"Do you want songs? I have them!" It seems that the hero of one old movie said so.
“Do you want poetry books? I have them!” - I'll say it too.
And I'll tell you about three very different and unusual books that will not only help you have fun with children, but also teach boys and girls to rhyme on their own. Forward towards creativity!
Pavel Mayorov. "Rhyming alphabet"
So today we are talking about poetry. About children and poetry. 
Does your child like to listen to poetry? Does he try to compose himself? My Semyon is indifferent to poetry. We have a whole shelf of children's books with poetry, but he almost never chooses to read them. And to learn by heart, well, at least one, well, at least for Santa Claus? No, none! 
But I'm stubborn. I still read poetry to him from time to time. I want him to understand what a pleasure it is - a well-chosen rhyme, a funny image, bright lines. And sometimes, with some books, it works. As, for example, it worked 100% with "Rhyming Alphabet" from the publishing house "Alpina Publisher. 
We brought this book from the post office and immediately began to study. “But then the verses! Are you interested?" I say sarcastically to Semyon. And he looks at the pictures and demands to read, now, immediately. And you know, until you read to the end, it was impossible to tear yourself away. A very unusual book! Not just poetry, no! This is a real poetry textbook. And, concurrently, workbook, in which the child is invited to enter rhymes and draw pictures. 
To be honest, our hand did not rise to scrawl in such a beautiful book. So we practice verbally. On every page there is a rhyme in which the last word is missing. The reader is invited to come up with a rhyme. And my reader very willingly invents these rhymes. And that's what I thought: maybe I should read other books with poems - this is how Semyon should read? Offer him to guess the endings? 
By the way, as you can understand from the name, “Rhyming Alphabet” is also an excellent book for those who are just learning the alphabet. Each page is devoted to a separate letter, and verses begin with this letter, and pictures are drawn. Here, for example, the letter B, in all its glory. 
The couplets in the "Rhyming Alphabet" are very successful. And very funny. Exactly what is needed! I sincerely believe that children's poetry should be cheerful and imaginative. So that you can immediately imagine and draw what is said in the verses. My Semyon doesn't really like abstraction. Likes specifics. Here is one, for example. 
Be prepared for the fact that after reading this book you will temporarily begin to speak in verse. And you will translate each domestic event with a two-foot iambic or trochee, or even you will be honored with amphibrachs. 
I can’t say that my child immediately began to compose poetry. But at least he understood what rhyme was. Guessing rhymes captured him very much. Taking advantage of this, I took up other books with poems that were at hand. Don't miss the moment!
"The Raccoon and the Possum"
The book "The Raccoon and the Possum" from the publishing house "Melik-Pashayev" is an American folk rhyme, songs and riddles. There are short quatrains, longer verses, intricate puns, interesting neologisms, and humorous lines that are impossible to read without laughter. 
My son's favorite rhyme is this one. Still would! Semyon's dad is a professional fisherman, so the pikes are not alien to the boy, he sees these pikes regularly. And he also knows that their teeth are sharp, he saw it live and, it seems, he even touched it with his finger. Brave! 
In general, in folk songs one should not always look for a deep meaning. Their goal is to entertain the child, to make him laugh, to attract attention with obvious nonsense or a deliberate mistake, a successful pun and a play on words. Here, for example, is a rhyme about a frog that took away lunch from an eagle. Scoundrel? How can I say! After all, the eagle was going to dine with a frog! 
The illustrations in the book are also very funny. For example, when we read this rhyme, Semyon said with surprise: “Wow, baby!”. Indeed, the depicted "baby" barely fits on the page! 
In general, American folklore is sometimes harsh! This poem about a cat, for example, Semyon and I were very impressed! We love cats, so we looked at the illustration for a long time and biasedly! What's with the paw? And they came to the conclusion that the cat's paw is thick and could not get under the machine paw! So if the machine sewed something on, it’s a couple of cat hairs. No more! 
This fun, colorful book invites you to collaborate. For example, the poem "Alphabet" names different animals and birds in order, but only up to the letter K. 
"What happened next - think for yourself!" - offer poems to their readers. And I must say, readers willingly agree and come up with. After all, appetite comes with eating, and poetry is well thought out when you read enough of them!
Vadim Levin "Poems with mustard"
Tell me, what do you like poetry with more? With sugar or condensed milk? Have you tried mustard verses? 
"Poems with mustard" is Vadim Levin. This is a classic! Who doesn't know his "Stupid Horse"? By the way, this edition also contains poems about a stupid horse! And about a stupid bull, and about a walking puppy, and about a cheerful baby elephant, and many others, well-known and beloved, mixed with those that we did not know and did not read before. 
In a word, if you have not yet acquired a collection of poems by Vadim Levin for your home library, then “Poems with Mustard” from the publishing house “Samokat” are just asking for your bookshelf! 
Some of the verses are very funny. It is them that Semyon loves the most. And I think it's right to read this kind of poetry to a child. What is our goal now? Very simple: entertain and delight. So that at the word "verses" little man pleasant associations arose. Then they will more than add unpleasant things to him at school, forcing him to learn obscure "reflections at the front entrances" and "imaginary monuments." So while no one forces us to learn anything, we just read and laugh, considering, for example, a pig in a puddle ... 
At the same time, it cannot be said that "Poems with Mustard" are all entirely comic. Mustard is here too. There is both in the literal sense (there is a poem with that title), and figuratively. For example, it is difficult to read this poem about a stray dog and not be upset. 
And there are a lot of counting rhymes in the book, both for cats, and for mice, and all sorts of different ones. In my childhood, counting rhymes were an integral part of courtyard folklore. How was it possible to do without them? How was it decided who to drive in the game? Now, it seems to me, counting rhymes are no longer so relevant. I judge by the children in our yard, who most often get together in a flock, buried in someone's phone with games or music ... Somehow they don't play games in our yards anymore! And the rhymes are so funny. 
If the purpose of the counting rhymes is still unclear to my Semyon, then he took this rhyme with a bang. Maybe because the rhyme resembles a riddle. And the answer - here it is, drawn, crawling along the sheet. 
And the most important impression that remains from Vadim Levin's poems is kaleidoscopicity, a variety of images, themes and rhymes. Here the crucian reads poems about the pike, the horse buys galoshes, the cats warm themselves in a warm blanket, an eccentric worm walks along the street. Many, many interesting things happen in these verses. Read on and you'll find out!
Text and photo: Katya Medvedeva
(The article has been revised and expanded)
Modern poetry is multifaceted: mass and elite; virtual and traditional; normative and non-normative; religious and anti-religious; Russian and foreign poetry of the "Russian world". And separately - Orthodox, separately - children's.
Why separately - Orthodox? This question is very easy for me to answer. This is a fact that has taken place and objectively exists in the existing world, and one cannot escape from stating such a fact: one has to accept such a situation as not depending on anyone's will. Except by the will of the Lord. And to discuss why it is Orthodox poetry that stands out, and not Islamic, or Jewish, or the poetry of offshoots of Christianity. There is absolutely no desire to look for a reason for this. But I cannot but pay attention to the fact that the first known literary sources of poetics were found in the historical homeland of the emergence of Orthodoxy. This is Greece. Orthodoxy came to Russia from Greece as a result of communion between peoples. And our classical poetry, Russian poetry in Russian, even in a godless time - and it goes beyond the Soviet period of history, always reflected the first search, and was clearly not devoid of postulates that affirm the basic Christian truths and commandments.
After the 30s of the XX century, it should be mentioned - and this is very important - poetry for preschool and younger children was developed. school age. S. Marshak and K. Chukovsky, S. Mikhalkov and A. Barto, ... Who has not read "Mr. Twister", "Cockroach", "Doctor Aibolit", "Fedorino grief", "Uncle Styopa" "Foma", "Our Tanya ”and other poems,“ babies ”? Can this be considered poetry? But how is it impossible, if it is on the verses of these children's poets that several generations of Russian-speaking people have grown up on the planet? So much was written for children during this period, because in the country there was a struggle for universal literacy of the population, the book entered the house and became an integral part of the life of any Soviet person. Separately standing timeless poetic creativity - creations for children. On this children's classic, the education of new members of society continues to this day. I cannot help touching on this phenomenon, because I am looking for the causes of those phenomena in poetry that I am currently observing.
In order to understand what is happening in modern poetry, what kind of phenomenon this is - modern poetry, and whether such a phenomenon exists at all, it is necessary to remember the continuity of generations in the history of poetic creativity. So, the first and main feature of modern Russian poetry is continuity.
The heyday of classical poetry is considered to be the beginning of the 19th century - the Golden Age of poetry. Researchers attribute different poets to the poets of the Golden Age. But there is no doubt that Pushkin, V.A. Zhukovsky, A.S. Griboyedov, M.Yu. Lermontov, K.N. Batyushkov, D.V. Davydov, F.N. Glinka, V.F. Raevsky, K.F. Ryleev, A.A. Bestuzhev, V.K. Kuchelbecker, A.I. Odoevsky, P.A. Vyazemsky, A.A. Delvig, E.A. Baratynsky, D.V. Venediktov, I.I. Kozlov, F.I. Tyutchev, A.A. Fet etc.
One can argue for a long time and to no avail, whose work is better, more interesting and useful for the reader, who is “more classic” - it is impossible to come to a common opinion. If we, with the name of Pushkin, pronounce our first words in Russian - regardless of whether it is a native language or not for a baby - what do reflections on his rhyme mean? First of all, in his works I see the interlacing of rhymed lines and such sound writing in a verse (as in a separate line), which, by will or not by will, but attracts and stays with you, is remembered easily and freely, most importantly, once and for all. The poetry of the Golden Age is characterized by patriotism.
The beginning of the next century - XX, is designated as the Silver Age of Poetry. They say that if there was no Golden Age, there would be no Silver. The continuity of generations of Russian poets takes place, and, above all, in their patriotic mood. The theme of the motherland is the most important for Russian poetry. It is generally accepted that the Silver Age ended in 1930. Researchers attribute about 40 authors to the poets of the Silver Age. We know that at the beginning of the century they "huddled" around M. Voloshin in his Crimean estate - Koktebel. Which of the poets of that period did not just visit there ... Was it not the exchange of information, mutual communication on the basis of the Voloshin Koktebel that made it possible to form such an important backbone of the poets of the Silver Age?
