Galina Veselova
Project for older children school age"Tales of M. Gorky for children"
PASSPORT PROJECT.
« Tales M. Gorky for children»
Performed: Teacher of the first qualification category
MADOU « FAIRY TALE» Urensky municipal district
Nizhny Novgorod region - Veselova Galina Terentyevna.
Target: Introduce children preparatory group with the creativity of M. Gorky, to include children to reading the works of a classic writer, a fellow countryman.
Tasks:
1. Summarize and systematize knowledge children about the life and work of M. Gorky.
2. Increase the efficiency of inclusion work children to the book.
3. Develop the ability to understand the meaning of a work of art.
4. Promote the development of creativity children.
5. Develop the ability to give detailed answers, develop dialogic and monologue speech children.
6. Contribute to maintaining family reading traditions.
7. Improve the speech culture of teachers, parents and children.
Participants project: Children of the preparatory group, teachers, parents.
View project: Creative and cognitive.
Implementation time: Short term.
Expected Results:
1. Creating a sequel fairy tales"Sparrow".
2. Drawing, decorative painting, plasticineography, listening to songs,
dance "Puff-puff samovar" By fairy tales of Maxim Gorky.
Presentations project: Quiz and literary hour with the participation of parents fairy tales of Maxim Gorky.
Methods and techniques:
Presentation demonstration;
Visual methods;
Use of words artistically;
Usage different types games;
Forms of organization:
Group;
Subgroup;
Stages:
- preparatory: creation of presentations, board and printed games, development of GCD notes, quiz and literary hour.
- basic: viewing presentations, conducting GCD, board and printed games,
dramatization games, holding a quiz and a literary hour on the works of M. Gorky.
- final: generalization of the received ideas about Maxim’s work Gorky.
Literary hour with the participation of parents on the works of Maxim Gorky.
Tasks:
1. Activate and clarify ideas children and parents about the work of M. Gorky.
2. Organize joint activities parents and children.
3. Foster a love of fiction.
IMPLEMENTATION PROJECT.
1. Viewing presentations: "Peshkov House-Museum", "Acquaintance children with Maxim's creativity Gorky», "About the samovar".
2. Reading fairy tales by Maxim Gorky: "Sparrow", "Samovar", "The Case of Evseyka", “About Ivanushka the Fool”.
3. Learning proverbs about the samovar. re-enactment fairy tales by Maxim Gorky"Samovar" Decorative drawing "samovar painting". Plasticineography "Samovar painting". Listening to a song "Our handsome samovar". Learning a song and dance "Puff-puff samovar".
4. Didactic game "Life of Russian people".
5. Drawing by fairy tale"Sparrow".
6. GCD for speech development - Come up with a continuation fairy tales"Sparrow".
7. Quiz for children based on the fairy tale by Maxim Gorky"Sparrow".
8. Literary hour with the participation of parents "Maksim Gorky for children» .
Publications on the topic:
Dramatization of the fairy tale “Don’t Brag” for older preschool children Forest edge. On the left is a hedgehogs' house, in the background there is a hillock and a large bush. Hare (runs in and stops in front of the house). Who lives here? Bake.
Dramatization of the fairy tale “Into the Forest for a Walk” for children of senior preschool age In the hall there is a forest decoration on the right - bushes, on the left - a Christmas tree. Children: We took the bunnies again, put them on our fingers, we will start the performance, but now.
Summary of physical education "Visiting a fairy tale." For children of senior preschool age. Goal: to increase interest in physical education.
Summary of the summer entertainment scenario for children of senior preschool age “Visiting a fairy tale”“Visiting a fairy tale” Date: 08/25/2017 at 11.00; Participants: - children of group No. 5; - teachers of group No. 5; - parents; Goal: - Create.
Project for older children “My favorite fairy tales” Project for older children on the topic: “My favorite fairy tales.” .
New Year's scenario for children of senior preschool age based on the fairy tale "The Town Musicians of Bremen" Child: It’s so good that in this hall we met with friends again. We had been waiting for this holiday for a long time and it came in the frost of winter. Educator:.
Pedagogical project for older children “Tales of K. Chukovsky” Pedagogical project for children of senior preschool age “Tales of K. Chukovsky” Goal: Introducing children to works of art.
Alexey Peshkov, better known as the writer Maxim Gorky, is a significant figure for Russian and Soviet literature. He was nominated five times Nobel Prize, was the most published Soviet author throughout the existence of the USSR and was considered on a par with Alexander Sergeevich Pushkin and Leo Tolstoy the main creator of Russian literary art.
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Maksim Gorky. Photo from the site www.detlib-tag.ru |
Alexey Peshkov - the future Maxim Gorky was born in the town of Kanavino, which at that time was located in the Nizhny Novgorod province, and is now one of the districts of Nizhny Novgorod. His father Maxim Peshkov was a carpenter, and in last years life he managed a shipping company. Mother Varvara Vasilievna died of consumption, so Alyosha Peshkova’s parents were replaced by grandmother Akulina Ivanovna. From the age of 11, the boy was forced to start working: Maxim Gorky was a messenger at a store, a barman on a ship, an assistant to a baker and an icon painter. The biography of Maxim Gorky is reflected by him personally in the stories “Childhood”, “In People” and “My Universities”.
After an unsuccessful attempt to become a student at Kazan University and arrest due to connections with a Marxist circle, the future writer became a guard at railway. And at the age of 23, the young man set off to wander around the country and managed to reach the Caucasus on foot. It was during this journey that Maxim Gorky briefly wrote down his thoughts, which would later become the basis for his future works. By the way, the first stories of Maxim Gorky also began to be published around that time.
