Introduction. 3

1. Socio-political themes in “The Tale of Petya, the fat child, and Sim, who is thin.” 4

2. Images of children in poetry. 7

3. Originality of poetic manner, satire and humor, lyricism, combination of playful and didactic elements. 8

4. Practical task. A story about the poet, accessible to older preschoolers. eleven

Conclusion. 13

Literature. 14

Introduction

Mayakovsky's works for children are a major and unique phenomenon in literature.

Their originality lies in the fact that Mayakovsky, turning to children, did not abandon either the political nature of his works or the high civic pathos. No one before Mayakovsky touched on modern themes for children.

The struggle for realistic poetry for children, saturated with modernity, connected by the strongest threads with the life of the people, courage of thoughts and fervor of feelings - this is what, first of all, distinguishes the poet’s works.

“It is difficult to name any other works in the 20s that were equal to his poems in terms of the power of revolutionary influence on the broad masses of children, in terms of the power of influence on the development of literature for children...

Tale from modern life and a pioneer song, political lyrics and satirical poems, a lyrical poem glorifying the work and everyday life of socialist construction, and stories in verse (about animals, about travel, on ethical topics), a journalistic essay and a feuilleton in verse - this is not a complete list of topics and genres of works publishing house of children's literature of the Ministry of Education of the RSFSR, 1961, p. 5).

Mayakovsky first turned to children's literature in 1918; the poem was written by him two weeks before his death.

Each new poem for children was a kind of declaration of an innovative poet. His "Children's" fell in love with young readers immediately. “His books are being snapped up like water on a hot day...” testified “Evening Moscow” (1930, July 15).

It is characteristic that in the "Children's Room" along with the heroes of the works, the image of a lyrical hero - a poet - appears. He not only shows, but also explains life to children.

His "Children's" - Lyrical knowledge of life.

Children are the future of the country. The feeling of the rapid movement of life, the thirst for knowledge, activity, passion of feelings and thoughts - this is the main thing that characterizes Mayakovsky’s children’s poems. The child feels like a master in the “Children’s room”. He is on an equal footing with the lyrical hero - the poet. He strives to imitate him, to act in the same way as lyrical hero works. "Children's" is a multicolored, polyphonic world in which "all works are good."

For adults, Mayakovsky wrote "Good!" and “Bad” (under the latter name one can conditionally unite all of his satire, including the plays “The Bedbug” and “Bathhouse”), and for children he writes “What is good and what is bad?”

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 status of that part of the poetic work that was carried out, as he put it, “for children.” The first, conceived in 1918 but never completed, would have been called “For Children.” The materials prepared for him convince us that Mayakovsky also sought to create new revolutionary art for children, and that the idea of ​​intimate “children’s” themes was alien to him.

In the article “Uncle Mayakovsky Made” M. Petrovsky rightly noted that “the main time in his poems is the future adult.” Hence the constant correlation of today's action, today's character trait with what will be useful to the child as a person of the future. This feature makes Mayakovsky’s works relevant for children today, when there are no Nepmen, bourgeois and Burzhuychikovs. These characters belong to history in a socio-political sense, and to today - in a moral and aesthetic sense. This aspect of Mayakovsky’s poetry for children is becoming more and more effective.

“The Tale of Petya, the Fat Child, and Sim, the Thin Child,” was written in 1925. This is the first children's work by Vladimir Mayakovsky. Once upon a time, in one of his early poems, the poet uttered such a blasphemous phrase: “I love watching children die.”

We don’t know what Mayakovsky was thinking when he wrote these words. Perhaps it was meant that children should stop being children as soon as possible, grow up, and turn into adults.

1. Socio-political themes in “The Tale of Petya, the fat child, and Sim, who is thin.”

Mayakovsky's poems for children are one of the brightest, most significant pages in Russian children's literature. Although he does not have many children's works - several poems, several songs for young pioneers, fairy tales in verse and a number of scripts for children's films - their significance is enormous. How can one explain the secret of V.V. Mayakovsky’s popularity among his youngest readers and listeners? One of the reasons for this success is that the poet did not limit the content of his works to special “children’s” themes, did not “imitate” himself as a “kind uncle” who knows everything and understands everything. However, this is not the main point.

A writer who directs his work to children must have “a gracious, loving soul, an elevated, educated mind.” These words belong to the great Russian critic, a deep expert in child psychology, V. G. Belinsky, and in them lies the answer to why the poet is so loved by young listeners. After all, Mayakovsky not only loved children - he knew their interests and concerns well, felt and subtly grasped the requests of the “children's soul” and willingly responded to them. Back in 1918, V. Mayakovsky intended to publish a collection of poems entitled “For Children.” The poet was unable to carry out his plan, but the surviving materials of the collection clearly confirm the idea that for Mayakovsky there were no special “children’s” themes, and that children’s literature, in his understanding, is literature of large themes, closely connected with the social and political life of the country.

In this regard, “The Tale of Petya, the Fat Child, and Sim, the Thin Child” (1925) is of great interest. In fact, this is the poet’s first work written specifically for children, but the exposure it contains of the disgusting essence of philistinism, philistinism, on the one hand, and the affirmation of new human relations born of October, on the other, bring it closer to a number of poems about the NEP, class struggle, addressed directly to the adult reader. Mayakovsky very skillfully introduces the child into the complex world of class relations for him. The poet begins the poem in the rhythm of a child’s usual rhyme:

• Lived once
• Sima and Petya. Sima and Petya
• there were children. Pete 5,
• and Sima is 7 - and everyone is 12 together.

K.I. Chukovsky writes, emphasizing this feature of the beginning of the “Fairy Tale”: “You read these lines and involuntarily make the same gestures that every child makes before starting a game, saying a counting rhyme among five or six of his peers.” And then the image of a bourgeois - Petya's father - is immediately given. By deliberately enlarging and exaggerating certain aspects of the character of this character, the poet at the same time strives to ensure that the image does not lose its concreteness and does not violate the ideas about good and evil that are familiar to children:

• Petya's dad and, like an important gentleman,
• was important: in the whole house
• There was only one person living in a five-story house.