It is no coincidence that Voloshin readings and the annual Voloshin poetry competition are held today. There is a Voloshin trail with various routes to it - you can choose a simpler one and reach the end point of the path even with kids. You can choose a more difficult, romantic path - and decide on your life partner: is he the friend who "turned up all of a sudden."
For me, among the poets of the Silver Age, the work of N.S. Gumilyov is the most significant, for various reasons, but the main thing is that Light, Love, eternal truths are in the foreground in his work. Poets of the Silver Age: I.F. Annensky, A.A. Akhmatova (Gorenko), A. Bely (B.N. Bugaev), A.A. Blok, V.Ya. Bryusov, I.A. Bunin, M.A. Voloshin, S.A. Yesenin, V.V. Mayakovsky, V.I. Ivanov, B.L. Pasternak, I.V. Severyanin, D.S. Merezhkovsky, M.I. Tsvetaeva, Cherny (A.M. Glikberg) and others.
It was during this historical period of time that poets either became adherents of socialist realism to the full or not to the full extent. In any case, they became Soviet poets. Either they did not become Soviet poets, but chose a different fate: creativity in exile. And further. There were poets who did not become either Soviet or émigré. But they are - the poets of the Russian word. These are the ones who were repressed. Undoubtedly, among them the most striking figure in poetry is O. Mandelstam.
Many attribute this entire period of development of poetry - from 1930 to 2000 - to modern poetry. This is far from true. This is not true at all. I do not belong to those who deny their own history, the history of their state, the history of our Russian poetry, which I singled out in literary work and loved. She loved to read poetry aloud and “to herself”, publicly from the stage, and in a narrow circle of like-minded people. Read everything that came to hand in a poetic version: and now I like to read poetry. And I don't care who wrote them. I never look at the surname - who is the author. It is important to feel the rhythm, the music of the verse, to “catch the wave” of the author and ascend in spirit with him on his wave, as surfers do on the water board. I do not accept rough versification, profanity in the work of poets.
The Soviet period of poetry should have its own characteristics: temporal and territorial, qualitative and quantitative, ideological and some other important ones that are important in general, as a characteristic of a certain period. historical development humanity, attempts to get away from God, turn aside from the predestined path, become independent in this vast information-wave space. On this topic, separate and extensive studies should be written with a view modern man who lived the beginning of the new millennium, felt the novelty of modern poetry, and its highest Olympic level. Many poets attracted my attention during the Soviet period - this is the period of my youth and my growing up. And there - in his youth, everything was fine, bright and clean. K.Simonov's work is special for me - the embodiment of philanthropy and faith. Simonov readings have been held in memory of this poet since the 80s of the last century.
A special page - famous poets of the Soviet era: A. Tvardovsky, Ya. Smelyakov, O. Bergolts, V. Inber, S. Kirsanov, E. Asadov, E. Bagritsky, Yu. Drunina, K. Paustovsky, I. Brodsky, A. Yashin, Arseny Tarkovsky, Yu. Levitansky, P. Komarov, R. Kazakova and others.
It is worth highlighting in a separate line the work of poets-bards, both significant for all lovers of the author's song (B. Okudzhava, V. Vysotsky, V. Tsoi), and those who created on their own local level, but he was remembered and left a certain mark in the soul of a simple person (in Kurgan in the Urals - such as L. Tumanova, in Khabarovsk in Far East such as - M. Zhuravlev). But all this, albeit good and bright, is an irretrievably bygone past.
Literary criticism analyzes countless creative works of various authors and poets. Whom only does not belong to modern poetry: I. Brodsky, and Yu. Levitansky, and A. Tarkovsky, and R. Kazakov, other poets. The work of many has not become widely known, or at least not universally recognized. But in order to analyze precisely modern poetry and its modern level, it is necessary to find the very watershed from which it originates. How much we wrote in the second half of the 21st century that the age of cybernetics has come. Is it possible to say that the age of cybernetics was reflected in a special way on the development of poetic creativity? Rather yes than no. And the second World War? Did she play any special role in the history of Russian (Soviet) poetry? What is important now: Russian poetry, Russian poetry, poetry in the post-Soviet space, the Russian poetic world?
How many questions immediately arise if you seriously think about what is included in the concept of modern Russian poetry, the poetry of those authors who write in Russian.
I believe that the poetry of the Soviet period has faded into the background and lost its leading positions in the territorial space where it once reigned from the 30s of the 20th century. But when did this period end? Many poets, whitened with gray hair, worked during the period Soviet power and continue to create and print their poems, as a model of poetry, in the insistence of the period. I believe it would be more correct to designate a kind of watershed in poetry as the beginning of the 21st century - the century of universal computerization, changes in the nature of information technology, the emergence of modern means communications and information, primarily electronic media, the development of Internet technologies, the emergence of social networks, the simplification of the procedure for preparing materials for publication, that is, further technical development and a decrease in the importance of the human factor in book publishing.
With the emergence and development of new information technologies at the beginning of the new XXI century, the new period modern poetry. And the age of the authors, the period of their intellectual formation (in the USSR, in the Russian Federation or in other post-Soviet space, in Russian far and near abroad) now does not matter at all for the development of poetry in present stage. Thick magazines, printed books, literary periodicals - all this is only catching up with the advanced technologies of creative activity, the ability of authors to realize themselves and be heard. The latter does not depend on the editor of any thick magazine or newspaper, subject or republican publishing house. The layout of the material itself has been technically simplified to the ideal, when in the shortest possible time: 1-2 months, you can form and publish your book. Poets create their own websites, post their works for discussion, participate in communication through social media, have their supporters and their support group.
Someday this explosion of the poetic gift of our Russian-speaking authors writing in Russian at the beginning of the 21st century, their creative cohort will be called some special word, the elite of modernity, and the modern age of poetry will be called Platinum or Diamond. Or quite simply, they will say that there was an age of network poetry. And this word will cease to have a negative, mocking connotation. At the very least, it is now impossible to talk about modern poetry without characterizing the poetic work of world-famous authors who have received worldwide recognition thanks to network resources. There are special programs to help the poet in his work: they will find a suitable rhyme, and a word, synonym or antonym, will help determine the size of the poem. But not a single program will replace the human soul, will not come up with a bright word, will not create the necessary mood for the poetic text. A poet is, first of all, a person, a person who is interesting to the reader, a person who is interesting in communication to his colleague.
Who stands out among the poets of our time since the beginning of this new twenty-first century? And not only the beginning of a new century - the beginning of a new millennium. Are they not those who read in their childhood and automatically memorized: “Tsokotuha fly-fly, gilded belly, the fly went across the field, the fly found the money”, or “What is it, what happened, why did everything spin around, spin and rush somersault "… Kind Soviet childhood... We read poems by K. Simonov, S. Kirsanov, E. Asadov, R. Kazakova, O. Bergolts, V. Inber, R. Gamzatov, and many other Soviet poets from the stage at reading competitions.
The age of Soviet poetry cannot be forgotten; this poetry stands apart from all previously known and modern poetry. I would divide Soviet poetry into three periods: pre-war lyrics, when poems were created under the slogan: “And if the hour of war comes and the homeland sends us to attack”; military poetics until 1953 - “Get up, huge country” and “This Victory Day”, which can include all the military topics of the subsequent Soviet years; poetry of 60-90 years - the heyday and decline of socialist realism. During these periods there were geniuses, classics of socialist realism, geniuses and classics from among its opponents, there was always a religious lyric.
The purpose of my work is to characterize modern poetry. She is the legal successor of Russian poetry of the past, including Russian classical poetry. early XIX century, Russian classicism and modernism of the early 20th century, heterogeneous poetry of the Soviet period. Those who claim that there are no classics in modern poetry are mistaken. The classic of poetry always promotes poetry along the vertical, to those peaks that previously seemed unattainable. It's like at the Olympics: every year a person's achievements in classical sports are higher and higher - and where does strength come from? There are new Olympic sports - the same snowboarding. Beautiful for us and unbelievable for a person of the “dosnoboard era”.
Someone claims that all rhymes have been sorted out, “love-blood-carrot” - humanity cannot go further than this, and it is impossible to leave the circle of well-known, if not hackneyed, rhymes. There are limits, limits to what is possible. On the one hand, yes. But there is a phrase that has become a saying: there is no limit to perfection. This phrase just characterizes modern Russian poetry, both in Russia and in general in the Russian world of the near and far abroad. And it brought us closer, gave us the opportunity to get to know each other, get to know and read each other, support and help - the era modern technologies, a completely new state of a person and his information field, which is unaware of such obstacles as distances, other countries, continents. Only one thing is important for everyone - knowledge of the Russian language. And yet - something from above that makes you daily take up not the pen, no, the next great invention of man - the “mouse” and knock on the keys with all ten or only two fingers, but with great speed. And it is impossible not to draw an analogy: in the Golden Age, poets were united by the printed word, thick literary publications - it was there, in the editorial offices of magazines, that they gathered, communicated, exchanged information. They did. In the Silver Age, Crimea became such a unifying principle. And again, the poets communicated, informed each other, argued and admired, even arranged duels ... They created.
AT Soviet time there were houses of creativity of writers' unions, where a very special creative atmosphere arose, poets arranged meetings and discussions, disputes and festivals. They did. And now, at the present stage, it is the information field created by new technologies that is the platform for communication of all poets of the world who speak Russian. That is why thick magazines are so concerned about their fate: in order to be “afloat”, a thick magazine must have its own electronic counterpart, must create a platform for feedback and communication. Poetry and music merge together. The creation of playcasts is widespread - absolutely new form creativity. Poets prepare clips for literary meetings, when the off-screen sound of a verse performed by the author or artist is accompanied by a demonstration of images on an interactive screen, and, often, music. In addition to virtual communication and as a result of such communication, literary platforms are being created, including at large libraries, as a new form of recognition of each other by modern poets and an incentive for personal growth in the work of each of them. The theme of modern poetry is inexhaustible. But classics are classics. They adhere to their special theme, preserving the continuity of generations - the theme of patriotism.