Having already become famous writer, Alexey Peshkov leaves for the United States, then moves to Italy. This did not happen at all because of problems with the authorities, as some sources sometimes present, but because of changes in family life. Although abroad, Gorky continues to write revolutionary books. He returned to Russia in 1913, settled in St. Petersburg and began working for various publishing houses.
The first of Maxim Gorky's published stories was the famous "Makar Chudra", which was published in 1892. And the two-volume book “Essays and Stories” brought fame to the writer. Interestingly, the circulation of these volumes was almost three times higher than what was usually accepted in those years. Among the most popular works of that period, it is worth noting the stories “Old Woman Izergil”, “Former People”, “Chelkash”, “Twenty Six and One”, as well as the poem “Song of the Falcon”. Another poem, “Song of the Petrel,” has become a textbook. Maxim Gorky devoted a lot of time to children's literature. He wrote a number of fairy tales, for example, “Sparrow”, “Samovar”, “Tales of Italy”, published the first special children's magazine in the Soviet Union and organized holidays for children from poor families.
Very important for understanding the writer’s work are Maxim Gorky’s plays “At the Lower Depths,” “The Bourgeois” and “Yegor Bulychov and Others,” in which he reveals the playwright’s talent and shows how he sees the life around him. The stories “Childhood” and “In People” are of great cultural significance for Russian literature. social novels“Mother” and “The Artamonov Case”. Last job Gorky’s epic novel “The Life of Klim Samgin” is considered, which has a second title “Forty Years”. The writer worked on this manuscript for 11 years, but never managed to finish it.
After his final return to his homeland in 1932, Maxim Gorky worked in newspaper and magazine publishing houses, created a series of books “History of factories and factories”, “Poet’s Library”, “History civil war", organizes and conducts the First All-Union Congress Soviet writers. After unexpected death the writer wilted from his son's pneumonia. During his next visit to Maxim’s grave, he caught a bad cold. Gorky had a fever for three weeks, which led to his death on June 18, 1936. The body of the Soviet writer was cremated, and the ashes were placed in the Kremlin wall on Red Square. But first, Maxim Gorky’s brain was extracted and transferred to the Research Institute for further study.
More full biography See Maxim Gorky here:
From the very beginning creative path Maxim Gorky wrote works on children's themes. The writer A. M. Gorky is considered one of the founders of modern children's literature, he devoted a lot of effort to its creation, made sure that books were written by people who love children and understand them inner world.
Our virtual exhibition presents books for different age categories of readers.
Books by Maxim Gorky for preschool and primary school children.
Gorky, M. The case of Evseyka [Text] / M. Gorky; comp. V. Prikhodko; rice. Yu. Molokonov. – Moscow: Malysh, 1979. –80 s. : ill.
The fairy tale “The Case of Yevseyka” was first published in 1912 in the newspaper “Den”. In 1919, it appeared with some changes in the Northern Lights magazine. It contains extensive educational material, presented poetically, in an entertaining and accessible form for children. Gorky sees nature through the eyes of the boy Evseika. This gives the writer the opportunity to introduce into the fairy tale comparisons that children can understand: sea anemones look like cherries scattered on stones; Evseyka saw a sea cucumber that “looked like a poorly drawn piglet,” a lobster moved “with its eyes on strings,” and sepia looked like a “wet handkerchief.” When Evseyka wanted to whistle, it turned out that this could not be done: “water gets into his mouth like a cork.”
Gorky, A. M. Sparrow : [Text] / Alexey Maksimovich Gorky; [art. A. Salimzyanova]. -Moscow: Publishing House Meshcheryakova, 2010. – 30, p. : color ill. – (Children's classics).
One of Gorky’s most striking children’s works can rightfully be called the fairy tale “Sparrow”. Sparrow Pudik did not yet know how to fly, but he was already looking out of the nest with curiosity: “I wanted to quickly find out what God’s world is and whether it is suitable for him.” Because of his excessive curiosity, Pudik gets into trouble - he falls out of the nest; and the cat “red, green eyes” is right there...
The fairy tale "Sparrow" is written in the style of oral folk art. The narration sounds leisurely and allegorical. As in a folk tale, the heroic and comic are present here, and sparrows are endowed with feelings, thoughts, and human experiences.
Gorky, M. Once upon a time there was a samovar [Text]: stories and fairy tales / M. Gorky; comp. Vladimir Prikhodko. - Moscow: Children's literature, 1986. -54, p. : ill. - (School library).
The fairy tale “Samovar” is presented in satirical tones, the heroes of which were “humanized” objects: a sugar bowl, a creamer, a teapot, cups. The leading role belongs to the “little samovar,” who “really loved to show off” and wanted “the moon to be taken from the sky and made into a tray for him.” Alternating prosaic and poetic texts, making objects so familiar to children sing songs, lead lively conversations, Maxim Gorky achieved the main thing - to write interestingly, but not to allow excessive moralizing. Based on his creative principles, the writer initiated the creation of a special type of children's literature literary fairy tale, characterized by the presence of significant scientific and educational potential.
Gorky, M. About Ivanushka the Fool [Text]: Russian folk tale / Maxim Gorky; fig. Nikolai Kochergin. - Saint Petersburg; Moscow: Rech, 2015. - With. : color ill. – (Series “Mom’s Favorite Book”).
Full of playful and good humor, the Russian folk tale “About Ivanushka the Fool,” heard by Maxim Gorky as a child and later embodied in the author’s retelling, will not only amuse children, but will also help to instill in children a love of reading and artistic taste. After all, the illustrations for it were created by Nikolai Kochergin - outstanding artist children's book and a real brush wizard.
Books by Maxim Gorky for children of primary and secondary school age.