This description made the image of the bourgeois concrete and more clearly emphasized the essence of his nature as an owner, a Nepman. The second part introduces the child into a world familiar to him, which he loves and appreciates: Sima’s father is a “swashbuckling blacksmith”, a strongman (“at any moment he raises a pood with his finger”), and most importantly - “Sima’s dad is smarter than everyone, he’s everything in the world.” can." Mayakovsky, as it were, “isolates” such artistic details that make the images of Sima and his father very close to the children: on the table they have cabbage soup and porridge, tea in a colorful mug (“the workers have no money”). The further opposition becomes clear: “rubbish and Petya and parents; their general appearance is disgusting,” but “Sima is clean, cleaner than soap, he washed himself, and his mother washed him. Sima looks strong, radiant, breathing with joy.” Therefore, such a contrast is necessary for children to understand social cause these differences: the children of workers cannot, do not have the right to be different, because they are “proletarians”.

IN further development During the events in the fairy tale, animals actively intervene: they deal with Petya, the “glutton”, “oppressor of animals”, provide assistance to Sima, and give him gifts. Due to a mistake by the postman, Petya (the policeman sent him by mail to his parents) ends up in a store, first swallows everything edible, and then scales, weights and cabinets; finally, it bursts with effort, and everything swallowed flies to the feet of the October children, who sat down and ate all the food with delight. The tale ends with the poet’s address to the children:

• Love the work, children, as it is written here. Protect
• everyone who is weak, from the bourgeois clutches. So you will grow up

It is important that this appeal does not look like a boring moral teaching in Mayakovsky, because the children were already prepared for it by the development of all the events in the fairy tale. As noted above, the poet uses the main techniques of contrast and hyperbolization of the actions and actions of the heroes. Special attention One should pay attention to the role of artistic detail in the poem. Mayakovsky knows the reader perfectly, his interests, and life experiences. It was from here that such finds as “the servant carries a hundred baskets” (children most often express the idea of ​​plurality with the number 100), “he eats and waves his hand to his mother” (a characteristic childish gesture), Petya’s dad “sold candy in the shop” ( children associate their idea of ​​well-being in the family with the presence or absence of sweets), Sima’s father “found a wheel and was glad - he made Sima a scooter” (a favorite children’s toy).

It should also be noted that the first two parts of the tale are devoid of action, they are static: it is important for the poet that young readers understand the essence of the characters of fathers Petya and Sima, this prepares them for the perception of those extraordinary events that will occur in the following chapters. Events take on special dynamism from the moment when Petya Burzhuychikov, throwing a puppy, crushed his “nose and four knees”: Suddenly, out of nowhere, a hundred crows fly down. All grinning, the jackal came from behind the forest. Using traditional forms of folk tales, Mayakovsky castigates in the eyes of children what is alien to the new society, which he “inherited” from bourgeois life and morality. At the same time, very naturally, without falling into edification, he affirms what is new that the revolution brought with it, glorifies work aimed at the good of society, humanity, the greatness of true friendship, collectivism.

Mayakovsky addressed more than 20 works to children: “What is good and what is bad”, “Every page is an elephant and a lioness” - “The Tale of Petya, a fat child, and about Sim, who is thin”, “Who to be?”, "May Song"

A significant part of the creative M. – constantly looking to the future. In this sense, children's poetry has become a continuation of adult poetry. To the creative d/children M. returned soon after the revolution and considered it as an integral part of the program for the construction of socialism and the formation of socialism. programs.

1918 - M. intended to publish the book. “D/Children” from 3 verses. 1 of them is “Flying Clouds” - a verse-game (illogical, unexpected metaphors). Later M. in verse. “The Tale of Petya...” has an open revolutionary orientation. The plot is based on the contrast between Sima and Pete. Each character has his own world around him: S.’s world is bright, kind; P. and his family are dark, evil (even their last name is Burzhuychikovs). When creating images of the Burzhuychikovs, M. uses satirism. grotesque. The image of Sima and his father is underlined. love of work. Every. head of them its watered painted. ending.

M.'s desire to create new poetry for children ran into misunderstanding, and sometimes even hostility, from critics of NarkomPros. Judging objectively, this fairy tale is for them. your shortcomings (you can instill in your child the idea that all fat people are bad, and all thin people are bad, which is not pedagogical; the scene from real life is implausible, k/d Petya died of gluttony). But at the same time, production. them. fabulous elements, many complex rhymes, the language combines public. and street vocabulary, polit. words are easy to remember. children. M. strives to create a DL that will explain to them the basics of socialism and help them understand modern times. life.

1925 - “What is good and what is bad.” In verse. 2 life criteria have been revealed that give the child guidelines in the world, in the cat. he lives. Compositionally constructed as a chain of miniatures, the form is didactic. instruction. M. found new techniques for creating a teaching conversation.

2) the father does not give an assessment of phenomena, but also of emotions. reacts to everything;

3) the unity of t-ta and ill-th - this conversation-teaching acquires a new one. quality

The speech is clear and understandable to the child.

1925 – “We’re walking.” Poem. teaches you to distinguish between “chorus.” and “bad” in the environment. world. T/w use method of combining t-ta and rice.

- “What is not a page is an elephant and a lioness.” You can call this genre like poetry. Caption for fig. These poems are full of subtle humor.

- “This little book of mine is about me and about the lighthouse” - for children. memories M.

1928 – “Who should I be?” Use again the form of a series of miniatures, connected with 1 topic - choice of profession. Written on behalf of the child. M. doesn’t just talk about the professor, but creates an image of each one. Use sudden changes in rhythm, unusual. rhymes. M. understood that children and schoolchildren require different books.

M.'s poetry has given and continues to provide food for the imagination. young readers diff. ages.