The harbinger of the Golden Age of poetry, G. Derzhavin, wrote his last poem three days before his death:
The river of time in its striving
Takes away all the affairs of people
And drowns in the abyss of oblivion
Peoples, kingdoms and kings.
And if anything remains
Through the sounds of the lyre and the trumpet,
That eternity will be devoured by the mouth
And the common fate will not go away!
In the modern muzzle of eternity, a few hours before being burned alive in the House of Trade Unions in the city of Odessa on May 2, 2014, the well-known network poet Viktor Gunn (Stepanov) wrote:
The skies opened up with rain
Attacks of the torrential hordes,
Through the veil before my eyes
No raindrops to be seen.
Floods of Indian Bengals,
Brazil Amazonian rivers,
In the presence of all kinds of regalia
May God make his foray.
It's not a sin to hide somewhere
And survive the bad weather...
I'm going in the rain! To pray!
Like an ancient barbarian prophet!
After the same events, the Orthodox poet V. Negaturov, burned in this House, died with burns in agony in intensive care. Ready to give and who gave his life for Orthodoxy and the Russian world, V. Negaturov, known to many as a network poet, wrote four years before his tragic death, predicting events in Ukraine:
friend enemy
V.Negaturov
Snow, rain, snow ... -
- A sad circle!
There is no worse enemy
Than a former friend...
Now a smooth move, then suddenly -
-Jerky zigzag!
Who is to blame my friend
What are you my enemy?
And how I. Tsarev echoes him in his poem “Angry snow falls from the sky” a few years before the events in Odessa, he does not ask - he states:
And makes it difficult to understand the darkness,
Outlining a circle in the snow
Who is who's enemy today
Who is who's friend today.
Under the foot of icy darkness
Unreliable crunches crust.
And we were left alone
Who hasn't forgotten us yet.
There are several resources where poetic works of authors are published. The largest of them: "Poems-ru" - where more than 800 thousand authors are registered. At the beginning of 2012 there were about 500 thousand of them, and in 2006 - only 100 thousand. The largest competition - "Poet of the Year" has been held annually by this resource since 2011. If we analyze the work of the poets who became winners and laureates of this competition, then undoubtedly, their work deserves high praise and attracts attention with a certain novelty, depth and quality of versification. Not all of them have been published literary magazines, but, as a rule, only those poets who have passed certain milestones and milestones in their work come to such a peak gradually and only.
Orthodox poetry has become a special phenomenon of modernity in the 21st century. The verses of Orthodox poets, deep in meaning and vivid in sensations, cannot but touch the most subtle strings of the soul of an Orthodox person or simply living with faith. The most striking is the poetry of Archpriest A. Zaitsev. You can get acquainted with his work not only on the Poems-ru portal, but on the portal of the Omilia International Club of Orthodox Writers.
Not keeping yourself clean
Many fall into the network of forgery -
They do not accept the truth from God,
Covering the path of vice with laurels:
They call "Life" the ardor of passions,
"Joy" - spiritual fall,
"Courage" - there is doubt in the words of the Creator,
"Grace" - the bliss of idle days;
They are not ashamed to pour lies into their eyes,
They destroy the heart in the spell of magnificent flattery ...
Worldly poets turn to the Almighty, with Faith in their hearts, Hope for understanding:
PLEASE
A. Kryuchkova
Lord, in an unkind fate
Hand out adversity,
Don't leave me in prayer
After all, the seeds must sprout,
Everything turns out upside down -
I'm sorry that in bodily form
I write and cry about earthly things,
Heart yearning for heaven,
Leave me in the worldly garden
Until harvest time
So that on the day when I come to You,
I was able to bear fruit...
Modern poetry is at the peak of another rise. As one would expect, this happens at the beginning of the next century - XXI, moreover, which is important - at the beginning of the new millennium. What name will be given by literary critics to this new for us, modern period of the heyday of poetry? Information age? Virtual? Or like this: The Diamond Age of Poetry. Why Diamond? Not polished, but precious and the most expensive stone. One side. On the other hand, both diamond and graphite elements are used in modern technology of the information technology age, without which their appearance would not have been possible. It was the new technologies, which simplified the process of working with texts, even very lazy, but naturally gifted people, that inspired them to publicize their not quite sometimes polished poetic works. But there are large diamond stones among the shaft of poetic weaves, which almost do not require polishing. All they want is cutting – printed books that will preserve diamonds for future generations. Reveal, support - the task of patrons, caring public figures. What are the standards to be guided by in order to compile a list of poets of our time? What is good for one is unacceptable for others.
A few more thoughts about the work of I. Tsarev. He achieved worldwide recognition. Literary critics and literary critics pay attention to the ideal unity of meter, rhythm and rhyme in his work. (L. Sushko) Igor Tsarev confidently came in his work to the classical form of versification, while he did not become an imitator, but was able to move poetry vertically to its more perfect form, delightful individual style and content saturated with subtext and additional information. His poems cannot simply be read - each name, name, phrase mentioned in them must be rethought, turned to encyclopedias and dictionaries in order to understand and see the full depth of the Word, applied by him on his internal resources and knowledge, thanks to inspiration and intuition.
His poetic work has become perfect and significant for modern poetry. Studying his style, we can say with confidence: none of the modern poets writes like that now. Literary scholars unanimously and unanimously note the ideal unity of meter, rhythm, rhyme in Tsarev's poetry, the musicality of his creations. Fully agreeing with these conclusions, we note that Tsarev is a classic of modern poetry, in general, Russian poetry. Born and raised in a family of a physicist (father is a professor of physics) and a lyricist (mother is a professional philologist), the poet already in his youth acquired encyclopedic training in various areas human knowledge. Coupled with vast life and social experience, professional experience of a major and important journalist official publication, Tsarev is able to recognize, see and apply the consonance of words, as part of speech, in a poetic line, at the end of a line (rhyme) so much in accordance with the meaning and content of the text of the poem that its poetic harmony is perceived by the Word sent from above:
“In all ages, poets listen only to God
And they are looking for the Word to return the Beginning to this world.
It is amazing that in none of his poems the poet uses names, titles, phrases just like that (for rhythm, rhyme and keeping the size): behind each used word there is a huge meaning and content, subtext and special meaning. The most illustrative example is the poem "Barley Seed". Why exactly barley? How is this phrase related to the content and subtext of the poem? When you begin to understand and delve into the essence, you understand all the greatness of his poetic thought, the significance of the poet's personality. Barley is the oldest crop on earth. It was with five loaves of barley that Christ fed the whole flock. Applied by I. Tsarev in the poem "City of Ha" as a starting point geographical name The backbone is in the first quatrain, and in the penultimate quatrain he already has Khekhtsir and Dzhugdzhur. Why? What is behind this? And when you start to go deeper and understand the subtext of the poem, respect for the poet grows in geometric progression. And the distant history of the formation of Russian statehood in the Far East becomes close to you, and the poem becomes clear and accessible in content.
I will return to his sound writing of poetic lines, which, like a scale, musically shimmer from one word to another, to consonance when he uses the Word. An example of his rhyme from just one half-joking poem:
until the evening - gullible; medi i - comedy; emotions something - Mozart; Baha I - gasp; Johanna I - organ; button accordion I - charm.
I can't even apply the usual trivial ratings to the characteristics of his sound writing, he just doesn't need them. Undoubtedly, the poet Tsarev has an individual style that distinguishes him from all other authors. The linguist, candidate of philological sciences E. Kradozhen-Mazurova was the first to pay attention to this side of I. Tsareva's poetry.
Recently, in one of the TV shows, I heard the phrase: “A poet is the one whose personality is present in poetry.” The personality of I. Tsarev is present in each of his poems: powerful, intellectual with encyclopedic knowledge, and at the same time - defenseless, soft, unobtrusive...
When in the Yelabuga wilderness,
In her insulting silence,
On a thin threadlike pulse
The button of the soul hung,
Only a bitch howl across the wastelands
Interspersed with bird crying...
And the world flaunted indifference
And he was militantly stubborn ...
Lord of the palm at night
Blindly ran through the faces
And did not let down suicides
That he forgave their executioners...
Will he count a candle in a handful,
A prayer with a drop of stearin?
My God, her name is Marina,
Forgive me, immortal, I'm sorry.
The work of modern poets attracts with its individuality, freshness, perfection of forms, a sense of pulse, rhythm. modern life, saturated information technology. Real poetry is always illuminated by a special Light in all ages and glorifies the simple and hard work of the creator and the common man, emphasizing how much there is in common in any activity for the benefit of the World. A characteristic feature of the twenty-first century in poetry is the unification of works: the sculptor conveys the features of the perception of his own work through poetry (I. Luksht); the musician seeks to combine poetry and music not only within the framework of a musical work, but also in a completely unusual way for the past times through a playcast (A.Istomina); the artist comes up with an idea to combine verses and strokes in a drawing, revealing verse graphics for us (I. Orkina); the phrase discography has also become familiar to the ear, when poetry and music are combined by a spiritual person (Yu. Berezova).
“Let the songs that are dear to my soul become bright moments for you, my dear listeners,” Yulia Berezova addresses us. And her soul lives with us by the Word and the sounds of her spiritual singing.
And there is no limit to perfection - modern poetry confirms.