Gorky, M. Danko's burning heart [Text] / M. Gorky; rice. V. Samoilova. - Saratov: Volga Book Publishing House, 1973. – 16 s. : ill.
Legends have been created by people since ancient times. In a bright, figurative form, they talked about heroes and events, conveying to the reader folk wisdom, people's aspirations and dreams. Gorky uses the genre of literary legend because it was perfectly suited to his plan: to briefly, excitedly, and vividly glorify all the best that can be in a person. The legend of Danko tells of a brave and handsome young man. He is happy that he lives among people, because he loves them more than himself. Danko is courageous and fearless, he sets himself a noble goal - to be useful people. From deep compassion for his fellow tribesmen living without sun in the swamps, who had lost their will and courage, the fire of love for them was lit in Danko’s heart. This spark turned into a torch.
Gorky, M. Stories and fairy tales for children [Text] / Maxim Gorky; artist S.Babyuk. – Moscow: Dragonfly, 2010. –157, p. : ill. - (School library).
In the works of Maxim Gorky for children, fairy tales occupied a special place, in which ideological and aesthetic principles were clearly expressed, the same as in stories on the theme of childhood and adolescence.
In fairy tales, Maxim Gorky continued to work on a new type of children's fairy tale, the content of which special role belonged to the cognitive element.
The hymn to nature and the sun in the fairy tale “Morning” is combined with a hymn to work and “the great work people have done all around us.” And then the author considered it necessary to remind the children that working people “beautify and enrich the earth all their lives, but from birth to death they remain poor.” Following this, the author poses the question: “Why? You will find out about this later, when you become big, if, of course, you want to know...”
By creating artistic images of children in his works (“Grandfather Arkhip and Lyonka,” “Misha,” “Shake,” “Ilya’s Childhood,” etc.), the writer sought to depict children’s destinies in a specific social and everyday situation.
The story “Shake” had a noticeable autobiographical element, because the author himself worked as a teenager in an icon-painting workshop, which was reflected in his trilogy. At the same time, in “Shake-Up” Maxim Gorky continued to expand on the theme of the backbreaking labor of children and adolescents, which was important to him.
Gorky, M. Tales of Italy [Text] / M. Gorky; engravings by K. Bezborodov. – Moscow: Children’s literature, 1980. –128 p. : ill.
“Tales of Italy,” written for adults, almost immediately during the period of revolutionary upsurge of the beginning of the 20th century. began to be published for children. “Tales of Italy” sang the joy of work, the equality of people, and affirmed the idea of the unity of workers. Most of the heroes of “Fairy Tales” sacredly honor the bright experience of the past: “remembering is the same as understanding.”
One of best fairy tales cycle - the tale of Pepe. The boy loved nature: “Everything occupies him - flowers flowing in thick streams through the good earth, lizards among lilac stones, birds in the chased foliage of olive trees.” The image of Pepe is given in the perspective of the future - poets and leaders grow up from people like him. And at the same time, it embodies the characteristic features of the ordinary people of Italy with their kindness, openness, and love for the land.
Books by Maxim Gorky for children of middle and high school age.
Gorky, M. Childhood [Text] / M. Gorky; artist B. A. Dekhterev. - Moscow: Soviet Russia, 1982. –208 s. : ill.
The story "Childhood", first part autobiographical trilogy Gorky, was written in 1913. The mature writer turned to the topic of his past. In “Childhood” he tries to comprehend this period of life, the origins of human character, the reasons for the happiness and unhappiness of an adult.
In the center of the story is the boy Alyosha, who, by the will of fate, was “abandoned” into his mother’s family. After the death of his father, Alyosha is raised by his grandfather and grandmother. Therefore, we can say that these people are the main ones in his destiny, those who raised the boy, laid all the foundations in him. But, besides them, there were many people in Alyosha’s life - numerous uncles and aunts who all lived under one roof, cousins, guests... They all raised the hero, influenced him, sometimes without wanting it themselves.
Gorky, M. My universities [Text] / M. Gorky; ill. B. A. Dekhtereva. – Moscow: Soviet Russia, 1984. –128 s. : ill.
The story “My Universities,” written in 1923, is the last part of Gorky’s autobiographical trilogy.
The plot of the story is centered on young Alyosha Peshkov, who goes to Kazan to go to university, but soon, due to lack of funds, realizes that studying there is not for him.
The young man gets several jobs, not disdaining hard physical labor. Alyosha lights up with a revolutionary spark and studies literature. So his life itself is a university - this is the main idea of the work. Thirst for knowledge, continuous improvement, mountain necessary literature for your own education, meeting interesting people, as well as like-minded people - all this allows you to form your own vision of the world better than an educational institution.
Gorky, M. Stories. At the bottom [Text] / M. Gorky. –Moscow: Bustard, 2001. – 160 p. - (School program).
The book includes early romantic stories “Makar Chudra”, “Old Woman Izergil”, “Chelkash”, “Konovalov”, “Malva”, as well as “The Legend of Marko”, “Song of the Falcon”, “Song of the Petrel”.
In his works, Gorky sang a hymn to a wonderful and strong man. This is no coincidence. Gorky came to literature as an artist of the revolutionary masses rising to fight. And he became a great poet of the liberation of the people. He put forward a new measure of a person’s value: his will to fight, activity, and ability to rebuild his life. “Makar Chudra” rightfully opens now all the collected works of the writer. The voice of new revolutionary art already sounds in it, which in the future, having strengthened and expanded, will enrich all Russian and world literature.
The play “At the Lower Depths,” created by the writer in 1902, was conceived by Gorky as one of four plays in a cycle showing the life and worldview of people from different walks of life. Deep meaning, which the author put into it - an attempt to answer the main questions of human existence: what a person is and whether he will retain his personality, having sunk “to the bottom” of moral and social existence.