S. Ya. Marshak (1887-1964)

His creative multifaceted, like his personality. He is a lyric poet, a translator, a satirist, a theorist, a critic, a researcher of children’s reading problems, and a practical scholar. teacher, and esthetician, and lit. ed. Poet. his talent developed early. He was introduced to Gorky, and M. lived in his family for 2 years.

Biography.

1922 - moves to Leningrad. Together with the folklorist scientist O. Katitsa, he runs a studio for young writers. Created almanac "New Robinson".

1924 – report “On the Great Lit.” for small children" at the 1st All-Union Congress.

In the 20s Many of M.'s fairy tales are published, innovative in pathos and form. Rep. represents a refraction of the people. motives, aesthetics, morals. Fairy tales are filled with philosophers. wisdom, joy of being, kindness and at the same time. - ironic revelation. bad.

The 1st stage of M.’s entry into the DL is dramaturgy (fairy tale plays: “The Cat’s House”, “The Tale of the Goat”, “Parsley”). The first plays were born from folklore. and resembled games. The plots are simple, but well developed. with grace and humor. Replies and monologues are laconic, but expressive. Peculiarities:

Episode repetition

Continuity of action.

The play “Terem-Teremok” (1940) is based on the well-known story. folk tale. M. was introduced into it by the playwright. the conflict between good and evil gave the images a certain prominence. added some heroes. – removed. Written in verse with alternating prose. replicas.

“Cat House” is a kind of children’s home. domestic drama. Born from a 4-line counting rhyme. Theatergoer. M. made the scene more detailed, explained the previous one. events, gave rise to the conflict. Lastly the editors introduced a polyphonic choir at the beginning and end.

"12 months" (1943) – written. based on folklore tales about a stepdaughter and an evil stepmother. By genre. esp. – this is lyrical. comedy from fairy tales science fiction motives. Satyr. communication motives with images of the queen, stepmother, daughter. In the center is a satyr. conflict between them (far from nature) and the forces of nature, embodied. at 12 months 2 conf. – social (m\u003e stepmother and stepdaughter).

- “Children in a Cage”; "Tales about smart and stupid mouse"; "Baggage"; "Fire", "Mail".

The subjects and themes of M.'s poetry, even for 3- and 4-year-old children, are always sharp and modern. Particular children. M.'s poetry is constant non-stop. movement. In them, people and things ride, run, and walk around children. During this movement. oblig. something is happening (verse: “He’s so absent-minded from Basseynaya Street”).

In verse. M. is dynamic every time. line, elastic rhythm, distinctly each. word. Large M paid attention to the composition of the verse: his verse, without losing its integrity, breaking it down. into a row of small ones.

M. wrote entire stories, novellas, poems, and ballads. They are distinguished by the visibility of details, authenticity. images and precise decree. on the cord valid Every. plot twist accompanied by changing the poetic rhythm. The narration is enriched by verse instrumentation (music).

Educate sense of humor “Baggage”, “The Tale of Ch. mouse.”, “He’s so absent-minded...”. There are different types of laughter in poetry: kind, ironic, cheerful and sad, encouraging or revealing. But his laughter is not an end in itself, but a way of developing creativity. thinking in a child.

In the miniature cycles “Children in a Cage”, “All Year Round”, “Multi-Colored. book”, “Happy Journeys from A to Z” is given to the learner in a special way. Info: it is a solution. in lyrical surroundings. Very poet carefully processed poet. form, avoided adj., made sure that b/w words did not merge.

“Children in a cage”: the semantic emphasis is transferred from the animals themselves. on their perception of lyricism. hero. Add to humor. sadness, sympathy, ironic sympathy M.’s special merit is the creation of publications of poetry for children. (topics of labor and civic education). belonged to him. and 1st polit. pamphlet for preschool - "Mr. Twister." Thank you M. property of the Russian language. the child became a slaughter. poetry and other poets of the Sov. rep. 1952 – transl. Giani Rodari.

M. t/f was the editor of the DL and a mentor to young writers. M. and other editors of Detizdat, etc., appreciated everything well. taste, skill excellent. real DL from pseudolites. The expression M. “big lit. d/small” became winged.

K. I. Chukovsky (1882-1969)

N.V. Korneychukov together with Mayak. and Marsh. became the founder of the owls. DL. He is a multifaceted personality. He was illegitimate. the son of a peasant woman and a student and was expelled from the gymnasium, but having passed the exam as an external student. to ex. for the gymnasium course, he is independent. mastered English language and became the first translator of the American poet W. Whitman (further biography - in the book). He was a literary scholar, critic, poet, publicist, translator, artistic theorist. translation.

1909 - 1st article about children “Save the Children”.

1911 – “Materials about children’s t-s.”

At the same time, Ch. begins to study the development of Russian. language and in parallel the development of children's children's speech and word creation. The beginning of creativity d/det. - poem. fairy tales.

1917 – “Crocodile”. The fairy tale is based on the theme of love for animals. But the content goes beyond 1 topic. It was blunt and frank. a challenge to cheesy children's verses. When creating children. Ch.'s knowledge of Russian tales helped. Class. poetry and spoken word. creative

Poem. fairy tales Ch. m. title. poems for children. They are understandable to children, and at the same time - this is the present. poetry. The children immediately accepted Ch.'s fairy tales, willingly memorized them and recited them. Already the first to be creative. experience Ch. declared himself as the creator of the original. poetry for children, joyful, sonorous, cheerful poetry.

Article in gas. "Speech" under the name. “Oh Det. language” did not find a response from the readers, but Ch. continued the observation. for the children. A series of essays in “Red Gas” (Leningr.) resulted in a book. “Little Children” (1928), and also several others. years - book. "From 2 to 5." This is a fundamental work about the child, about his psyche, about his assimilation of the environment. the world, oh its vastness. creative possibilities. Ch. wrote a book. more than 60 years. He believed that they. between the ages of 2 and 5 years, any child commits. feat: in just 3 years he masters Russian wealth. language. Moreover, he masters it not like a crammer, but creatively.