Content
Introduction…………………….……………………..……… …………………………………………….….........3
periodicals and critics
- The crisis of children's literature in the 80s………………………………………………..…….3
The specifics of modern children's reading………………………………………………..…5
The problem of the creative fate of a novice children's writer………..……6
Appeal of children's poets to prose……………………………………………………..……. 6
Commercialization of the book market……………………………………………………..………7
Lack of children's books by contemporary authors………………………….……..………..8
Poor-quality translations of foreign children's literature………….…….9
The problem of lack of children's books for teenagers…………………….……….…….9
Poor design of children's books………………………………………………….……….… 10
2.1. Modern talents of children's literature - myth or reality?……………………………………………………………………………………………………. ..eleven
2.2. The role of children's libraries in the development of children's reading …………………………………………………………………………………………….………………. ……..fifteen
2.3. Russia is no longer the most reading country in the world… …………………………………….17
2.3. Prospects for the development of children's literature and periodicals………………………..19
Conclusion………………………………………………………………… .………………………………………..……..20
References…………………………………………………………………………..…………….……..22
Introduction
Going to any bookstore to buy a children's book for a child, we sometimes get lost from the variety of choices, from the diversity of the covers. And at first it seems to us that buying a children's book here will not be a problem. However, looking closely at what is on the shelves, a thoughtful person who has reading experience is often disappointed. Among this variety of books with bright covers, choosing a good children's literature is not so easy. And as a result, we opt for the good old classics, well known to us from childhood and not fraught with unpleasant surprises.
And there are plenty of surprises. To name just a few of them: first, the almost complete absence of good children's books by contemporary authors; secondly, the bright covers, upon closer inspection, raise deep doubts. And what is also frightening is the incredible number of second-rate books that clearly intend (perhaps to increase the number of sales) to imitate children's hit books like Harry Potter, The Chronicles of Narnia and others, while being something of a legal plagiarism, and this applies to both cover and content. There is also such a problem as the lack of children's books for any age category. According to statistics, in our country, teenagers are the most deprived of good children's literature. Some of these "diseases" of modern book publishing should be considered in a little more detail.
Chapter 1. Actual problems of modern children's literature,
periodicals and critics
1.1. The Crisis of Children's Literature in the 1980s
In Soviet society, the reading of children took place in conditions of a general shortage, including for children's literature (the demand for it in the 1980s was satisfied by an average of 30-35%). This speaks of the process of "social deprivation" of children in the 60-80s when they mastered literary culture. By the period of "stagnation" (70-80s), many problems had accumulated in the field of publishing children's literature. The general trend was towards a decrease in the number of titles, while maintaining an annual increase in the average volume of books and a relatively constant circulation. Thus, in the mid-1980s, the indicator of the diversity of children's books in the USSR was 3 times lower than in the FRG, 6 times lower than in France, and about 10 times lower than in Spain. Entire types and genres were in chronic deficit: scientific and educational literature, action-packed (especially fantasy and adventure), encyclopedias and reference books, manuals and guides for leisure activities. one
The absence of scientific, educational, reference and encyclopedic literature is fraught with the fact that from childhood the child does not develop the need to work with a book as one of the main sources of information in various fields of knowledge. To the list of problems, one can add the insufficient publication of the best modern foreign children's literature, the shortage of children's periodicals, etc.
In the eighties, children's literature experienced a serious crisis, the consequences of which were reflected in the work of children's writers in subsequent years.
Swollen from modern "roaming" living conditions, children's literature inexorably pushes out those who create this literature. Galina Shcherbakova, whose stories for teenagers and about teenagers ("Desperate Autumn", "You never dreamed of ...", "The door to someone else's life", etc.) were popular in the eighties (according to the story "You never dreamed ..." even a film with the same name was shot), were published in a hundred thousandth edition under the auspices of the publishing house "Young Guard", in the nineties and at the beginning of the two thousandth it switched to "adult" literature. Her new, ironic-sarcastic, far from childish works have firmly entered the print conveyor of the Vagrius publishing house. 2
Tatyana Ponomareva began to write less often for children, Boris Minaev - the author of the book for teenagers "Leva's Childhood" with a foreword by Lev Anninsky. Dina Rubina and Anatoly Aleksin emigrated to Israel, Vladimir Porudominsky, author of children's books about art, and Pavel Frenkel, critic and translator, emigrated to Germany.
A former children's poet who wrote in the Oberiut tradition, Vladimir Druk organized a computer magazine for adults in New York. Sergei Georgiev published a non-children's book "The smell of almonds", Alan Milne - "Table by the Orchestra". Famous Moscow poet Roman Sef, presenter of the seminar "Literature for Children" for students of the Literary Institute. A.M. Gorky, also switched to “adult” poetry, meaning his book “Turuses on Wheels”. Children's writer Igor Tsesarsky publishes the newspapers Continent USA, Obzor, and Russian Accent in the United States.
Critic Vladimir Alexandrov, writers Yuri Koval, Valentin Berestov, Sergei Ivanov, poet and translator Vladimir Prikhodko died.
- The specifics of modern children's reading
Let us present some data from this study.
Reading for children and teenagers today is undergoing significant changes. Today, among the reading public, there is an increase in the number of groups of children, adolescents, youth, for whom magazines are becoming more and more popular. However, despite the seeming diversity of book and magazine products targeted at this audience, far from everything is safe here.
"Disney" magazines and comics are popular with children aged 9-10, moreover, they are more popular with boys than with girls, as well as various magazines for children. Girls from the age of 10-11 are interested in various publications aimed at a female audience. Moreover, by the seventh grade, girls are three times more likely than boys to read youth, women's, and various entertainment publications, while for boys, these are, first of all, publications related to sports, auto business, technical, educational and computer magazines. Thus, the reading of magazines by boys is much broader and more varied than that of girls.
In general, modern children read little. Firstly, there is now an alternative to reading - TV, DVD and computer games. And secondly, among the many bright covers in bookstores, it is quite difficult to choose something really worthwhile - you have to shovel a mountain of colorfully published waste paper. And having chosen, carefully read before giving it to children.
According to a survey conducted by the All-Russian Public Opinion Research Center (VTsIOM), only 17% of children aged 10 to 18 call reading books their favorite pastime. Whereas watching TV, video and listening to music is considered their main hobby by 52% of children and adolescents. Meanwhile, in 2005, we published about 112 million copies of children's books. There are about 500 publishing houses in Russia, and almost 100 of them specialize in children's literature, as well as in toy books, coloring books and copybooks.
But the variety of book production is deceptive. It would seem that parents may well choose what exactly from the “reasonable, kind, eternal” to buy for their child. However, if you look under some bright covers, you most likely will not want to give such a book into the hands of your child. The thing is that almost everyone can now write children's books: for this it is not necessary to have a higher literary education. And anyone can write whatever they want in a children's book - there is no systematic control by the state.
Officials from the Federal Press Agency explain it simply: censorship is prohibited by the Russian constitution. Only literary critics and librarians can keep track of what is published for children. Yes, and they only have the right to advise whether to give a child this or that book or not.
- The problem of the creative fate of a novice children's writer
The problem is that it is difficult for a peripheral author to become famous and famous. At best, he will be recognized, but his books will not satisfy even a small part of the population that is hungry for good reading. In addition, regional publishing houses publish books in small print runs, which, in principle, cannot cover the whole of Russia. Moscow still remains the all-Russian publishing center.
- Appeal of children's poets to prose
It's no secret that the commercial success of a book directly depends on the reader's demand. The question immediately arises: why is poetry not in honor today? Not only authors writing for children are now thinking about this. In many ways, time is to blame here, it has become too unpoetic. And what is the time, such are the customs. Or vice versa. If we recall the words of Zinaida Gippius, written in a diary back in 1904, it becomes clear that the human, reader-writer's factor is no less important than the temporal one. They are interconnected and flow into each other. Zinaida Gippius wrote: “... modern poetry collections of both talented poets and mediocre poets turned out to be equally useless to anyone. The reason, therefore, lies not only in the authors, but also in the readers. The reason is the time to which both of them belong – all our contemporaries in general…” 7
- Commercialization of the book market
At the same time, the publication of a children's book requires large expenditures compared to many other types of literature, and children's books become more expensive and are inaccessible to the population. Economic difficulties and a sharp decline in the standard of living of most of the population caused a reduction in the ability to meet the purchasing needs of books. According to polls, part of the population refrains from buying books, including children's books.
- Lack of children's books by contemporary authors
But then it was a special order of the state. How to justify modern authors is not clear. Maybe there are fewer talented poets and writers? Unlikely. It's just that publishing houses don't try very hard to find new, good authors.
Aspiring writers and poets often complain about the impossibility of publishing because publishing houses are not interested in them. It is easier and more profitable for publishers to reprint classics than to hold a competition, find a good modern author and pay him a fee. eight
Of course, there are many advantages in reprinting the classics: one should not allow the best children's books of the past or the names of talented writers to be forgotten - this is required by the literary taste of readers and simple justice. But after all, without the discovery of new names, sooner or later, children's literature will come to a standstill.
- Poor-quality translations of foreign children's literature
- The problem of the shortage of children's books for teenagers
Until about the third grade, children have something to read, but when the period of "Humpbacked Horse", "Nikita's Childhood" and "Themes and Bugs" ends, then a grandiose failure occurs. And the Minister of Education Andrei Fursenko is trying to fill it with works that are completely uninteresting to children. Yes, Jules Verne is a great writer, but now you can’t read him. The enthusiastic description of the hot air balloon as a technical novelty makes the child simply bored to death. It is also not interesting to read about Chingachgook the Big Serpent, but today there is no alternative to this. More adult children are trying to instill love for L.N. Tolstoy by reading the novel "War and Peace". And it's not really children's literature. ten
It seems strange why they study Oblomov at school - the story of a midlife crisis, how a 30-year-old uncle lies on the couch and does not know what to do with himself. So there was no domestic teenage children's literature, and no. But this literature should appear and develop as rapidly as possible. All worthy writers should pick up and start writing for teenage children, because this niche is now occupied by no one at all. This is the only way to correct this sad situation with the lack of teenage literature.
