and the foyer of the house of pioneers and schoolchildren. And he was engaged in drawing with children.
In 1945 the artist returned to Leningrad. In addition to working on books, he created a series of prints with images of animals. Even before the war, he became interested in sculpture, painted tea sets, and in post-war years made figurines of animals and whole decorative groups from porcelain.
last book Charushin became “Children in a Cage” by S.Ya. Marshak. And in 1965 he was posthumously awarded a gold medal at the international exhibition of children's books in Leipzig.
For the rest of his life, the artist and writer Charushin retained a childish attitude and some kind of childish delight in front of the beauty of the natural world. He himself told about himself: “I am very grateful to my family for my childhood, because all his impressions remained for me even now the most powerful, interesting and wonderful. And if I am now an artist and a writer, it is only thanks to my childhood...
My mother is an amateur gardener. Digging in her garden, she did wonders... Of course, I took an active part in her work. Together with her he went to the forest to collect flower seeds, dig different plants In order to “domesticate” them in his garden, he fed ducks and black grouse with her, and my mother, who loves all living things very much, passed this love on to me. Chickens, piglets and turkeys, which have always been a lot of trouble; goats, rabbits, pigeons, a guinea fowl with a broken wing, which we treated; my closest friend is the three-legged dog Bobka; war with cats that ate my rabbits, catching songbirds - siskins, goldfinches, waxwings, ... and ... pigeons ... My early childhood is connected with all this, my memories turn to this.
For six years I fell ill with typhoid fever, because one day I decided to eat everything that birds eat, and I ate the most unimaginable muck ...
Another time I swam across with the herd, holding on to the tail of a cow, wide river Vyatka. Since that summer, I can swim well ... "
The world of animals in the midst of primeval nature is his homeland. All his life he talked about her and painted this wondrous vanished world, trying to preserve and pass on to his children his soul.
32. Gaidar.
"The Fate of a Drummer"- a story by A.P. Gaidar for middle school age, written in 1938. Published in 1939, it immediately gained incredible popularity among Soviet youth.
Seryozha - a pioneer, a drummer of the detachment - has his father arrested for embezzlement. How they took him out of the apartment during the day, how they put him in the "funnel", I saw the whole house. After the trial, Seryozha mentally said goodbye to his father:
The boy was left alone - a void formed around him. And this was the impetus for rapprochement with different random people, he rolled down. At first, Serezha fell into a society of petty criminals - Yurka, a lusty artist ... (Yurka deceives Serezha several times with the purchase of a camera, ice cream ... in the evenings he gets him drunk on the instructions of the lusty " cousin Chaliapin").
Then an imaginary “uncle” suddenly appears (supposedly the brother of Seryozhkin’s stepmother), a seemingly good-natured fat man - he amuses Seryozha with a “magpie-crow” and “grandfather Yegor” (actually an enemy spy), and Yakov. "Uncle" takes the boy to Kyiv, while on the way they rob some man. Arriving in Kyiv, my uncle disappears for days on end, no one knows where. Seryozha often hears strange smells, finds strange paper, etc. In a word, "uncle" is hiding something. He promises to take Seryozha to Odessa, to the midshipman's school (after asking, Seryozha finds out that there is no such thing at all!), but he plans to do his own thing and kill the boy.
No less suspicious is Yakov - an ugly old order-bearer, an evil and greedy rascal who hates Seryozha. Pretending to be a hero, he successfully commits fraud, robs people, but completely obeys his spy-uncle.
The uncle introduces Seryozha to Slavka and gives his ward a task - to find out in detail about Slavka's father, an engineer. Soon, Slavka's father is wounded in the forest by unknown people.
The boy eventually guesses who they are, and, wanting to prevent them from escaping, shoots at them with the gun he found. In the finale, the father returns ahead of schedule from prison (which in reality happened quite rarely).
Artistic features
The events of the book are interspersed with Serezha's memories of his father. From these short lyrical episodes, Gaidar built the second, and in fact the main, "underwater" plot of the story, in which he reproduced the atmosphere and painted a portrait of that time.