The play “At the Lower Depths” has been alive for more than a century and continues to remain one of the most powerful works of Russian classics. The play makes you think about the place of faith and love in a person’s life, about the nature of truth and lies, about a person’s ability to resist moral and social decline.
Gorky, Maxim. Book about Russian people [Text] / Maxim Gorky. – Moscow: Vagrius, 2000. –577 s. : ill. – (My 20th century).
Perhaps it was Gorky who managed to reflect in his work on a truly epic scale the history, life and culture of Russia in the first third of the twentieth century. This applies not only to his prose and drama, but also to his memoirs - primarily to “Notes from a Diary”, to the famous literary portraits of Anton Chekhov, Leo Tolstoy, Vladimir Korolenko, Leonid Andreev, Sergei Yesenin, Savva Morozov, as well as to “Untimely Thoughts” - a chronicle of times October revolution. “The Book of Russian People” (as Gorky originally thought to call his memoirs) is a unique series of characters - from intellectuals to philosophizing tramps, from revolutionaries to ardent monarchists. The essay about V.I. Lenin is published in the first edition - without the later layers of “textbook gloss”
Pedagogical views of Maxim Gorky.
Gorky, M. About children's literature [Text]: articles, statements, letters / M. Gorky; entry Art. comment N. B. Medvedeva. – Moscow: Publishing House “Children’s Literature”, 1968. –432 p.
The purpose of this collection is to present, as fully as possible, articles, letters, and statements by A. M. Gorky about children’s literature and children’s reading.
The collection consists of five sections. The first contains articles and statements by A. M. Gorky about children's literature and children's reading; in the second, his letters to relatives, writers, teachers, scientists; in the third, letters and appeals to children. The fourth section of the collection includes articles by A. M. Gorky on children's creativity.
The last section publishes (in alphabetical order of authors) the memoirs of A. S. Serafimovich, N. D. Teleshov, K. I. Chukovsky, S. Ya. Marshak, A. S. Makarenko and other writers who worked with Gorky on creating books for children, contributed to the development of Soviet children's literature. These articles and memoirs of Alexei Maksimovich’s contemporaries help to more fully imagine Gorky’s diverse activities in the field of children’s literature.
Books about the life and work of Maxim Gorky.
Bykov, D. L. Was there Gorky? [Text] / Dmitry Bykov. – Moscow: AST: Astrel, 2008. – 348, p., l. ill., portrait : ill., portrait
Dmitry Bykov, famous novelist, poet, brilliant publicist, in his book “Was there Gorky?” depicts the figure of a classic writer free from literary gloss and subsequent mythology.
Where does Alexey Peshkov end and Maxim Gorky begin? Who was he? A writer of everyday life, a singer of the city's bottom? "Petrel of the Revolution"? Incorrigible romantic? Or did his life and writing position sometimes border on cold calculation? Be that as it may, Bykov is sure: “Gorky is a great, monstrous, touching, strange and absolutely necessary writer today.”
“Maxim Gorky enriched Soviet colloquial speech with dozens of quotes: “We sing a song to the madness of the brave”; “Man – that sounds proud”; “Let the storm blow harder”; “Not a single flea is bad: all are black, all jump.” “The leaden abominations of life” - this is sometimes attributed to Chekhov, but Gorky said it in his story “Childhood”.
Vaksberg, A. I. Death of a petrel [Text]: M. Gorky: The last twenty years / A. I. Vaksberg. – Moscow: TERRA-Sport, 1999. – 391 p.
The author of the book, a famous writer, a master of documentary prose and journalism, vice-president of the Russian PEN Club, in his documentary novel explores the last 20 years of the life of M. Gorky, a historical figure unlike anyone else, expresses his purely subjective vision of the events that happened during this time.
The basis of this study is the many faces of Gorky, which was noted by many authors who wrote about him, and above all those who personally met him. They all noted the impossibility of showing Gorky’s image with any specific sign - positive or negative. The sign slipped away and came into irreconcilable conflict with reality. However, until now, books about Gorky, especially biographical ones, have been almost mythical stereotypes, squeezed into frameworks strictly defined by party ideologists. That is why in this book the author widely used his right as a creator to express his own point of view, without depriving the reader of his right to accept or reject.
Maxim Gorky in the memoirs of his contemporaries [Text]: in two volumes / comp. and preparation text by A. A. Krundyshev; artist V. Maxina. – Moscow: Fiction, 1981. – 445 p.
This volume includes memories of Gorky in the post-revolutionary period: about his life in Sorrento, about his triumphant trip through the Land of the Soviets, about his return to his homeland and about last days his life.
“He loved laughter and jokes, but he was irreconcilable, stern, and passionate about the calling of a writer, an artist, a creator.
Listening to some talented aspiring writer, he could burst into tears, get up and leave the table, wiping his eyes with a handkerchief, grumbling: “They write well, you striped devils.”
This was all Anatoly Maksimovich...
A. N. Tolstoy
A. M. Gorky in portraits, illustrations, documents 1968- 1936 [Album]: manual for secondary school teachers / comp.: R. G. Weislehem; I. M. Kasatkina and others; edited by M. B. Kozmina and L. I. Ponomareva. –Moscow: State educational and pedagogical publishing house of the Ministry of Education of the RSFSR, 1962. – 520 s.
This publication is intended to tell about the life and work of Gorky with the help of visual, documentary and textual material.
The reader will see here reproductions of paintings and illustrations by such artists as I. Repin, V. Serov, S. Gerasimov, Kukryniksy, P. Korin and many others, who are the pride of our art. A large place in the album is occupied by rare documentary photographs taken from the personal archives of the writer or people close to him.