1.9. Poor design of children's books
In general, this is not such a difficult problem as the lack of quality texts. Today, there are many really well, colorfully and competently illustrated books, and the capabilities of modern printing houses allow us to make the design of children's books better and better. Of course, illustrations in children's books should be appropriate for the age of the children, arouse their interest, and not look like they are condescending to the little ones. The work of an artist in children's books is so important that earlier, for example, the artist's name was written on the cover in large letters next to the author's name. When adults read a book to a baby, show pictures and say that “This is an evil wolf”, “And this is a bear”, “And this is a cowardly bunny”, then the content of the book is much better remembered. Good drawings develop both memory and imagination of the child. However, these simple design rules are not always observed. Therefore, parents should carefully look at the pictures in the purchased children's literature. One mother complained that the child was afraid to look at the illustrations of a luxurious and “thick” children's book of fairy tales. Carefully examining the drawings herself, she saw on the faces of all fairytale heroes some strange, disturbing expression. Perhaps this is a special manner of the artist to depict faces. Let's say. But not in a children's book! Very strange pictures come across when in a book for two or three year old kids her heroines - the same little girls - were depicted like Barbie dolls in miniskirts, and with breasts. eleven
It also happens that the covers of children's books sometimes do not correspond to the content at all, or the book is fraught with such a “surprise”: a dense, bright cover, and inside there are gray-yellow, rough pages without a single picture! Complained about the design of children's books and teachers of children suffering from severe visual impairments. There was such an action advertised everywhere: "Books for small blind children." The action itself is, of course, a very good thing, but it is a pity that the designers of the books consulted little with the teachers and parents of such children. Otherwise, they would know that in the design of such children's literature it is impossible to make drawings with "unreal" colors and sizes of objects, that is, the birds in it should not be pink, and the hare is larger than a house: it is difficult for such children to see a real sparrow, because the book should give the most reliable representation of the world around. Even in these books they used pictures of a “golden” color, which is full of and interferes with the perception of an already visually impaired baby. 12 These are, of course, really sad stories. It would be nice for publishers to be more attentive to the design of children's literature, respecting their work and trying to please young readers.
Chapter 2. The state of modern children's literature in Russia
2.1. Modern talents of children's literature - myth or reality?
Another important question regarding children's literature is whether there are really few talented children's writers now? Or is the problem not the lack of talent, but the commercialization of the book market?
It can hardly be categorically stated that there are few talented children's writers now, another thing is that it is difficult for a modern children's writer to break through the barriers of the book market. But there are also talented children's authors who are published, take, for example, Artur Givargizov. As a writer, he developed already in post-Soviet times and now has very decent circulation, various publishing houses cooperate with him - both commercial and elite. They also call other names. This is Sergey Georgiev, this is Mikhail Yesenovsky, this is Stanislav Vostokov, this is Valentina Degteva, this is Aya eN, this is Sergey Sedov, this is Boris Khan. They are published not only by elite publishing houses like "Scooter", but also by commercial ones - "Egmont", "EKSMO", "Drofa". That is, the range of modern children's literature is not at all as narrow as it might seem to a person from the outside. thirteen
So there are certainly talented authors, it's another matter that the general public may not know about them. Since if the author does not have a big name, his books are published in a small edition. Publishers don't like to take risks. If a small edition is not sold out (and it may not be sold out for a variety of reasons that are not related to the literary quality of the book), then more of this author will not be printed. So sometimes very talented people are squeezed out of the book market.
Another thing is that many parents buy their children only what they themselves loved in childhood, and new authors are treated with suspicion. And they have quite sound arguments for this, for example, often a good text is accompanied by monstrous illustrations. And sometimes people think that no new children's literature is needed at all, since all children's literature has already been written. There are great names - Chukovsky, Marshak, Lindgren ... what else do you need? And that is the way most people approach it. Of course, among the classic children's literature there are masterpieces designed for any age, but old masterpieces alone are not enough. Children are always more interested in reading about their peers, about their time. Therefore, modern children's literature is also needed.
There are two opposing points of view on the current state of children's literature in Russia. First, we have many talented authors who can write an equally talented book for children. The second - the children's book is going through a deep crisis. Since the younger generation of the country is brought up either on old fairy tales or on translated books that are far from the Russian mentality. fourteen
Finding books by talented authors on the shelves of bookstores is not so easy. Indeed, for a long time, Russian book publishing houses that produce children's literature have been publishing popular children's fairy tales in huge print runs year after year. And, probably, they did the right thing: "Fly-Tsokotuha" and "Humpbacked Horse" were and are in constant demand.
Meanwhile, there are many talented authors in Russia: Andrey Usachev, Mikhail Yasnov, Marina Moskvina, Marina Boroditskaya, Sergey Sedov, illustrators Igor Oleinikov, Mikola Vorontsov, Leonid Tishkov, and, of course, the classics of the genre Viktor Pivovarov, Lev Tokmakov, Genrikh Sapgir and a lot others. However, after visiting several bookstores, it is easy to see that it is not so easy to find books by these authors. And in general, the list of children's books presented on the bookshelves cannot be called long. fifteen
"A children's book is more difficult to create. And children need different books. They develop very quickly, what is read to them at the age of two or three years is very different from the literature written for four or seven-year-olds. At the same time, the book must be well published, in it should have bright illustrations. And very few books for teenagers. What should they read? Arkady Gaidar, Kaverin or Krapivin? But their books were written in the Soviet era and are too ideological. And when teenagers say that no other book answers the questions that concern them just like "Harry Potter", this needs to be thought about. Both writers and bookstores, and above all the state. We need to support children's publishing houses and children's authors. If, of course, we want literate and developed children to grow up in our country" , - says Nadezhda Mikhailova, general director of the Moscow House of Books. sixteen
The Russian Book Union, together with the Federal Agency for Press and Mass Communications, has developed a program to support publishing houses engaged in the production of children's books. But this program was never adopted. Do we need a government program at all? Or can you manage on your own?
As it turns out, you can. Moreover, most publishing houses have long been private. For example, the Ripol Classic publishing house decided to move away from the usual clichés and released the New Tales of the New Time series. The first to come out of print were the works of authors who had never before tried their hand at writing books for the youngest readers. So, director Mark Rozovsky recorded fairy tales that he once told his daughter Sasha. "Mezhdunarodnik" Yuri Vyazemsky composed "The Tale of the Girl Nastya and the Evil Invisible", and the writer and journalist Andrei Maksimov became the author of "Tales for You". 17
There are other interesting series as well. So, in the past few years, the Smeshariki project has gained great popularity. .
etc.................
GOU SPO "Nakhodka State
humanitarian-polytechnic college "
Extramural
Find. st. Dzerzhinsky, 9a
Subject: Children's literature with a workshop on expressive reading
Theme: Contemporary children's poetry
studentVcourse, group 851
Specialty: Preschool education
Ishimova Oksana Vladimirovna
S. Vladimiro-Aleksandrovskoye
st. 50 years of the district, 10
Control received by correspondence department:
"_____" ______________________ 200__
Evaluation of work: ____________________
Check date: _____________________
Lecturer: Yangurazova S.V.
Plan
Introduction
1. Biographies of contemporary poets.
Main part.
2. Creativity for children.
Conclusion
3. Literature for children.
Introduction
1. Biographies of contemporary poets
V. V. Mayakovsky
When V. V. Mayakovsky (1893-1930) organized his literary exhibition "Twenty Years of Work", a significant place in it, along with works for adults, was occupied by books addressed to children. Thus, the poet emphasized the equal position of that part of the poetic work, which was carried out, as he put it, "for children." The first collection, conceived in 1918, but not completed, would have been called “For the Children”. Mayakovsky sought to create a new revolutionary art for children.
In 1927, during a conversation with the staff of a Czechoslovak newspaper, Mayakovsky said: "My latest passion is children's literature: we must give children new ideas and new concepts about the things around them."
In the article “Uncle Mayakovsky did it,” M. Petrovsky rightly noted that “the main time in his poems is the future adult.” Hence - the constant correlation of today's act, today's character trait with what is useful to the child as a person of the future. This feature makes Mayakovsky's works for children relevant even today, when there are no Nepmen, bourgeois and Burzhuychikovs. These characters belong to history in socio-political terms, and today - in moral and aesthetic terms. This aspect is getting stronger.
K. I. Chukovsky.
In Russian literature, only two writers received an unofficial, but honorary title"grandfather": Ivan Andreevich Krylov and Korney Ivanovich Chukovsky (1882-1969). Moreover, Korney Ivanovich was called "grandfather Chukovsky" during his lifetime. However, Korney Chukovsky did not like being called “Grandfather Chukovsky”: after all, only a small part of what he had done in literature fit into the understanding: fairy tales, songs, riddles, nursery rhymes, translations and retellings for the smallest. And yet, no matter how significant the rest, most of his work - for older children and especially for adults - is still the most original Chukovsky - a storyteller, Chukovsky - a children's poet. His poetic tales can be called poems for kids with no less reason, and the writer and philologist Y. Tynyanov - also not without reason - called them "children's comic epic."
S. Ya. Marshak.
“Love Marshak, learn from him!” - these words, as L. Panteleev recalls, were spoken to him by A. M. Gorky back in the 20s. Indeed, S. Ya. Marshak (1887-1964) was a wise friend and mentor of many poets. working in literature. His talent was multifaceted, and his poetic energy was inexhaustible for more than half a century of creative activity.
Samuil Yakovlevich Marshak was born in 1887 in Voronezh, in the family of a master chemist. He spent his childhood and first school years in the small town of Ostrogozhsk, Voronezh province. Early, as a child, he began to write poetry, which was published in pre-revolutionary magazines since 1904. Two events had a decisive influence on Marshak's literary activity and his attitude to art. The first of them is an acquaintance with the famous critic V.V. Stasov in 1902 during the arrival of Marshak for the summer holidays in St. Petersburg. The second is an acquaintance with Gorky in Stasov's house in 1904, when Marshak was already studying at the III classical Petersburg gymnasium. M. Gorky took an ardent part in the fate of a talented young man. This meeting determined a lot in the entire further creative life of the poet. In 1904-1906. Marshak lives in the Gorky family in Yalta, studies at the Yalta gymnasium, his works, lyrical and feuilleton, original and translated, are systematically published in various periodicals. In 1906, when Gorky went abroad, Marshak returned from Yalta to St. Petersburg, and then his professional literary and journalistic activities began in various cities of Russia. In 1912 he goes to England. There Marshak studies at the University of London, travels a lot around the country, acquiring genuine knowledge not only of the language, but also of the life of the English people, their literature and art. In the summer of 1914, shortly before the outbreak of World War I, Marshak returned to Russia. Before the revolution, he continued to publish in various periodicals, making translations of English ballads.