There is an assumption that the old man Yakov is a real Chapaev, repressed in those terrible years. A. Gaidar made him a "bandit" in order to avoid falling under the rink of repression himself. Indeed, many fighters for the Motherland and the Revolution were then sent to the Gulag, and only N.S. Khrushchev rehabilitated them
Through the efforts of B. Ivanter, "The Drummer's Fate" was allowed to be printed without delay in the Pioneer magazine. The only problem was that in the journal it took three months from putting the manuscript into typesetting to the appearance of the issue. The rumor about a new, adventure and sharply patriotic story by Gaidar instantly spread, first in Moscow, and then throughout the country, and no one wanted to wait long for the release of The Drummer. First of all, the Komsomol leadership. And since the release of all printed materials for children was given to the Central Committee of the Komsomol, then, with the full consent of Ivanter, the following schedule for the publication of The Drummer was built:
· "Pionerskaya Pravda" (it is the most operational, from issue to issue);
· "Pioneer" (in two or even three numbers);
· a separate book in Children's publishing house.
Immediately there appeared those who wanted to artistically reproduce the story: the leadership of the children's editorial office of the All-Union Radio announced their readiness to read "The Fate of the Drummer" (television had just appeared then and it was still far from its mass distribution, and this children's radio editorial office was the only one in the whole country), a little later it was supposed to make a staging for the very popular adult Theater at the Microphone, a large excerpt from The Drummer was asked by the little-known magazine Collective Farm Guys, the Odessa Film Studio was ready to start filming the film of the same name in the near future. On November 2, 1938, the Pionerskaya Pravda newspaper published the first chapters of The Drummer's Fate. Under the passage was: "To be continued" (the newspaper came out three times a week).
The next day, the same passage was read on the radio, and now the announcer announced to the whole country: "To be continued."
However, there was no continuation. This was served by a denunciation to the OGPU (this has already happened after the release of "Military Secrets" and after "The Blue Cup") [ source not specified 927 days] . The story was immediately banned, the set in Pioneer and Detizdat was scattered. And not only "The Drummer" - all of his books that were in production. No one doubted that Gaidar's days were numbered - in libraries, without waiting for instructions, they began to remove RVS, School, military secret" and " distant countries". Books were burned right in the yards [ source not specified 927 days] .
Three months later, when he was already awaiting arrest, after the unexpected award of the Order of the Badge of Honor, he was summoned to Detizdat. The directorate had contracts already printed and signed by the editor-in-chief for the publication of every single piece of Gaidar's works (even tiny stories like "Marusya" were not forgotten - they were supposed to be released for the smallest readers in a million copies). As the author was delicately explained, it was decided to immediately republish all these books "to replace those mistakenly burned."
In 1939, the story "The Fate of the Drummer" was published as a separate book in Detizdat. Regarding the whole dramatic epic, a short entry has been preserved in the diary of Arkady Petrovich: “The damned“ Fate of the drummer ”hit me hard”
33. Features of the narration in the novel-fairy tale by Y. Olesha "Three Fat Men".
"Three Fat Men"- a fairy tale by Yuri Olesha, written in 1924. The book tells about the revolution raised by the poor under the leadership of the gunsmith Prospero and the gymnast Tibul against the rich (fat men) in a fictional country.
Scene
In the world of the novel there is no magic as such, but some fantastic elements are still present. For example, a scientist named Toub refused to make Tutti's heir an iron heart instead of a human one (the iron heart was required by the Fat Men so that the boy would grow up cruel and ruthless). After spending eight years in the cage of the menagerie, Tub turned into a creature resembling a wolf - completely overgrown with hair, his fangs lengthened.
The country is ruled by the Three Fat Men - monopoly magnates who have neither titles nor formal positions. Who ruled the country before them is unknown; they are rulers who have a minor heir Tutti, to whom they are going to transfer power. The country's population is divided into "people" and "fat men" and sympathizers, although clear criteria for such a division are not given.
Fat people are generally presented as rich, gluttons and idlers, the people as poor, starving, working people, but there are many exceptions among the heroes of the novel - for example, Dr. Gaspard Arnery, who cannot be attributed to the poor, but who, nevertheless, sympathizes with the revolutionaries, as well as nameless guardsmen shooting at their colleagues, loyal to the oath of the Fats.
In the country of the Three Fat Men, the situation is revolutionary - the discontent of the poor part of society, clashes between the rebels and the guards of the Three Fat Men break out every now and then. The leaders of the revolutionaries are the gunsmith Prospero and the aerialist Tibul. One of the main characters of the novel, a scientist the widest profile, Dr. Gaspard Arneri, sympathizes with the people, although he himself is a rather wealthy person. Prospero is arrested and imprisoned in the menagerie, but Tibul remains at large. Gaspard hides Tibul in his house and uses a washable solution to repaint him as a black man for temporary disguise. The next day, the Negro accidentally learns about the underground course from the palace of three fat people (this secret is revealed by the seller to Tibula balloons, who on the eve had the imprudence to fly into the palace kitchen on his balloons and only for a bunch of his balloons bought freedom from the cooks who threatened to give him away).