Gorky's activities, as is known, are unusually multifaceted. He great writer, founder of the literature of socialist realism, outstanding publicist. An ardent revolutionary, a prominent public figure.
Naturally, all these aspects of Alexei Maksimovich’s varied activities are reflected in the album (of course, within the limits possible for this publication).
Books from the “Rare Book” collection of the State Budgetary Institution of the Russian Federation “Rostov Regional Children's Library named after. V.M. Velichkina:
Gorky, M. How I studied [Text] / Maxim Gorky. -Moscow; Leningrad: State Publishing House, 1929. – 22 s.
First published on May 29, 1918 in the newspaper " New life» under the title "About books", and at the same time, with the subtitle “Story”, in the newspaper “Book and Life”.
The story is based on a speech that M. Gorky delivered on May 28, 1918 in Petrograd at a rally in the “Culture and Freedom” society. The speech began with the words: “I will tell you, citizens, what books have given to my mind and feelings. I learned to read consciously when I was fourteen years old...” The work was republished several times under the title “How I Learned” with the first phrase omitted and small additions at the end of the story.
In 1922, Maxim Gorky significantly expanded the story for a separate edition by Z. I. Grzhebin.
The story was not included in the collected works.
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INTRODUCTION
A. M. Gorky born: (March 16 (28), 1868 - June 18, 1936) is known to us as a writer, literary critic and publicist who entered literature at the turn of two centuries. Gorky's creative path covers historical period, which became a turning point for Russian society, marked by changes in moral guidelines, restructuring of social and cultural institutions, the intensity of searches and discoveries in the field of art and pedagogy.
This characteristic is confirmed by many of Gorky’s autobiographical works, in particular the trilogy consisting of the stories “Childhood”, “In People”, “My Universities”. Already in his early work, the author endowed his heroes with a dream of better life, the desire to search for moral and social truth. The educational significance of his works is also undeniable and is approved by school curricula and methodological developments. Modern readers of the 21st century are attracted by the versatility of Gorky’s talent, his aesthetic positions and innovation as a writer and as a playwright, his personal views, embodied in works of different genres. fairy tale bitter satirical plot
In conditions when pedagogy is looking for new approaches in educating the younger generation and the question is raised about updating the perception of the literary heritage of our great writers, special meaning acquires that component of Gorky’s work that is called “childish.”
The novelty of the topic of our research lies in the fact that Gorky’s work as a children’s author has not yet been fully studied, not truly revealed, without relying on the ideologies of the 20th century and the pedagogical potential of his children’s works, in particular fairy tales, although such literary scholars wrote about their poetics , as: Privalova Z.V., Anakin V.P., Leonova T.T.
There are very few systematic and generalizing scientific works on this topic also because, through literary discussions of the late 20th century, the attention of researchers was concentrated on such works as “Mother”, “At the Depth”, “Untimely Thoughts”, which were not included in the circle of perception of young children. Meanwhile, Gorky’s legacy includes a whole cycle of 6 fairy tales written specifically for the students of the “School of Naughty People” in Baku: “Morning”, “Sparrow”, “The Case of Yevseyka”, “Samovar”, “The Tale of Ivanushka the Fool” ", "Yashka". Along with Tales of Italy, this cycle also deserves special study.
The purpose of our work is to study the ideological and artistic features of Gorky’s 6 fairy tales for children of primary school age, to determine the nature of the author’s innovative solutions in the field of poetics of literary fairy tales for children 6-10 years old and the components of the author’s pedagogical concept.
This goal involves solving the following tasks:
Explore scientific literature on this topic;
Find out Gorky’s position regarding children’s literature, his view on the role of fairy tales in the development of a child reader;
Consider the chronology and reasons for the appearance of 6 fairy tales “Morning”, “Sparrow”, “The Case of Yevseyka”, “Samovar”, “The Tale of Ivanushka the Fool”, “Yashka” in the context of the author’s creative fate; perform analysis of structural and genre features Gorky's fairy tales;
Rate linguistic features fairy tales by M. Gorky for children;
Convince yourself in practice of the educational potential of fairy tales that shape the moral values of children.
The goals and objectives of the study involve relying on methods such as:
Analytical observation and research;
Data comparison and comparative analysis;
Elements of structural analysis of literary texts of fairy tales.
The theoretical and methodological basis of the thesis was a review of materials on Gorky’s work and works on the specifics of children’s fairy tales of the early 20th century. The collected works of A.M. Gorky in 30 volumes, comments to this publication, and works by Ovchinnikova and A. Volkov were considered.
M. Gorky's fairy tales are appropriate for study by preschoolers. Analyzing his tales requires learning the concept of analysis folk tales. The works of V.Ya. are of great importance in this matter. Proppa.
Book by V.Ya. Propp's “Morphology of the Fairy Tale” had a great influence on the development of the concept of text analysis. It was published in 1928, its original title was “Morphology of a Fairy Tale.” The Russian publishing house that published the book changed the title in order to arouse more interest in the book; the editor removed the word “magical” and thereby misled readers, as if the work were examining the laws of fairy tales as a genre in general.
This book is an analysis of fairy tales taken from the collection of A.N. Afanasyeva. The research was based on the observation that in fairy tales the same actions are performed different people. V.Ya. Propp called the actions and deeds of the fairy tale heroes their functions. The interesting thing is that all the plots of fairy tales are based on the same functions. V.Ya. Propp noted that all fairy tales are the same in structure. They have a single compositional scheme, which is the basis of a fairy tale. According to Propp, composition is a stable factor, and plot is a variable factor. This method of studying narrative genres based on the functions of the characters turned out to be applicable to other types of fairy tales; it is used in the study narrative works world literature.