S. V. Mikhalkov.
Sergey Vladimirovich Mikhalkov was born in 1913 in Moscow in the family of a poultry farmer V. A. Mikhalkov.
Pushkin's fairy tales, Krylov's fables, poems by Lermontov, Nekrasov were the first favorite books of the future poet. Later, his father introduced him to the poems of Mayakovsky, Yesenin, Demyan Bedny, who had big influence on the first poetic experiments of Sergei Mikhalkov.
In 1928, Mikhalkov's poem "The Road" appeared in the magazine "On the rise" (Rostov-on-Don). In the same years, he was published in the regional newspaper "Terek". The young poet is credited with the Terek Association of Proletarian Poets.
In 1930, seventeen-year-old Mikhalkov arrived in Moscow. But literary earnings did not give him the opportunity to exist independently, and before the age of twenty, the young man changed several professions: a laborer at the Moskvoretsky weaving and finishing factory, an assistant to a topographer on a geological exploration expedition in Kazakhstan, and others.
For special merits in the development of children's literature, S. V. Mikhalkov was awarded the Honorary Diploma of the International Jury for the Hans Christian Andersen Prize (1972) and the Alex Wedding Medal (1973).
Inimitable intonations of innocence, childish charm sound in Mikhalkov's poems. Children simply and joyfully see life. Maybe poetry for children is a simple art? Words are used in their original meaning, images are simple, like a reflection in a mirror. It would seem nothing mysterious, nothing magical. But isn't this magic - poems that talk about the most difficult things with boyish enthusiasm and amazement? Isn't it magic, masterfully owning a pen, to see and feel the way you did in childhood?!
A. L. Barto.
Addressing Agnia Lvovna Barto, A. Fadeev wrote in 1955 that she brought a lot of joy and benefit “to the children of our country and just our children with her creativity, full of love for life, clear, sunny, courageous, kind!”
In fact, generation after generation, kids easily remember clear, sonorous verses:
Dropped the bear on the floor
Tore off the bear's paw,
I won't leave him anyway
Because he's good.
And the older guys repeat crafty lines:
That chatterbox Lida, they say,
This Vovka invented
And when should I talk?
I don't have time to talk!
Agnia Lvovna Barto (18906-1982) was born in Moscow in the family of a veterinarian. studying in general education school, she simultaneously attended a theater school. I wanted to become an actress. Barto began to write poetry early: they were mischievous fragments about teachers and girlfriends, lyrical naive imitations of A. Akhmatova. In 1925, A. Barto brought the poem "Chinese Wang Li" to the State Publishing House. A. V. Lunacharsky became interested in her poems: having invited the beginning poetess to his place, he advised her to write for children. And so the young poetess began her career with a very important and almost undeveloped theme in the 1920s - international.
I. P. Tokmakova.
Irina Petrovna Tokmakova (born in 1929) belongs to the generation of poets that entered children's literature in the 1950s. There was a certain pattern: both in the fact that she turned to this area of literature, and in the fact that she chose one of the most difficult areas - literature for preschoolers.
Even in her school years, the future poetess had to participate in work with children. Her mother ran a distribution center for children left without parents.
“At home, we talk about children: they get sick, they get better. One has whooping cough, the other has outstanding abilities, - Tokmakova writes about her childhood, - with all this I explain that I became a children's writer.
Creativity for children
"What is good and what is bad?"
The poem belongs to the genre of didactic story in verse. This genre was widespread in pre-revolutionary children's literature. It was usually represented by weak, languid poems filled with sermons. Mayakovsky finds new techniques for creating a conversation - teaching. Firstly, the initiative of the conversation comes not from an adult, but from a child:
baby son
came to his father
and asked the little one:
What
and what is
Secondly, the older one, the father is depicted as an interested and enthusiastic person. He not only gives a didactic assessment of this or that fact, but also emotionally reacts to each situation:
If it beats
trashy fighter
weak boy,
put in a book
Send your good work in the knowledge base is simple. Use the form below
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GOU SPO "Nakhodka State
humanitarian-polytechnic college "
Extramural
Find. st. Dzerzhinsky, 9a
ControlJob
Subject:Children's literature with a workshop on expressive reading
Subject:Contemporary children's poetry
studentVcourse, group 851
Speciality:Preschool education
Ishimova Oksana Vladimirovna
S. Vladimiro-Aleksandrovskoye
st. 50 years of the district, 10
Control received by correspondence department:
"_____" ______________________ 200__
Evaluation of work: ____________________
Check date: _____________________
Teacher:Yangurazova S.V.
Plan
Introduction
1. Biographies of contemporary poets.
Main part.
2. Creativity for children.
Conclusion
3. Literature for children.
Introduction
1. Biographies of contemporary poets
V. V. Mayakovsky
When V. V. Mayakovsky (1893-1930) organized his literary exhibition "Twenty Years of Work", a significant place in it, along with works for adults, was occupied by books addressed to children. Thus, the poet emphasized the equal position of that part of the poetic work, which was carried out, as he put it, "for children." The first collection, conceived in 1918, but not completed, would have been called “For the Children”. Mayakovsky sought to create a new revolutionary art for children.
In 1927, during a conversation with the staff of a Czechoslovak newspaper, Mayakovsky said: "My latest passion is children's literature: we must give children new ideas and new concepts about the things around them."
In the article “Uncle Mayakovsky did it,” M. Petrovsky rightly noted that “the main time in his poems is the future adult.” Hence - the constant correlation of today's act, today's character trait with what is useful to the child as a person of the future. This feature makes Mayakovsky's works for children relevant even today, when there are no Nepmen, bourgeois and Burzhuychikovs. These characters belong to history in socio-political terms, and today - in moral and aesthetic terms. This aspect is getting stronger.
K. I. Chukovsky.
In Russian literature, only two writers received the unofficial, but honorary title of "grandfather" among the people: Ivan Andreevich Krylov and Korney Ivanovich Chukovsky (1882-1969). Moreover, Korney Ivanovich was called "grandfather Chukovsky" during his lifetime. However, Korney Chukovsky did not like being called “Grandfather Chukovsky”: after all, only a small part of what he had done in literature fit into the understanding: fairy tales, songs, riddles, nursery rhymes, translations and retellings for the smallest. And yet, no matter how significant the rest, most of his work - for older children and especially for adults - is still the most original Chukovsky - a storyteller, Chukovsky - a children's poet. His poetic tales can be called poems for kids with no less reason, and the writer and philologist Yu. Tynyanov - also not without reason - called them "children's comic epic."
S. Ya. Marshak.
“Love Marshak, learn from him!” - these words, as L. Panteleev recalls, were spoken to him by A. M. Gorky back in the 20s. Indeed, S. Ya. Marshak (1887-1964) was a wise friend and mentor of many poets. working in literature. His talent was multifaceted, and his poetic energy was inexhaustible for more than half a century of creative activity.
Samuil Yakovlevich Marshak was born in 1887 in Voronezh, in the family of a master chemist. He spent his childhood and first school years in the small town of Ostrogozhsk, Voronezh province. Early, as a child, he began to write poetry, which was published in pre-revolutionary magazines since 1904. Two events had a decisive influence on Marshak's literary activity and his attitude to art. The first of them - acquaintance with the famous critic V.V. Stasov in 1902 during the arrival of Marshak for the summer holidays in St. Petersburg. The second is an acquaintance with Gorky in Stasov's house in 1904, when Marshak was already studying at the III classical Petersburg gymnasium. M. Gorky took an ardent part in the fate of a talented young man. This meeting determined a lot in the entire further creative life of the poet. In 1904-1906. Marshak lives in the Gorky family in Yalta, studies at the Yalta gymnasium, his works, lyrical and feuilleton, original and translated, are systematically published in various periodicals. In 1906, when Gorky went abroad, Marshak returned from Yalta to St. Petersburg, and then his professional literary and journalistic activities began in various cities of Russia. In 1912 he goes to England. There Marshak studies at the University of London, travels a lot around the country, acquiring genuine knowledge not only of the language, but also of the life of the English people, their literature and art. In the summer of 1914, shortly before the outbreak of World War I, Marshak returned to Russia. Before the revolution, he continued to publish in various periodicals, making translations of English ballads.
S. V. Mikhalkov.
Sergey Vladimirovich Mikhalkov was born in 1913 in Moscow in the family of a poultry farmer V. A. Mikhalkov.
Pushkin's fairy tales, Krylov's fables, poems by Lermontov, Nekrasov were the first favorite books of the future poet. Later, his father introduced him to the poems of Mayakovsky, Yesenin, Demyan Bedny, who had a great influence on the first poetic experiments of Sergei Mikhalkov.
In 1928, Mikhalkov's poem "The Road" appeared in the magazine "On the rise" (Rostov-on-Don). In the same years, he was published in the regional newspaper "Terek". The young poet is credited with the Terek Association of Proletarian Poets.
In 1930, seventeen-year-old Mikhalkov arrived in Moscow. But literary earnings did not give him the opportunity to exist independently, and before the age of twenty, the young man changed several professions: a laborer at the Moskvoretsky weaving and finishing factory, an assistant to a topographer on a geological exploration expedition in Kazakhstan, and others.
For special merits in the development of children's literature, S. V. Mikhalkov was awarded the Honorary Diploma of the International Jury for the Hans Christian Andersen Prize (1972) and the Alex Wedding Medal (1973).
Inimitable intonations of innocence, childish charm sound in Mikhalkov's poems. Children simply and joyfully see life. Maybe poetry for children is a simple art? Words are used in their original meaning, images are simple, like a reflection in a mirror. It would seem nothing mysterious, nothing magical. But isn't it magic - poems that talk about the most difficult things with boyish enthusiasm and amazement? Isn't it magic, masterfully owning a pen, to see and feel the way you did in childhood?!
A. L. Barto.
Addressing Agnia Lvovna Barto, A. Fadeev wrote in 1955 that she brought a lot of joy and benefit “to the children of our country and just our children with her creativity, full of love for life, clear, sunny, courageous, kind!”