Grandma's tales
AT winter evening backyard
rollicking crowd
On snowdrifts, on hillocks
We're going, we're going home.
The sleds are disgusting,
And we sit in two rows
Listen to grandmother's tales
About Ivan the Fool.
And we sit, barely breathing.
The time is running towards midnight.
Let's pretend we don't hear
If mom calls to sleep.
All stories. Time for bed...
But how can you sleep now?
And again we roared,
We start to get on.
Grandma will say timidly:
“Why sit until dawn?”
Well, what do we care -
Speak to speak.
Sunrise
Red dawn lit up
In the dark blue sky
The band appeared clear
In its golden brilliance.
The rays of the sun are high
Reflected light in the sky.
And scattered far
From them new in response.
Rays of bright gold
Light up the ground all of a sudden.
The skies are already blue
Spread around.
Birch
White birch
under my window
covered with snow,
Exactly silver.
On fluffy branches
snow border
Brushes blossomed
White fringe.
And there is a birch
In sleepy silence
And the snowflakes are burning
In golden fire
A dawn, lazy
Walking around,
Sprinkles branches
New silver.
Night (“Quietly the river slumbers...”)
Quietly the river slumbers.
The dark forest does not make noise.
The nightingale does not sing
And the jerk does not scream.
Night. Silence around.
The stream just gurgles.
With its brilliance the moon
Everything around is silver.
Silver river.
Silver stream.
silver grass
Irrigated steppes.
Night. Silence around.
Everything in nature sleeps.
With its brilliance the moon
Everything around is silver.
Evening is like soot...
Evening is like soot
It pours out the window.
white yarn
Weaving cloth.
The extinguisher is dancing,
Jumping shadow.
Knocking on the windows
Old wattle.
Sticking to the window
Black path.
baby girl
Baika mother.
The unsteady growls
Sleepy troparion:
"Sleep, my fish,
Sleep, don't goof."
Winter
Autumn has flown away
And winter came.
As on wings, flew
She is suddenly invisible.
Here the frost crackled
And they forged all the ponds.
And the boys screamed
Thanks to her for her hard work.
Here come the patterns
On glasses of wondrous beauty.
Everyone fixed their eyes
Looking at it. From high
Snow falls, flashes, curls,
Lies down with a white veil.
Here the sun flashes in the clouds,
And the frost on the snow sparkles.
The road thought about the red evening,
Bushes of mountain ash are more foggy than depth.
Hut-old woman jaw threshold
Chews the odorous crumb of silence.
Autumn cold gently and meekly
Creeps in the darkness to the oat yard;
Through the blue glass yellow-haired boy
He shines his eyes on the checkbox game.
Embracing the pipe, sparkles along the tale
Green ash from the pink oven.
There is no one, and the thin-lipped wind
About someone whispers, who disappeared into the night.
Someone's heels no longer crush the groves
Cracked leaf and gold grass.
A lingering sigh, diving with a skinny ringing,
Kisses the beak of a fluffy owl.
I'll tell you it's not flat,
In it, all the words are important:
Marina Ivanovskaya
You must call me.
Frame me easily
I am a small portrait.
Now I'm learning to read
And soon I'm six years old.
My eyes are brown
And the cheeks are not bad.
My pen is not famous
Sometimes I write wrong
But most like
I have to eat shikolat.
Sergei Yesenin "What is it?"
Enchanted into this forest,
By fluffs of silver
Me with a loaded rifle
I went hunting yesterday.
The path is clean and smooth
I passed, did not inherit ...
Who was sneaking around here?
Who fell and walked here?
I'll come and take a closer look:
The fragile snow is all broken.
Someone strange was running around here.
If only I knew the secret
enchanted words,
I would know by chance
Who walks around here at night.
Because of the tree would be high
I looked at the circle
Who deep trace far
Leaves in the snow?
Beloved edge! Dreaming of the heart...
Beloved edge! Dreaming of the heart
Stacks of the sun in the waters of the womb.
I would like to get lost
In the greens of your bells.
Along the boundary line
Reseda and riza porridge.