I. One of the family members leaves home
II. The hero is approached with a ban
III. The ban is violated, etc.
Each function sequentially names the actions of the heroes of the fairy tale.
V. Propp draws conclusions at the end of the chapter that within the framework of these functions the action of all fairy tales of the material taken for research develops. When considering this list of functions, one can agree with the author that one function follows from another, and they all belong to one core. A large number of functions are arranged in pairs: (prohibition-violation, scouting-extradition, fight-victory, pursuit-rescue, etc.). Some functions can be arranged in groups, while others act as single functions.
In the sixth chapter of V.Ya. Propp talks about the distribution of functions among the actors. He notes that many functions are grouped into known circles that correspond to the performers. V.Ya. Propp calls them circles of action. The author of the work identifies the following circles:
1) The range of actions of the antagonist (pest).
2) The range of actions of the donor (supplier).
3) Circle of actions of the assistant.
4) The circle of actions of the princess (the desired character) and her father.
5) Circle of actions of the sender.
6) The hero’s range of actions.
7) The circle of actions of the false hero.
Based on the seven named circles, V.Ya. Propp names seven characters in the tale; the functions of the preparatory part are distributed among the same characters, but at the same time, according to the author, the distribution will be uneven. Characters cannot be defined by these functions. V.Ya. Propp also talks about the distribution of the designated circles among individual fairy-tale characters:
1) The range of actions exactly corresponds to the character.
2) One character covers several circles of actions.
3) The opposite case: one circle of actions is distributed over several characters.
4) Thus, we see that the analysis of a fairy tale according to Propp presupposes clarification of the functions of the heroes of the fairy tale and the circles of their actions.
In our opinion, the method of determining the functions of the hero can be applied not only to fairy tales, but also to other types, as well as to a literary fairy tale.
The purpose and objectives of our research determined the structure of the work. It includes an introduction, four chapters, a conclusion and a list of references. The logic of constructing the study involves moving from historical, literary and theoretical issues to observations, analysis of 6 fairy tales and methodological developments that take into account the specifics of Gorky’s works for children of primary school age.
1. A. M. GORKY ABOUT CHILDREN’S LITERATURE
A.M. Gorky made a great contribution to the field of children's literature. He was not a teacher, but thought about education until the end of his days. Gorky said that raising children should be done by people who truly love this business.
In a message to the Third International Congress of Family Education in 1910, the writer expresses his requirements for raising children. Later, in a speech at a meeting of the League of Social Education in 1917, he formulates the goals of education: “saturating a person with knowledge about the world and about himself, the formation of character and will, the development of abilities.” These goals are still relevant today. Gorky advocated a joyful childhood, in which life and work are pleasure, and not sacrifice and feat. He puts forward the thesis that protecting children is protecting culture.
In the 30s A.M. Gorky maintained an active correspondence with children and advised them to read the works of great literary classics: A.S. Pushkina, M.Yu. Lermontov, I.S. Turgeneva, L.N. Tolstoy, A.P. Chekhova, N.A. Leskova. Together with the Parus publishing house, he planned to publish books for children's reading, a plan has been drawn up. The alphabet and arithmetic in pictures were planned for five-year-old children. For children from five to nine years old it was proposed to publish a series of folk tales by A.S. Pushkina, V.A. Zhukovsky, A.M. Gorky, H.K. Andersen, Brothers Grimm. Gorky proposed not to limit oneself to the selection of existing books for children's reading; he advocated uniting writers to create new works. Later, in 1933, a special publishing house for children's literature, Detgiz, was created. The best children's writers were recruited to work. He addresses children through the newspaper " Pioneer truth” with a request to write their wishes, what books they would like to read. The children responded to Gorky's proposal and sent many letters in which they indicated topics, books, and heroes.
HER. Zubareva believes that Gorky influenced literature for children not only with the theoretical innovation of his articles, but also with his artistic innovation in his works, which reflected the world of childhood. A.M. Gorky painted images of children, showing them together with the lives of adults; he emphasized that there are uniform laws for the formation of a person’s character in society. In the stories written back in the 90s: “Spectators”, “Grandfather Arkhip and Lyonka”, “Girl”, “Passion-faces”, “Shake-up”, images of children are given, many of whom are doomed to death, physical or moral , showing a crippled childhood, Gorky believed that this was an irrefutable document indicting the inhumanity of society. Many of the stories became available for children's reading. The writer was convinced that “ lead abominations life” did not kill honesty, love for people, kindness, and interest in life in children. The story "Grandfather Arkhip and Lyonka" was transferred to the publishing house "Znanie", and the story "Shake" was published in the magazine "Vskhody" in 1898, it is associated with autobiographical stories Gorky. Gorky showed in it the truth about the life of a little worker who early learned social injustice. The educational impact of the story is great, as it awakens a protest against the humiliation and destruction of the joy of childhood.
In the period from 1913 to 1916, he worked on the stories “Childhood” and “In People”, in which he continued the tradition of autobiographical prose about childhood. Unlike L.N. Tolstoy, Gorky draws attention not only to the inner world of the child and the formation of his personality, but to the social and moral self-determination of the hero, which occurs due to confrontation with others. All his stories about children are filled with spiritual generosity and spontaneity.
At the turn of the 30s and 40s, it was prescribed to create works on the themes of defense and labor. The children's book updated the image of a strong and wise author. The heir to the “new” children's literature was Soviet children's literature, the programs of which were developed in the pre-revolutionary era.
In the post-October period, the program of A.M. was taken as a basis. Gorky. This was part of his grandiose plan to create “proletarian” literature.