1 of my children's favorites. fairy tales "Confusion" is entirely built on shapeshifters, loved by children. Changeling is a fun game and therefore it is useful for development. child.

From the ed. to ed. Ch. improved. your book., extra. her new discoveries. Gradually Ch. found out that the peak was a poet. giftedness coming. for 3 years - this is the most favorable. education time children. Huge material collected. Ch., allowed him to add to the book. new chapter dedicated to children to poets (“Commandments to children’s poets”), where he summarized his experience and the experience of his fellow writers. There are 12 commandments in total (1 - poems should be graphic, a poet should think in pictures; 2 - the fastest change of images; 3 - a poet-draftsman should be a poet-singer; 4 - mobility and changeability of rhythm; 5 - increased musicality poet. speech (the doll is furious); 6- words with rhymes that carry the meaning of the phrase; 8- each verse is a complete whole; 9- do not clutter the verses with adjectives; -poems - a game; 12- poetry for children and adults with poetry; 13- adapt the child to yourself).

Shortly before his death, in the article “Confessions of a Storyteller,” Ch. formulated another commandment: “A writer for small children must certainly give happy. Happy like those d/cat. he creates."

A. Barto (1906-1981)

She's talented. unique a poet with his own style. In her satyr. The influence of Mayak is noticeable in the poems. she taught. the art of creating new forms, boldly using. assonant components, freely changed the size in the stanza. B. prefers. speak directly to the reader in an educated manner. Topics.

She belonged to idea of ​​the book on the topic “General. child's behavior." B.'s satire is always muffled by soft lyricism. intonation, hence the name. her poems are pure satire or journalism is difficult.

B. wrote her first successful poem in mid. 20s “Chinese Wang-Li”, “Thief Bear”, “Pioneer”, “Brother”, “May 1st”. Their themes reflect the new interests of the children, so they were very... popular in children and their parents. Most often in production. B. lyric. hero performance conc. child and psychologist the portrait is drawn clearly. The main thing in the depiction of children and what they have in common is their realism, not externally, but internally. truth of the image. And at the same time, she is a poet. det. In portraits, the living individuality is summarized to be easily recognizable. types. Lots of poems. name children's names B.'s poems are usually named after him. the form of a lyrical miniature. Them. This form brought B. fame as a classic of children. poetry. This form to them. cycle “Toys”, verse. “Flashlight”, “Mashenka”, “Mashenka is growing”. The stories are in verse. completed within och. small number of lines (within 4 lines), but they have a beginning, a resolution, a specific one. facts, and morals. generalizations. These verses express. natural morals feeling, cat. is formed not by the teaching of adults, but by the very interaction with your favorite toys.

B. introduced a new lyricist into poetry. hero - the Kid, immersed in his spirit. world.

Stylistically, the poems reproduce the features of children. syntax and children. speech. In each line simple sentence No puns or usage. figurative words meaning Such speech rigor corresponds to the characteristic correct speech of children. Often B. used. compound rhymes (paw - on the floor, crying - ball), but they are easy to remember. and perceived det. They are from ud. having memorized and declamir. these verses.

B. was interested in the psychology of children in important ways. moments of life, e.g., film appearances. younger brother or sister (the “Younger Brother” cycle).

In the pre-war years B. creates the image of owls. children: happiness, health and anti-fascism. In the book. “Birch Tree”, “The House Moved” develop motifs of peaceful work and leisure. Poems by B. junior and Wed school reveal 2 trends: journalism and satire; lyrics. Cycle of poems “Uralians fight hard.”

Prod. B. military years is typical:

Sloganism, publicism

Post-war creative B. more lyrical. In the poem about children. the house "Zvenigorod" began to sound. new topic– the topic of protecting children from the harm of adults. peace. B. believed that politics should become one of the important topics for children. poetry. Therefore, in plural its pr-x sound. appeal children to Stalin.

50-60s - poet. B.'s world has become more complicated. Satire gave way to gentle humor. One of the leading genres of stans. lyrical sketch.

Poetry for teenagers. - new poet. space B.

70s – collections “Think-Think”, “Teenagers - Teenagers”. In these verses B. reflected the entire school life. the world through the eyes of children.

B. – translator det. poetry. I collected poems from writers. diff. countries

Collection "Translations from Children's." (1976) reflected the richness of the spirit. life of children different countries and peoples, the commonality of their interests. Ill. in this collection - fig. owls children.

1976 – book. “Notes from children. poet” - summed up her thoughts. Along with the book. Chuk. “From 2 to 5” it is composed. fund lit. Oh Det. book, formula. thin commandments for children poets.

A. N. Tolstoy (1883-1943)

In 1920, while in exile, he wrote an autobiography. det. work-story “Nikita’s Childhood”, intended. children of emigrants. The memory of the homeland and childhood is the leading theme of the story. The story was for Tolstoy to instantly return to his homeland. It is realistic, but there is a lot of room left for imagination. A constant presentiment of happiness - this is a childhood fairy tale. In this story, T. masterfully draws. landscapes, portraits, still lifes. The accuracy of these sketches was important for T. in order to realize his plan, to show how the homeland enters the person’s consciousness. It went unnoticed through 1000 details. T. showed how a sense of homeland is formed as a sense of oneself. T. seriously interested. lit-roy d/det. and wanted to see her as a great lit. Det. book, believed T., d.b. kind, teach nobility and honesty. These principles underlie his famous fairy tale “The Golden Key”, the cat. basics based on the fairy tale by C. Collodi “The Adventures of Pinnochio...”. Skazka T. ex. from Collodi's fairy tale with an ironic attitude towards all sorts of moral teachings. The author transformed Pinnochio as a reward for becoming obedient. in usual chela, but Pinocchio doesn’t need this. Pos. and negative The heroes of the fairy tale are depicted as bright personalities, their characters are clearly written out, they are dolls, but they behave like people. Good and evil are clearly separated. The irreconcilable conflict between the heroes is resolved. easy and fun. Plot development rapidly. Lightweight and elegant. iron. The fairy tale has become the children's favorite.