And call the rosary
Willows, meek nuns.
The swamp smokes with a cloud,
Burn in the heavenly yoke.
With a quiet secret for someone
I kept my thoughts in my heart.
I meet everything, I accept everything,
Glad and happy to take out the soul.
I came to this earth
To leave her soon.
Sergey Yesenin. "Night"
Tired day turned to night
The noisy wave subsided
The sun went out, and over the world
The moon floats thoughtfully.
The quiet valley listens
The murmur of a peaceful stream.
And the dark forest, leaning, slumbers
To the sound of the nightingale's song.
Listening to songs, with the shores,
Caressing, the river whispers.
And quietly heard above her
The cheerful rustle of the reeds.
The fields are compressed Gola groves...
The fields are compressed, the groves are bare,
Fog and damp from the water.
Wheel behind the blue mountains
The sun went down quietly.
The blasted road is slumbering.
She dreamed today
What is very, very little
It remains to wait for the gray winter.
Oh, and I myself am often ringing
I saw yesterday in the fog:
Red month foal
Harnessed to our sleigh.
It's evening. Dew…
It's evening. Dew
Shines on nettles.
I'm standing by the road
Leaning against the willow.
Big light from the moon
Right on our roof.
Somewhere the song of a nightingale
In the distance I hear.
Good and warm
Like in the winter by the stove.
And birches stand
Like big candles.
And far beyond the river
Apparently, behind the edge,
Sleepy watchman knocks
Dead beater.
Winter sings - calls out ...
Winter sings - calls out,
Shaggy forest cradles
The call of a pine forest.
Around with deep longing
Sailing to a distant land
Gray clouds.
And in the yard a snowstorm
Spreads like a silk carpet,
But it's painfully cold.
Sparrows are playful
Like orphan children
Huddled at the window.
Little birds are chilled,
Hungry, tired
And they huddle tighter.
A blizzard with a furious roar
Knocks on the shutters hung
And getting more and more angry.
And gentle birds doze
Under these whirlwinds of snow
At the frozen window.
And they dream of a beautiful
In the smiles of the sun is clear
Spring beauty.
powder
I'm going. Quiet. Ringing is heard
Under the hoof in the snow
Only gray crows
Made a noise in the meadow.
Bewitched by the invisible
The forest slumbers under the fairy tale of sleep,
Like a white scarf
The pine has tied up.
Bent over like an old lady
Leaned on a stick
And above the crown
The woodpecker hammers at the bitch.
The horse is galloping, there is a lot of space,
Snow falls and spreads a shawl.
Endless road
Runs off into the distance.
Good morning!
Golden stars dozed off,
The mirror of the backwater trembled,
Light shines on the river backwaters
And blushes the grid of the sky.
Sleepy birches smiled,
Tousled silk braids.
Rustling green earrings,
And silver dews are burning.
The wattle fence has an overgrown nettle
Dressed in bright mother-of-pearl
And, swaying, he whispers playfully:
"Good morning!"
bird cherry
Fragrant bird cherry
Bloomed with spring
And golden branches
What curls, curled.
Honey dew all around
Slips down the bark
Spicy greens underneath
Shines in silver.
And next to the thawed patch,
In the grass, between the roots,
Runs, flows small
Silver stream.
Fragrant bird cherry,
Hanging out, standing
And the green is golden
Burning in the sun.
Brook with a thundering wave
All branches are covered
And insinuatingly under the steep
She sings songs.
Aunt Motya in a pink hood
Aunt Motya
In a pink hood
Uncle Vadya
In festive attire
Cousin Zina
In a rubber raincoat
In pajamas,
On my son Mishka
New pants -
Do the walk
Down our alley...
And suddenly a phenomenon
To everyone's surprise:
Flushed with heat
Young painters -
Tit and Vasya -
The house is being painted.
Carve up the walls
Under pink...
Mishka screams:
See how!
This is clever -
Instead of a brush, a syringe! -
And Papa Misha:
Quietly wonder!
Is it hard to guess
What is mechanization?
Soon they'll even learn
Douche portraits and landscapes!
Sergei Alexandrovich Yesenin
The fields are compressed, the groves are bare,
Fog and damp from the water.
Wheel behind the blue mountains
The sun went down quietly.
The blasted road is slumbering.
She dreamed today
What is very, very little
It remains to wait for the gray winter.
Oh, and I myself am often ringing
I saw yesterday in the fog:
Red month foal
Harnessed to our sleigh.