This program was taken up by Chukovsky and then Marshak. The language of literature in the post-October period changed rapidly; it was similar to the language of illegal publications of revolutionary anthems, slogans, proclamations, and to the poetry and prose of satirical magazines, which did not entirely appeal to Gorky.
The writer believed that children's literature is an inseparable part of all Soviet literature and argued that the same high demands should be placed on books for children as on every work of art.
1.1 ARTICLES ABOUT EDUCATION AND CHILDREN'S BOOKS
It should be noted that, first of all, Gorky viewed children's literature as a means of education, understood the need for renewal, and therefore sought to attract a variety of poets and writers to it. He believed that the topic of a book for children should be broad. This literature should not idealize the world. Gorky outlined his basic views on education and children's books in his articles.
In the article “On Irresponsible People and the Children's Book of Our Day,” written in 1930, he railed against those who believed that to amuse a child through art was to disrespect him.
“A man whose ears are plugged with cotton wool” was written the same year in response to an article by E. Flerina. The writer notes D. Kalm's ignorance of the literary process. Further, Gorky develops a conceptual view of a book for children as specific - age-appropriate, great art. The essence of E. Flerina’s article is the denial of the “tendency to amuse a child.” “I don’t believe,” writes Gorky, “that the People’s Commissariat for Education denied this trend. A child up to the age of ten demands fun, and this demand is biologically legitimate. He wants to play, he plays with everyone and learns about the world around him first of all and most easily through play, through play. He plays with words and with words; it is through playing with words that a child learns the intricacies of his native language, absorbs music and what is philologically called the “spirit of language.” Gorky notes that Pushkin, Leskov, Uspensky and most other writers learned the Russian language from fairy tales, songs, “comprehended the beauty, strength, clarity and accuracy” of the language through “funny jokes, sayings...”. “Children have never needed to be enriched with language as much as they need in these years, in our days, when life is changing comprehensively, many new things are being created and everything requires new verbal forms.”
In his 1930 article “On Themes,” Gorky raises the question of the themes of children’s books; he writes: “The question of the themes of children’s books is, of course, a question of the line of social education of children. In our country, to educate means to revolutionize, that is, to free the child’s thinking from the technical skills of thought predicted by the past of his grandfathers and fathers, from its delusions “...” It is necessary to organize the task of raising children in such a way that from an early age, even at games, they decisively break away from the conscious and unconscious attraction to the past - hence it is clear that it is necessary to reveal to the children the processes of the past.” The way in which this can be achieved is through stories about labor processes, how they created facts, and from them concepts, theories and ideas flowed.
In the article “On Irresponsible People and the Children's Book of Our Day,” written in 1930, he railed against those who believed that to amuse a child through art was to disrespect him. It is necessary to note the innovation of Gorky’s views on the development of children’s literature. Any knowledge, according to Gorky, even the most complex ones, can be taught in an entertaining way.
In another article, “Literature for Children,” he writes: “You shouldn’t think that all children’s books, without exception, should provide educational material. Our book should not be didactic, not grossly tendentious. It must speak the language of images, it must be artistic. We also need a fun, funny book that develops a child’s sense of humor.” In the article by A.M. Gorky noted that the book is designed to speak to children in the language of images; it must be artistic. He was also worried about preschool literature, noting the need for poems that would provide an opportunity for play, such as counting rhymes and teasers. The writer also advocated the publication of collections composed of the best works of oral folk art. He appealed to publishers with a request to carefully select the most valuable books of world and Soviet literature. The writer noted the need for children to read fairy tales. He proposed to include in plans for publishing children's books greek myths, Scandinavian epic, Russian epics, etc. He proposed publishing a series of books “Why and how people created fairy tales.”
Activities of A.M. Gorky’s work was versatile: correspondence with writers, development of themes for children’s books, creation of the first post-revolutionary children’s magazine “Northern Lights” - he sought to do all this for the development of children’s literature.
It is necessary to note the thoughts of M. Gorky about the language, which he considered the basis of the culture of the people, therefore it is necessary to introduce children to vernacular. In this matter, he assigned a huge role to literature, since for it language is the main tool. Gorky believed that children best comprehend the beauty of language through the example of riddles, sayings, and jokes, since in the elements of their native language its spirit is preserved. A.M. Gorky advocated entertaining children's literature. In his opinion, until the age of ten, a child requires fun, and this is explained by biological nature. A child’s knowledge of the world also occurs through play, so children’s literature must take into account the needs of children for exciting reading. The writer persistently defended the rights of children to their childhood and said that the writer also has the right to entertain his reader. He said that you need to talk to children in a funny way.
Gorky’s article “On Fairy Tales,” written in 1935, became especially significant, since on the pages “ Literary newspaper“Back in 1929, a sharp debate about this genre broke out, resulting in a literary debate about the meaning of literature addressed to children.
A. M. Gorky’s work with aspiring writers was of great importance, to whom he advised to read folk tales, as they develop imagination and enrich the language. In his opinion, children's writer must take into account the characteristics of the reader’s age, since children’s perception, thinking, memory, language culture differ in different periods childhood. The educational potential of children's literature, according to Gorky, is great. He drew attention to the fact that children of preschool and primary school age do not have their own life experience, they are characterized by increased emotionality, they are able to imagine themselves as participants in the events that they have read about. They present everything described in the book as actually happening.
A.M. Gorky believed that for preschool children the age-related characteristics of a children's book, style and theme should be more clearly taken into account; for younger children, the author should strive to reveal the character of the hero through his actions, and recommended that older children be shown how character development occurs. He talks about the need to take into account the mental characteristics of children and their age-related aesthetic needs.