After 30 T. return. to Russian fairy tales Released 1 volume in 1940 (51 copies). Almost all stories are about animals (“Kolobok”, “Turnip”, “Teremok”, “Cockerel, Golden Comb”). T. strove for accessibility to children, poet. adv. the style in them is conveyed to ch. way in syntax. Dialectical and archaic. replaced words with modern ones, reduced repetitions, floweriness, strengthened the action by adding verbs and removed everything that interfered with this action.

A. P. Gaidar (1904-1943)

Arkady Petrovich Gaidar – new kindergarten. lit. type of writer. He stood out primarily for his heroism. biography. At the age of 13, he actively helped. Bolshev, at 14 - front, 17 - red regiment commander. I was going to become a military man, but because of the hardships. forced concussion was demobilized. Almost immediately after this, Det. pis. He's talking. with children for adults. Topics: about defense of the homeland, about enemies, about exploits and fearlessness.

He was 21 years old when his first story, “RVS,” was published. This story is dedicated to. topic of citizenship war, and already the main ideological-aesthete manifested itself in him. the writer's principle, his individuality. author's manner of exploring life and character. The focus of the writing is on teenagers, okay. participation in civic war. In the story incarnate new child lit. vision of civil events wars: a realist in unity. and romantic. began. G. was convinced of the uniqueness and unusualness of time, oh cat. writes. The very atmosphere of revolution is romanticized. Excellent knowledge of children. helped G. create a psychol. reliable pr-e. Plot story dynamic, dramatically tense. Hero G. excellent. more internal maturity and seriousness. These are children conscious. ready to replace adults. at work and combat posts.

Ch. G.'s interest is focused on 2 major ones. topics: 1) Red Army; 2) the younger generation.

Children in his production. future grow fathers and d/them very. The example of fathers is important. G. good feelings. your hero, the reader. His stories (“Hike”, “Marusya”, “Conscience”), addresses. d/preschool, ex. simple plot and plot, children. angle of view. Heroes are always an act. valid and thought. Required Feeling like an adult is not always appropriate. actual need child, but it can be demonstrated in play. Such children became the heroes of the story “Timur and His Commander.” (1940). Such committees were created throughout the country. Timur appeared. movement. Military children took part in this game. and post-war. pores. This story is real. sample lit. classics, capable of providing more. will educate impact on the reader.

The theme of the homeland sounds in every prod. G., but it doesn’t sound pompous, but natural.

Discussion “Chuk and Gek” - it has everything to captivate a child, open up the world to him, and instill in him high morals. presented, and this is done naturally, unobtrusively. There is plenty here and it's busy. mystery, and the tension of the unknown, and light humor, and the author's lyricism. kind intonations, and transparent. pure good language. All events, all meetings, episodes are given in emotions. perception of Chuk and Gek.

Discussion “The Blue Cup” is unique in that it contains, for the first time in 20th-century literature. d/det. lyrical applied intonation d/express. likes and dislikes not only between children, but also between parents. The plot is not complicated. 2 storylines: 1) travel father and daughter Svetlana; 2) the theme of adults, about family discord, about resentment, about jealousy and about the victory of love. Both of these lines are combined into the image of Svetlana.

G. a true master. He builds the plot so skillfully that they are not present in it. not a single free motive, not a single detail that says nothing. The ending is always an optimistic conclusion to the story.

Through the entire work of the writer there is a theme of formation. new brow. He solved the problem of education, identified the active principle in the child’s soul and relied on the kindness inherent in his soul. G. managed to solve the most important problem creations positive a living, modern hero.

Mayakovsky's works for children are a major and unique phenomenon in literature.

Their originality lies in the fact that Mayakovsky, turning to children, did not abandon either the political nature of his works or the high civic pathos.

No one before Mayakovsky touched on modern themes for children.

The struggle for realistic poetry for children, saturated with modernity, connected by the strongest threads with the life of the people, courage of thoughts and fervor of feelings - this is what, first of all, distinguishes the poet’s works.

Mayakovsky first turned to children's literature in 1918. At a meeting of the department commission fine arts At the People's Commissariat of Education, he made a report on the program for publishing illustrated publications, including an illustrated collection of his poems for children.

Mayakovsky wrote more than 20 works for children. Among them are poems, songs, a fairy tale in verse, a poetic feuilleton. The poet created several scripts for children's films. He was a contributor to Pionerskaya Pravda, Pioneer and Ezh magazines. In the conditions of acute ideological struggle of the 20s, Mayakovsky defended the theme of modernity and new heroes in poetry for children, against the vulgarity and vulgarization of this theme. He defended the right to the existence of a new modern literary fairy tale, modern poetry for children. Addressing the young reader, the poet sought to give him a new ideal, to debunk and ridicule the old, to present work in a new way and to bring to the consciousness of children that a person’s value is determined by work. According to the poet, he wanted to “acquaint children with new concepts, with new approaches to things.”

His first work for children was The Tale of Petya, the Fat Child, and Sim, the Thin Child (1925).

In 1925, the poet wrote another work, “We’re Walking,” which thematically and in terms of issues is adjacent to “The Tale of Pete and Sim.” In the same year, Mayakovsky wrote a story in verse for children, “What is good and what is bad?” The poem “Every page is either an elephant or a lioness” was published in 1926. It was written in a genre that has long been popular with the reader - a child, especially a child before school age. This is a genre of poetic popist, or, as it is also called, picture captions. Books - pictures with poetic captions are very common in preschool literature.

To achieve true artistry, a poetic signature must perform at least two functions: first, to be concise; secondly, as Chukovsky put it, graphic, that is, providing material for the artist’s creative imagination. Indeed, in this genre the unity of text and drawing is extremely acute.

Mayakovsky managed not only to master this genre of children's books, but also to update it, improve it not only in the field of content, but also in form.