In fact, generation after generation, kids easily remember clear, sonorous verses:
Dropped the bear on the floor
Tore off the bear's paw,
I won't leave him anyway
Because he's good.
And the older guys repeat crafty lines:
That chatterbox Lida, they say,
This Vovka invented
And when should I talk?
I don't have time to talk!
Agnia Lvovna Barto (18906-1982) was born in Moscow in the family of a veterinarian. While studying at a comprehensive school, she simultaneously attended a theater school. I wanted to become an actress. Barto began to write poetry early: they were mischievous fragments about teachers and girlfriends, lyrical naive imitations of A. Akhmatova. In 1925, A. Barto brought the poem "Chinese Wang Li" to the State Publishing House. A. V. Lunacharsky became interested in her poems: having invited the beginning poetess to his place, he advised her to write for children. And so the young poetess began her career with a very important and almost undeveloped theme in the 1920s - international.
I. P. Tokmakova.
Irina Petrovna Tokmakova (born in 1929) belongs to the generation of poets that entered children's literature in the 1950s. There was a well-known pattern: both in the fact that she turned to this area of literature, and in the fact that she chose one of the most difficult areas - literature for preschoolers.
Even in her school years, the future poetess had to participate in work with children. Her mother ran a distribution center for children left without parents.
“At home, we talk about children: they get sick, they get better. One has whooping cough, the other has outstanding abilities, - Tokmakova writes about her childhood, - with all this I explain that I became a children's writer.
Creativity for children
"What is good and what is bad?"
The poem belongs to the genre of didactic story in verse. This genre was widespread in pre-revolutionary children's literature. It was usually represented by weak, languid poems filled with sermons. Mayakovsky finds new techniques for creating a conversation - teaching. Firstly, the initiative of the conversation comes not from an adult, but from a child:
baby son
came to his father
and asked the little one:
What
and what is
Secondly, the older one, the father is depicted as an interested and enthusiastic person. He not only gives a didactic assessment of this or that fact, but also emotionally reacts to each situation:
If it beats
trashy fighter
weak boy,
put in a book
This is the climax in the moral and aesthetic assessment of a bad deed. Not the deprivation of a walk or a sweet dish, but a completely new punishment. Unusual, but understandable to the baby. Related to this assessment are other particular emotional assessments of good and bad (“just a coward”, “brave boy”, “he is bad, a slob”, “although he is small, he is quite good”). The moral and aesthetic evaluation of the good also has its culmination, and again without a hint of materialism:
Brave boy
come in handy.
The poet respects the little reader, rather even the listener, he does not promise a reward for a good deed, but gives a perspective of the future: the good will be useful to the child when he grows up.
The same perspective is seen in the son's solution:
I will do well
and I will not
"This little book is mine about the seas and about the lighthouse."
In the poem “This is my little book about the seas and about the lighthouse” (1926), the theme of labor, profession is solved in combination with the cognitive task - to tell the child about the meaning and function of the lighthouse at sea. But first of all, the poet addresses the problem of a person - a worker, a worker:
Great work for the worker -
Stay all night for him
To keep the flame from going out
Pouring oil into the lamp
exceptional
Magnifying glass.
Unobtrusively, gradually, Mayakovsky convinces the child that not only the profession of a sailor, a captain is important and attractive.
And if, when reading the first stanzas of the poem, it may seem that the plot of his heroism is the captain standing in the wheelhouse, and the sailors who are accustomed to fighting against the violent elements, then then he takes an unexpected turn and we are talking about the inconspicuous profession of a lighthouse keeper:
The captain takes binoculars,
But the binoculars could not help.
The captain is so offended -
You can't even see the coast.
The wave will whirl,
And a shipwreck.
Happy sailor:
The lighthouse lights up.
The poet does not aim to show unusual events, dangerous adventure. He deliberately refuses to be action-packed, the reader gets a feeling of tension in the situation. Mayakovsky achieves this primarily through the structure of the verse.
Using paired (adjacent) rhymes, he gives the poem a special tone, full of restrained drama: “Furious winds are blowing, sailing boats are driving”; “In the evening, and also at night, it is very difficult to swim in the sea,” etc.
Internal tension grows, reaches a climax, but, like a wave, it subsides when the poet begins to talk about the lighthouse, its role and purpose. This brings us to the second part of the poem. The reader is inspired with confidence that the lighthouse, which "every evening, closer to night" is lit by a worker, will lead everyone who swims - the captain, sailors, passengers - to a quiet bay:
There are no waves
No thunder
The children are dry, the children are at home.
The poem ends with an emotional appeal of the poet to the children:
My little book calls:
Be like a lighthouse!
To all those who cannot swim at night,
Light the way with fire.
So the theme of labor, profession is permeated with a humane thought about the need to live for people.
"Crocodile". K. Chukovsky
When the “Crocodile” appeared, bewildered voices were heard: for some reason, from this poem you don’t learn anything about the crocodile itself - what it feeds on, where it lives ... But the author did not set such a task. His fairy tale is an artistic, not a popular science creation. And the crocodile here is not really "biological", but conditionally fabulous. So it is necessary to evaluate the fairy tale in a completely different way.
“The valiant Vanya Vasilchikov” from Chukovsky’s poem, the one who “walks the streets without a mother”, according to the canons of the former children's poetry, was bound to get lost, become a victim of some kind of incident. In Chukovsky, he not only does not get into trouble, but is glorified twice in a row as the savior of Petrograd from a furious reptile ... "
The child is in the center of the plot, the child is active, inquisitive and always winning - that's the protagonist most of Chukovsky's fairy tales, the list of which was started by "Crocodile". Even where there is no such hero formally (say, in “The Fly-Tsokotukha” or “Cockroach”), even there the hero who helps everyone out resembles a mischievous boy - though not just mischievous, but also fearless (Komarik. Sparrow or later, Bibigon). It is no wonder that the children immediately noticed the "Crocodile" and appreciated it at its true worth.
There are a lot of rhymes in this poem - not only external, but also internal. The rhymes here resonate, reflect from each other, echo each other, and, of course, this contributes to the fastest memorization of verses: one line pulls along another:
High school students behind him
Chimney sweeps behind him
And push him
They hate him...
That Kokoshenka Leleshenka strikes,
That Leleshenka knocks Kokoshenka.
Critics have found and continue to find in "Crocodile" numerous borrowings from Russian classical and folklore poetry.
These borrowings also showed the poetic inexperience of the author, who in The Crocodile was just trying out how best to write for children. Although borrowings will not completely disappear in his subsequent tales.
"Children in the summer". S. Marshak
One of the very first books for little ones - "Children in a Cage" - was written by S. Marshak in 1922. By genre, this is a cycle of poetic captions for pictures. Poetry cycles will subsequently be often found in Marshak's poetry (“Colorful Book”, “Forest Book”, “All Year Round”).
The poems of the cycle "Children in a Cage" are concise, humorous, playful. They are small in size: two or four, rarely eight lines. They give specific, clear features of the appearance or habits of animals. It could be a monologue:
Hey, don't get too close -
I'm a tiger cub, not a pussycat!
Sometimes this monologue humorously exposes the character:
I am a young ostrich
Arrogant and proud
When I'm angry, I kick
Callused and hard.
The self-disclosure is humorous, not satirical. in the monologue, the shortcomings and weaknesses of the ostrich are also named:
When I'm scared, I run
Stretching my neck.
But I can't fly
And I can't sing.
In other sketches one can hear a direct appeal to the little listener, an invitation to become the author's interlocutor:
Look at the little owls -
The little ones sit side by side.
When they don't sleep
They're eating.
When they eat
They don't sleep.
The last four lines are an aphoristic changeling, double-addressed, but outgrowth.
In his poems addressed to children, Marshak, like Chukovsky, does not try to squat in front of the child, but develops his feeling and mind, enriches him with associations.
Sometimes a poetic sketch begins with a generalization-meditation:
Picking flowers is easy and simple
Small kids...
This is the beginning of the quatrain about the giraffe. And this quatrain ends with a contrast, in which the main thing is noticed - the growth of a giraffe, - the difference from everyone that immediately catches the eye of a child:
But to one who is so high
It's not easy to pick a flower!
"Uncle Styopa". S. Mikhalkov.
Every literary hero who has captivated the hearts of readers has his own secret of charm. Kind and cheerful children's favorite Uncle Styopa from the trilogy "Uncle Styopa" (1935), "Uncle Styopa - a policeman" (1954), "Uncle Styopa and Yegor" (1968). In directness and kindness main secret hero charm. Uncle Styopa's attitude towards people is determined by a childish selfless faith in the triumph of good.
What is the peculiarity of Mikhalkov's humor?
As paradoxical as it sounds, the poet never makes children laugh on purpose. On the contrary, he talks seriously, gets excited, perplexed, asks, speaks with passion, seeking sympathy. And the children laugh.
Sergei Mikhalkov is not an actor, but when he is asked to read "Uncle Styopa", he reads in a way that no one else can, as if with all his heart sympathizing with a person who is so uncomfortable with his height. Uncle Styopa is worried before a parachute jump, and they laugh at him:
The tower wants to jump from the tower!
In the cinema they tell him: "Sit on the floor." Everyone comes to the shooting range. It's hard to have fun, but it's hard for poor Uncle Styopa to squeeze under the "low canopy". He barely got in there. So the author reads, as if wondering: why is everyone laughing? What's so funny?"
Children are very entertained by the fact that Uncle Styopa needs to raise his hand, and he will seem like a semaphore. What would have happened if he hadn't raised his hands? Crash. And imperceptibly, the understanding of the unity of the mundane and the heroic, simplicity and greatness enters into the minds of readers. “He stands and says (isn’t it easier?): “Here the path is blurred by rains.” The possibility of catastrophe arises in the mind of the child only fleetingly. The main thing is different: "I deliberately raised my hand - to show that the path is closed."
In this comic situation, the nobility of character is fully and at the same time unobtrusively shown. It's funny that a person can become a semaphore, reach out to the roof. But at the same time he saves people.