There are people who love winter or dream of a sunny summer. The poet Sergei Yesenin perceived any season of the year with the same enthusiasm, believing that nature is beautiful in any of its manifestations. It is for this reason that the vast majority of his poems by this poet are sustained in the vein of landscape lyrics. Among them is the work "The fields are compressed, the groves are bare ...", written in 1917.
By this time, Sergei Yesenin already lived in Moscow and was considered a fairly promising young writer. Nevertheless, in his mind he constantly returned to his native village of Konstantinovo and suffered greatly due to the fact that he was deprived of the opportunity to see how the leaves on his beloved birch trees bloom or the young moon rises into the sky, flooding the entire area with a pale yellowish light. Meanwhile, the memory helpfully suggested to the poet pictures from the past, which formed the basis of his works. That is how the poem “The fields are compressed, the groves are bare ...” was born, into which both sadness and peace are seen at the same time.
The imagery inherent in Yesenin's works, this time again allows the author to recreate an idyllic picture with the help of several accurate metaphors. “The sun silently rolled down behind the blue of the mountain,” the poet notes and, developing this theme, talks about how exciting the autumn sunset behind the rural outskirts can be. The habit of endowing the properties of living people inanimate objects also gives Yesenin's works a special charm. “The blown-up road is dormant,” the author notes, pointing out that she dreams of receiving a luxurious gift as soon as possible. snow cover. Indeed, in late autumn, nature looks dull and inhospitable. However, Yesenin sees a certain romance even in orphaned forests and mowed fields. And just like a road plowed by dozens of carts, it dreams of the coming winter, which will transform the world in an instant. Looking at the sky, the poet sees how "the red moon was harnessed to our sleigh as a foal." This very vivid metaphor indicates that Yesenin himself dreams of snow, he is uncomfortable feeling lonely and restless among the forests and fields, which are busy preparing for hibernation. However, the poet mentally persuades himself to wait a little longer and admire the night sky. He knows that winter will not keep you waiting, but he is trying to catch the moment when she comes to replace autumn, having cleansed the earth of dirt, and the soul of ridiculous experiences.
The fields are compressed, the groves are bare,
Fog and damp from the water.
Wheel behind the blue mountains
The sun went down quietly.
The blasted road is slumbering.
She dreamed today
What is very, very little
It remains to wait for the gray winter.
Oh, and I myself am often ringing
I saw yesterday in the fog:
Red month foal
Harnessed to our sleigh.
Analysis of the poem "The fields are compressed, the groves are naked" Yesenin
Yesenin, in his youth, moved from the village of Konstantinovo to Moscow. In the early years, he found time to go to his native places, but gradually gained fame and became more and more immersed in city life. Unable to escape to the village, the poet constantly experienced homesickness, which he associated with the Russian landscape. All Yesenin's poems dedicated to nature are based on memories of his native village. One of them is "The fields are compressed, the groves are bare ..." (1917).
The poet considered beautiful any time of the year and knew how to find evidence of this in nature. He describes late autumn. Pictures of fading nature are full of quiet sadness, but at the same time filled with a kind of beauty. The author uses a figurative metaphor, comparing the setting sun with a rolling wheel.
Yesenin also uses his favorite technique - the personification of nature. It inspires the whole world around. Even an ordinary village road is endowed with the qualities of a living being. He notes that the road is “exploded”, because it is in recent times often used at harvest and for preparations for the winter. The economic chores of the peasantry have passed, the road can rest until the start of a new agricultural cycle. Therefore, she slumbers and sees her special dreams. In dreams, the road seems to be winter, which is about to come. The whole land will be covered with a thick layer of snow and will have the opportunity for a long-awaited rest.
In the last stanza, the lyrical hero himself appears. In his rich imagination, he witnessed the fusion of natural and human worlds. Being in a mysterious magical atmosphere (“in a thicket of ringing ... in a fog”), he saw how “the moon was harnessed to ... a sleigh like a foal.”
City life could not change Yesenin's peasant outlook. He continued with big love refers to nature. In all natural phenomena, the poet saw a deep inner meaning. He does not use traditional poetic comparisons. His images are directly related to peasant life(the sun is a wheel, the month is a foal). Yesenin considers man an integral part of nature. Therefore, the poet idealizes the rural way of life. In his opinion, only by following the laws of nature, a person will be able to preserve the purity of his soul.