“Every page is either an elephant or a lioness” is a narrative poem united by a common theme - a journey through the zoo. The poetic captions and explanations are full of slyness, brilliant imagination, and deep observation: “This is a zebra. Well done! Striped than a mattress” They are laconic: only a few lines in each, but the appearance and habits of the animals are created, remaining in the child’s memory.

1926-1929 – the years of Mayakovsky’s fruitful writing for children. He manages to write three or four poems a year about the heroism of fighting the elements (“This little book of mine is about the seas and about the lighthouse,” 1926). O different countries light (“Read and ride to Paris and China”, 1927), about a hard worker (“Horse-Fire”, 1927), about the choice of a profession by youth (“Who to be?”, 1928)

Most of Mayakovsky's children's works are based on social problems. And the most important among them is the problem of labor. In different aspects, the poet returns to it again and again. By means of satire, he fights ignorance, laziness and parasitism in the poem “The Story of Vlas - a Lazy and Loafer” (1926).

M. has pioneer poems and songs: “Let's Take New Rifles” (1927), “May Song” (1929), “Lightning Song” (1929) - the first works created for children in the genre of political lyrics.

The genres of Mayakovsky’s children’s poems are varied: fairy tale, poem, song, poetic story, etc.

With the advent of Mayakovsky's poems for children, criticism reacted to them differently. There were also enthusiastic responses to works unprecedented in children's literature, but there were also negative, sharply condemning statements from critics. The years that have passed since then have fully shown the innovation of Mayakovsky's children's poetry, and the fact that not all of his poems for children have stood the test of time. And the poet himself knew that not all of his works “will remain alive for children forever, because by the very nature of his soul he could not put aside themes, avoid the signs of the times,” which were important when poetry was written, but lost their urgency as social development developed. political life of the country.

Works for children help teach a child good qualities, skills, and explain things from the children’s point of view. A huge number of different works and fairy tales have been created that have a beneficial educational effect on the child. In this article, we will analyze the verse, what is good and what is bad, in which its author Vladimir Mayakovsky explained very clearly. Contrast in literature There is a kind of contrast when one concept can be perceived by a person only if it is compared with another concept. The main examples of such contrast are black and white, good and evil. We can give endless examples, but we think the essence is clear. Many works and poems are often based on the same contrast in literature. "What is good and what is bad?" - one of such works. It clearly contrasts the concept of “good” and the concept of “bad”; this allows the child to quickly understand and realize the thoughts of the writer that he wants to convey to him. Everyone knows that a child should gain knowledge from literature.. The most famous works M. - “Who should I be?” and “What is good and what is bad?” Analysis of the poem The author tells the story from the perspective of a father, to whom his little son came and asked the question, in fact, what is good and what is bad? Thus, the story begins on behalf of the boy’s father, who explains to his child, using the example of contrast, about good and bad. In fables you can often see a moral, but sometimes it is difficult for an adult to understand it, and even more so for a child. Therefore, the author reveals morality using ordinary life situations. First, in the poem, Mayakovsky shows what is good and what is bad, using the example of weather conditions. In the following quatrains, the author talks about the boys and gives them definitions - “good” or “bad”. Mayakovsky also explains to children the importance of personal hygiene - if a child has dirt on his face, the son will grow up to be a pig, if the son is a pig. The author shows that a child must be hardworking and courageous, this is clearly seen in the quatrains about the crow and the toddler, about the book and the ball. Peculiarities of Mayakovsky's creativity In all the poems of Vladimir Mayakovsky, one can trace some features of the Soviet era, for example, the Octobrist, who say “bad boy.” With its help, parents can easily explain to their children about good and bad. At the end of the poem, the little one made the right choice - he will do well, he will not do badly.

Made and sent by Anatoly Kaidalov.
_____________________ CONTENT

L Kassil About Vladimir Mayakovsky 5
What is good and what is bad 9
May song 27
Every page is either an elephant or a lioness 33
Tuchka's things 49
Walking 53
Let's take the new 69 rifles
Fire Horse 77
We are waiting for you, comrade bird, why don’t you fly? 89
This little book of mine is about the seas and about the lighthouse 95
Who to be? 105

ABOUT VLADIMIR MAYAKOVSKY

The poems that are printed in this book were written for you guys by an amazing poet. Everyone should know him. Wherever a person is born, no matter what country he grows up in, these verses will be very useful to him in life.
That is how it is. All over the world they know about Vladimir Vladimirovich Mayakovsky.
Even in those days, when workers, peasants, soldiers and sailors with rifles in their hands went into the decisive battle for Soviet power, they were already singing a perky and cheerful song that Mayakovsky came up with:

Eat pineapples, chew hazel grouse,
Your last day is coming, bourgeois.