During the war Sergei Mikhalkov was at the front. About his hero-sailor Uncle Styopa, the poet added a continuation about how he sailed on the battleship Marat and "was wounded a little while defending Leningrad."
But now the war is over - new poems have appeared. They were called "Uncle Styopa - a policeman." An old friend of the guys is on duty near a high-rise building on Vosstaniya Square.
Uncle Styopa was recognized and loved by the guys from different countries because everyone liked the poems about him so much that they were translated into many languages. The artists made an animated film, and the actors played the play "Uncle Styopa".
Why did everyone love Stepan Stepanov so much? Maybe because he's a giant?
But after all, in different fairy tales there are so many giants whom no one loves, but everyone is only afraid! These are bloodthirsty cannibals and the ferocious Karabas-Barabas and many other characters in children's books.
"The main regional giant" of their poems Mikhalkov is loved for that. that it helps both children and adults. But for hooligans, he is a thunderstorm. And reporters from overseas newspapers, as soon as they found out that the father of the champion Yegor had a police foreman, they bowed
sorry in english
I. closing the tape recorder,
They quickly ran out.
Satire in Mikhalkov's poems on social and political topics expresses the poet's rejection of the negative phenomena of reality, disgust for the vices of capitalist society. Such are satirical works with a bright political coloring, "Millionaire", "There is such an America", as well as "Uncle Tom's Cabin" - a political pamphlet written in a sharply satirical plan. The author thickens, concentrates the negative, exposing in merciless criticism the vices hidden behind the external gloss. Publicity, poster generalization of political poems do not interfere with the emotional perception of their readers.
"Zvenigorod". A. Barto.
serious social topics continues to develop Barto after the war. In 1947, she created the poem "Zvenigorod" - about an orphanage in which children who were orphaned after the war live:
Here from all over the country
Gathered guys:
To this house in the days of war
They brought it sometime.
The poem is based on living life, poetically reproduced by A. Barto. The poetess creates expressive portraits of children, reveals the depth of their experiences:
Suddenly there is silence
Children remember something...
And, like an adult, by the window
Suddenly, Petya falls silent.
Klava had an older brother,
curly lieutenant,
Here it is on the card
With one-year-old Klava.
Severe, restrained intonations are permeated with lines that speak of the bitter memory of the war that lives in the hearts of children. But the poetess is unusual for a one-sided depiction of life. She knows how to convey the fullness of events. Barto refers to the active principle in the children's team:
On the river since eight o'clock
I play games
The whole Zvenigorod is ringing.
Drene the name of the city in these lines is filled with a new meaning. Zvenigorod becomes a symbol of the sonorous childhood preserved by the vast Soviet country.
The children of Zvenigorod are one family:
Green forest in the distance
Seen through the bedroom window…
thirty brothers and sisters
They go far into the forest.
And in winter ride from the mountains
And warm up by the stove.
Thirty brothers and sisters
Noisy family.
Barto emphasizes that children do not feel disadvantaged here. The plot is based on a joyful event: the preparation and holding of a collective birthday. Children's emotions find the most lively and direct expression:
I am six years! -
Nikita screams. -
I was born today!
…………………….
Serezha shouts miracles. -
And my birth too.
From the story about the holiday, the poetess moves on to the theme of the unity of children and adults.
The orphans are taken care of by an aviation colonel who lost his son during the war, and a worker from Trekhgorka who rescued these children during the bombing. They consider the children of Zvenigorod to be their own: “This is what a family is like here - daughters and sons here.” Kids are dear not only to those. Who came to visit on June 1st for a collective birthday, but the whole country. And the main idea of the poem: the children of Zvenigorod are happy and full citizens of their homeland. Barto finds amazing words that prove the care of the country for each of its citizens:
About every child
The country thinks.
Thirty young citizens
We fell asleep ... Silence.
The poem embodies the main features of the poetic skill of A. Barto. The original material for it was the true facts. Thoughtfully comprehended by the poetess. The heroes of the poem are not faceless girls and boys. Each of the children has his own character: Petya, Lelka, Nikit, Klava, Seryozha. Characters are revealed in actions. Barto tells how the guys draw, play, clean the house, clean the garden. In the poem, lyricism is closely connected with humor. In a joking manner, it is said about how carefully the guys cleaned up in the garden:
So clean path
What's tiptoeing over her
Even the cat walks.
The author correctly notes the features of child psychology, the peculiarities of the perception of events by children of different ages. For example, about Lelka, who was small in the days of the war and does not remember anything. A. Barto surprisingly succinctly and laconically says that she "does not know how to remember - she is only three years old."
It is very important that A. Barto raises specific life facts in this poem to the level of a typical generalization. It leads the child reader to the idea of the unity of all and the brotherhood of all citizens.
"Summer rain". I. Tokmakova.
The book is divided into several sections. In one - poems from the collections "Trees", "Grain", "Where the fish sleeps", "Merry and sad", "Conversations"; in the other - poetic tales (" Evening tale”, “Crow”, “The Tale of the Sazanchik”, “Kittens”); in the third - the prose stories "Rostik and Kesha", "Alya, Klyaksich and the letter "A".
Captions for pictures, counting rhymes, lullabies, lyrical poems, plot, play poems, poetic fairy tales, poems - such is the genre range of Tokmakova's poetry.
In criticism, not only the multi-genre nature, but also the evolution of the poetess's work was repeatedly noted (S. Baruzdin, V. Berestov, V. Prikhodko). Starting with a lullaby and a cheerful game verse, Tokmakova comes to the development of serious life problems and, as V. Prikhodko accurately noted, to the problem of a positive hero - a child.
The lyrical hero of her mature poetry is also a preschooler, as in her early poems. He is also a dreamer. He sees blue, gold, and even “no” countries at all, inhabited by blue, gold and “no” people, horses, turkeys, just as the hero of early poems presented birch and willow as girls, and old firs and young Christmas trees - grandmothers and grandchildren.
But the similarity, perhaps, ends there, because the framework of the surrounding world has moved apart in perception. lyrical hero poetry of Tokmakova in the late 70s - 80s. He absorbs into his consciousness not only the positive, but also the negative aspects of the environment and, in his own way, childishly, counteracts the latter:
I can stand in the corner
I can do an hour, two can or five.
I did not take this red cufflink,
Well, why are you talking in vain!
Repeated twice (only in the second line instead of the word "hour" - the word "day"), this quatrain makes up a complete poem. It would seem, why repeat? And it is necessary: with the help of this technique, the author emphasizes both the child's conviction that he is right, and his readiness to defend it, and resentment at the injustice of adults.
The injustice of adults towards a child is a very serious conflict developed by the poetess in such poems as “this is no one’s cat”, “I hate Tarasov”, “How Friday drags on for a long time”, “I can stand in the corner”. But here, too, Tokmakova's poetry does not lose its inherent major. Only the nature of the major changes. Previously, she was a naive acceptance of all new impressions: “Little apple tree, make friends with me!”, “Fish, fish, where do you sleep?”, “Where do birds and animals hide?”, “Let’s go along the bridge, we’ll come to visit the sun ". Now this is an active manifestation of his position by a small person: “But he is quite an adult - he could not tell a lie!”,! I hate Tarasov. Let him go home!”, “I didn’t take this red cufflink, why are you talking in vain!”
Tokmakova's poems are full of inner movement, even when, as in the examples given, they are monologues of a lyrical hero.
Tokmakova's poetry was dialogical, as critics noted, already in the early period: questions and answers, riddles and riddles - salient feature her skills:
Who said that the oak is afraid to catch a cold?
After all, before late autumn it stands green...
Is this berry
Just not mature
Is it a sly mountain ash
Want to play a joke?
("Rowan")
In the mature poems of the poetess, dialogic becomes polemical, its content changes:
It's nobody's cat
She doesn't have a name.
At the broken window
What kind of life does she have here?
She is cold and damp.
The cat's paw hurts.
And take her to an apartment
My neighbor won't let me.
In every line there is a controversy with soullessness: pain for a "no one's" cat, a protest against those who offend the weak. Tokmakova's poetry is humanistic poetry, it awakens active kindness, develops in line with those moral ideas that were inherent in both the oral art of the people and classical literature.
Conclusion
Literature for children
Literature for the younger generation, in the aggregate of its constituent works, historically represents a unity that is complex in terms of moral and aesthetic parameters, significant in terms of volume, based on the progressive traditions of oral literature. folk art and classical literature, domestic and foreign.
In the first period of its existence in Russia, children's literature was dominated by upbringing and educational functions. Children's literature is those works that are created by writers for the younger generation. Being pedagogically purposeful, children's literature should not rationally, edifyingly narrow the scope of the artistic study of reality. Revolutionary democratic critics struggled with such a limited understanding of the specifics of children's literature, and later their traditions were continued by M. Gorky, K. Chukovsky, S. Marshak and others. In the 1920s, the establishment of a new moral and aesthetic position of children's writers began. They tried not to be "above" the child, not away from him, but next to him, in the interview, in the community. Correspondingly, the level of depiction of reality also changed: the intimacy, isolation in the children's world left, the doors to Big world. And as a regularity - the emergence of a new hero - a child with the features of social activity.
The mechanical transfer of the experience of literature for adults to literature for children led to the failure of even such talented writers as K. Chukovsky (“We will overcome Barmaley”), S. Marshak (“The Tale of the Smart Mouse”), A. Barto (the collection “Everyone Learns” ).
Fairy tales - parables by S. Baruzdin help answer many questions that children ask adults: about fish, sparrows, turtles, ostriches, snails and other inhabitants of the planet. The book includes fairy tales: “Why are fish silent”, “Snail”, “Sparrow”, “Ostrich and turtle”, “Sly mouse”, “Giraffe and jerboa”. These fairy tales continue to develop one of the most urgent problems of modern children's literature - the theme of human communication with nature. All of them are united by a humane thought about the need for kindness and friendship, they bring up in children a bright and poetic attitude towards the animal world.
Bibliography
1. Zubareva E. E. "Children's Literature". - M. "Enlightenment", 1989
Second, older. t not from an adult, but from a child: rate. He was usually represented by weak, listless poems
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