At that time, the bourgeoisie was the name given to the rich, the capitalists.
Mayakovsky wrote about the revolution and Lenin. And about how our people defended their freedom, how they built new life. And about those who interfered with building this life. Mayakovsky managed to write about a lot, although he himself lived only a short time.
Mayakovsky's poems gladdened the hearts of millions of people who began to live in a new way, as Lenin taught. And for enemies
To ours they seemed menacing and scary. Abroad, far from Soviet land, there was even a fairy tale about Mayakovsky, saying that an extraordinary hero, a giant poet, lives in the Land of the Soviets. This giant stands on the captain's bridge of a red ship, reads his poems - and he can be heard far away at sea, on all other warships, and the red sailors of the enemy are driving the enemy away from our shores.
Well, a fairy tale is a fairy tale, but there is a lot of truth here. Because Mayakovsky really was a giant in appearance. Huge height, broad shoulders, heroic posture. He was a very handsome and powerful man, our beloved poet Vladimir Vladimirovich Mayakovsky! And his voice sounded with extraordinary strength and beauty. Thousands of people listened for hours as he read his poems in large halls, and sometimes in stadiums. And each line sank into the soul for a long time. Because Mayakovsky wrote about the most important, about the most dear to us.
This huge man, formidable to his enemies, knew how to be very gentle and affectionate when he spoke with friends. He found such good, cherished words for those he loved, both in life and in poetry, that they made his heart happy and it seemed as if the harshest clouds were parting and the sun was beginning to shine even brighter.
Mayakovsky was an extremely witty person. He loved to come up with funny words when he wanted to make fun of his comrades, and he always found an apt answer to the most unexpected questions. No one could ever make Mayakovsky become confused or confused.
He was once walking along one of the Zamoskvoretsky alleys, and the boys, seeing such a giant walking along their street, shouted after him, as they usually tease him too much. tall people:
- Uncle! Get the little sparrow!..
Mayakovsky stopped at once, looked around, looked down at the guys over his broad shoulder and very politely, quite seriously asked:
- Don’t you want an eagle?
And the boys were taken aback... They thought to tease the man, but they themselves got into trouble.
Of course, Mayakovsky joked with the guys when he suggested they get the eagle. But this joke had a very good effect
Mayakovsky’s character: he was always ready not only to respond to the guys’ request, but also, as they say, to exceed it. And, talking with his little friends, he always tried to make the thoughts and feelings of high eagle flight close to them. Yes, if you take it out of the sky, it’s not a sparrow, but an eagle!..
Although Mayakovsky was busy with enormous work from morning to night - he wrote poems for books, for newspapers, painted posters, wrote plays for the theater, came up with pictures for cinema, spoke to readers - he still found time to write for the children. Perhaps, few people knew how to speak so cheerfully, intelligently and in a friendly way with children as Mayakovsky did. He loved and greatly respected his little readers. He wrote for them as if as a joke, so that they wouldn’t get bored reading, but in fact he spoke seriously about very important matters that everyone who wants to grow up to be a good and happy person needs to do.
He helped the little ones understand “what is good and what is bad,” and came up with funny books where “every page is either an elephant or a lioness.” You read a book like this and it’s like you’ve been to a zoo yourself. And Mayakovsky knew how to tell the kids about many other things, funny and serious, necessary and important.
And so that the poems sounded good and accurate, so that it was convenient to read them out loud, he came up with a special way to print them. Mayakovsky wrote almost all his poems, both for adults and for children, not in a line, but in a ladder:
Here
So,
so that, while reading, you can rely on each line-step with your voice.
So read it yourself or ask your elders to read aloud what the giant poet wrote for you kids. And you will become friends with him too.

By 1928, Mayakovsky’s poems for children include “The May Song” and “Who Should I Be?” “May Song” It is very difficult to tell a child about the international revolutionary holiday in an accessible way. However, the poet in “The May Song” (1928) ensures that the poem captivates the child, captivates him. This is achieved primarily by the fact that Mayakovsky constructs it as an expanded comparison. May is spring, it’s “green leaves - and no mime.” He draws a working spring: “spring has hung up its washing to dry,” “the street is glad, washed in spring.” Therefore, it becomes clear to the child both “the expanse is clean” and the fact that “on chintz, on paper, there is fire on everything.” This feeling of spring joy, warmth, happiness is intensified in the poem thanks to the cheerful marching rhythm:

We are young and cheerful!

Thus, having abandoned the story about the holiday itself, the poet chooses another path: to evoke in the child a joyful feeling of spring, a holiday through the entire structure of the poem.

"Who to be?" In fact, in all of Mayakovsky’s works for children, the central theme has always been the theme of labor, the theme of the working man.

Poem for children “Who to be?” (1928) seems to complete the development of this theme in the poet’s children’s poems. He is having a serious conversation with the children, who “will be seventeen,” about the enormous daily work that adults do. The poet seeks to introduce the child into Big world working life, show him that “all jobs are good - choose according to your taste!” But the construction of “Who to be?” is a series of poetic sketches of various professions and people - representatives of these professions - joiners, carpenters, engineers, doctors, pilots, conductors, etc. Not afraid of special terminology (and there is a lot of it in the poem!), Mayakovsky introduces the child to the specifics of work , with the meaning of a particular profession. The central place in the poem is the description of a large factory, where “everyone’s work is needed equally.” Mayakovsky himself gave this description special meaning and tried to captivate the child with it. Thus, the humorous and conversational intonation of the previous picture (“and then, of course, everything will heal before your wedding”) is replaced by an inviting, slogan-like tone:

The horn is calling...

He introduces the reader to the stages of work, to the machines that came to the aid of man.

Showing labor processes that are difficult for a preschooler to understand, the poet constantly brings his story closer to the child’s world, to his life experience. So, in his house “the boys will live... it’s comfortable and spacious,” the doctor treats children (“I treat illnesses for children too”), and on the tram the conductor offers to take “tickets” for “big kids and big kids.” There are many such examples that can be given. The poem conveys not only the pathos of work - it forms in children a real, creative attitude towards it, fosters love for this great good of life and for the person who transforms the world.

Mayakovsky's creativity for children is not limited to those works that are discussed here. He wrote “The Lightning Song” (1929), “Let’s take new rifles...” (1927), “Czech Pioneer” (1928), “Comrade Teenager”, “About School and About Teaching”, the film script “Children”, etc. The language of children's poems is rich and original due to the peculiarity of Mayakovsky's poetry, enriching the child's vocabulary, expanding his ideas about life, man, and labor processes. A feature of Mayakovsky as a children's poet is that he always remembers the age of his reader (listener).

An equally important feature of Mayakovsky’s poems is their extreme concreteness, the graphically visible delineation of poetic images. Hence the harmonious unity of word and picture in poems for children, which is also associated with the characteristics of children's perception fiction(the poet himself made drawings for many of the poems). It is also necessary to note the originality of the titles of Mayakovsky's poems - they play a big role in creating an emotional mood, an atmosphere of special interest in the listener. That is why the form of the headings is so varied: it is either a question (“What is good and what is bad,” or a formulation of the main idea of ​​the poem (“The Story of Vlas, the Lazy and Loafer”), or a condensed formulation of the topic (“We’re Walking”). The titles of the poems are easy. are remembered by children and serve as an excellent starting point in organizing a conversation based on the content of the poem.

Above, when analyzing the poems, we already noted the dynamism in the depiction of events, the widespread use of sound recording in creating a poetic picture, and some other features inherent in Mayakovsky’s children’s poems. It should also be said about a number of other specific features characteristic of his poetry. Thus, Mayakovsky considered “the creation of the most fantastic events - facts emphasized by hyperbole” to be an obligatory means of artistic expression in poetry. Hyperbole is a favorite device in his poems for children: his elephants are “two- and three-story” tall, Petya’s dad “carried a hundred packages with difficulty to himself,” and behind him “a servant carries a hundred baskets.”

It is necessary to emphasize the special role of comparisons and comparisons. For example, comparisons are often comic in nature: a zebra is “striped than a mattress,” elephants have “both ears as big as a dish.”

Often comparisons are one of the means of creating a negative characterization (comparing Vlas with a “dirty boar”, Petya’s father with “the most feisty rat”).

Mayakovsky's tales (“The Tale of Petya, the Fat Child...”, “The Story of Vlas...”, etc.) are very close to folk tales. They are united by the presence of fairy-tale elements in the plot, the conscious exaggeration of the actions and actions of the heroes, the triumph of good forces in the clash with evil. They are also close in form: often the first lines resemble the beginnings of folk tales (“The Tale of Pete, the Fat Child...”), and the ending, just like in folk tales, formulates the main idea:

A fairy tale is a fairy tale,

draw a conclusion from the fairy tale.

Love, children, work -

as it is written here...

Mayakovsky's role in the creation of Russian children's literature is great. The poet continued and developed the progressive traditions of Russian children's literature, bequeathed by Belinsky and Nekrasov. Without a doubt, Mayakovsky learned a lot from Nekrasov, who was the first to show how poetry should awaken in children hatred of oppressors, form high moral qualities, and educate a citizen. At the same time, creating his works at a time when the main task was to educate a person of a new society, to instill in young citizens a feeling of love for the socialist Motherland, Mayakovsky followed in his work the traditions of M. Gorky. After all, it was Gorky who, throughout his entire life, cared about nurturing the moral beauty of Soviet people, about the formation of a comprehensively developed, harmonious personality, education true love to work, to the working man. Gorky fought to ensure that the child from the very beginning early years instilled feelings of collectivism, internationalism, and patriotism.

45. Genre and thematic diversity of S. Marshak’s poems for children.

It is impossible to imagine the childhood of several generations without the work of Samuel Marshak, without his poems, verses, songs, limericks, riddles and counting rhymes, wise and mischievous plays, magnificent translations of English and Scottish ballads, epigrams and sonnets. Such poems by Marshak as Kids in a cage (1923), That's how absent-minded (1924), The Tale of a Stupid Mouse,Fun ABC(1925), Baggage Almost every kid knew it by heart. The older guys enthusiastically recited the famous Mail And Mister Twister. Marshak's plays became a holiday for children: Teremok(1925) and cat house for the little ones, lyrical wise tale Twelve months(1943), a comedy-parable sparkling with humor To be afraid of grief is to see no happiness(1959), a philosophical play "for children of middle and high school age" Smart things (1962).

Already in the 20s, many innovative tales in pathos and form were published: “Teremok”, “Cat’s House”, “To be afraid of grief - you won’t see happiness”, “The Tale of a Stupid Mouse”, “The Tale of a Smart Mouse”, “Ugomon” , “A Quiet Tale”, etc. All of them are purely Marshakov’s poetic refraction folk motifs, aesthetics, morality, affirmed by folklore from time immemorial: motives of the joy of being, complicity, kindness and at the same time an ironic or humorous exposure of stupidity and maliciousness, callousness and selfishness.

And his children's fairy tales of the 20-30s are warmed by philosophical wisdom, addressed to what constitutes the soul and the foundation of morality, the spiritual balance of a person at all times and at all age stages of personal development. What was extremely important to focus the attention of a child in those years. Apparently, this is connected with the fact that, turning to children, Marshak already in the 20s honed not only the form of a literary fairy tale, but also small forms of folklore: ditties, proverbs, sayings. He writes stories and novellas in verse, poems and ballads: “Where the table came from”, “How your book was printed”, “Palace on the Fontanka”, “Yesterday and Today”, “How a plane made a plane”, “War with the Dnieper”, “ Fire" and much more. Creates the satirical pamphlet “Mr. Twister” and the poetic feuilleton “Shark, Hyena and Wolf.”

His fairy tale is often “not a fairy tale,” but a true story, not coincidentally combined with a fable. His poetry is not information about affairs, about events, but their philosophy. In his works, cognitive and aesthetic, educational values ​​are indivisible. Therefore, it is a mistake to now question the value of, say, the “War with the Dnieper.”

Behind the modest plot of “Mail,” one also cannot help but feel the deepest respect for the work being honestly carried out. The poem combines a spiritualized thing (a letter) with the image of an outwardly inconspicuous toiler-hero, a postman, regardless of whether his name is Smith or Basilio, or he is his native Leningrad postman. The plot of the poem “Fire” is intriguing. The child intensely watches every step of the guy along the ledge... But here, too, the main thing is pathos, the aesthetics of heroism, for which “everyone is ready.” As in the lyrics, here the heroic is personal.

Marshak’s talent reveals the “secrets”, “the special complexity and difficulty of the art of children’s poetry”, if it is considered not as an “applied branch” of the high art of words, but on a par with it. Marshak early saw, understood, felt and took into account in his work that the reader of a children's book knows how to appreciate the truth of beauty. He is especially sensitive, incorruptible in relation to the slightest falsehood, tension and simplification. A child is free from many of the conventions of adult perception. S.Ya. Marshak showed that children's poetry is “the most demanding exam for poetry in general.” It has its “original advantages of clarity, essential entertaining content and effortless energy, natural as breathing, regularity and “invisibility” of form,” the poet rightly asserts in the already named article.