1.2 DISCUSSION ABOUT THE TALE: A.M.’S POSITION GORKY
Children's literature of the 20-30s of the 20th century is characterized by a variety of directions. The construction of communism was a utopia, but the dream of a happy life inspired writers and gave birth to new children's literature. The new direction of utopian avant-gardeism captured many writers of the 20s. Children of pioneer age were captivated by A. Bogdanov’s utopian novel “Red Star,” written back in 1908 and criticized by the “old” intellectuals. The novel depicts a Martian society in which there is no family, children are raised in a commune,
where there are no differences between children by age and gender. The word “mine” is considered a defect in upbringing. Parents who visit their children temporarily become educators for everyone. The goal of education is the desire to eliminate feelings of individualism, possessiveness and cultivate a sense of unity with the team. The exploration of Venus must be carried out by thousands of people, whose calls were the words: “Let nine-tenths perish... if only victory is won!” Bogdanov’s utopian principles were heard on the pages of pioneer publications of the 20s and early 30s.
Children's literature of that time was also characterized by realistic trends that reflected traditional spiritual Christian foundations. The literature of the early Soviet period had a valuable quality, which consisted in the preservation of the foundations of a religious worldview by some writers of “proletarian” culture. Many writers retained their religious feeling - these were Samuil Marshak, Tamara Gabbe, Evgeny Schwartz, Vera Panova, Daniil Kharms, Alexander Vvedensky, Yuri Vladimirov. Along with them, convinced atheists created their works: Lydia Chukovskaya, Ivan Khalturin and others.
Most of all, the introduction of children to the Christian ethnic group took place thanks to the work of Alexander Neverov; his story “Tashkent is the city of grain” is known. Neverov’s ethical beliefs are similar to those of Andrei Platonov, the author of the story “The Pit.” In their works, the dream of a “city of grain” is tested, whether children will be able to live in it.
In the 1930s, diversity artistic trends replaced by a new one creative method“socialist realism”, which excluded the topic of pre-revolutionary childhood. Along with the “new” Russia, the need arose to cross out one’s personal biographical past, and therefore the topic of childhood in the 20s was taboo for many. After 1936, works were primarily created in public issues, mostly these were marches, chants, in prose - articles and stories from the scene. The “new” children's literature of the Soviet era lost a valuable quality - intimacy.
In the first Soviet decades, not all of the preserved heritage of children's literature found its demand; old children's literature ceased to exist, although no one forbade writing or closed the old magazines; old writers had nothing to say to the new reader. The new magazines that appeared were much inferior to the well-known old ones.
The question of the new reader was central to the discussions of the 20s, which considered critical issues development of children's literature:
· traditions and innovation;
· the role of fairy tales;
· criteria for evaluating a children's book, its language, content, characters. Famous writers, scientists, teachers, critics and publishing workers, and government officials took part in these discussions. Question about literary heritage caused a lot of controversy, which boiled down to the extent to which Soviet literature relies on the classics, what of the classical heritage will be useful in new literature, and what will hinder development. Some panelists advocated for a modern children's book, while others argued that eternal moral principles should not be abandoned classical literature. A.M. Gorky was on the side of classical literature and sharply condemned those who adhered to the theory of vulgarizing sociologists who removed classical works from libraries.
The issue of attitude towards the fairy tale also caused a lot of controversy. Objections to fairy tales boiled down mainly to the following: fairy tales distract the child from real life, it contains mysticism and religiosity. Fairy-tale anthropomorphism inhibits the child’s affirmation in his real experience: the child cannot create stable connections between himself and external environment which are necessary for its normal development. Teachers were categorically against Fairy Tales as a genre of literature for children. At pedological conferences, speakers called for “launching a broad anti-fairy tale campaign,” “the fairy tale has outlived its usefulness,” “those who are for fairy tales are against modern pedagogy,” and very briefly and simply, “Down with every fairy tale.” Nadezhda Konstantinovna Krupskaya was also against fairy tales; in her opinion, they were alien to communist ideology. She proposed creating modern fairy tales that would be aimed at raising “ardent fighters.” Krupskaya did not completely reject the fairy tale, but she considered fairy tales about understandable to a child things in which there was no mysticism, since children should develop under the influence of realistic literature.
Lunacharsky was against this approach to the fairy tale, believing that deprivation of magic would interfere with the normal development of the child.
Gorky advocated the fairy tale, noting its beneficial effect on the emotional and mental state of the child. He believed that “fiction is fascinating and instructive for a person - the amazing ability of our thoughts to look far ahead of fact.” Therefore, fairy tales have a beneficial effect on the spiritual and mental maturation of children.
Gorky advised young authors to read folk tales, as they develop imagination, force the aspiring writer to appreciate the importance of fiction for art, and most importantly, they are able to “enrich his meager language, his poor vocabulary.” And children, Gorky believed, desperately need reading fairy tales, as well as works of other folklore genres.
Marshak was also on the side of the fairy tale; he opposed those who generally rejected the folk tale.
The next question of discussion was about the criteria for evaluating children's literature. Krupskaya advocated a book that expands a child’s understanding of social relationships. In her opinion, the book should give the child a broad understanding of social relations. Other participants in the discussion considered the book's merits to be the originality of the plot, impeccable form and perfection of the language.
Educators argued that the basis of the book should be the educational value of a children's work.
Other proposals for evaluating the book were also made, which boiled down to the fact that, first of all, when evaluating, you need to pay attention to whether the book meets the needs of children. During the discussions, other issues were also touched upon: about creating an adventure novel, about low-education works of art, about the artistic skills of children's writers.
2. HISTORY OF THE CREATION OF A.M. GORKY’S FAIRY TALES FOR YOUNG CHILDREN
The history of Gorky's stories and fairy tales for children is connected with the earthquake that happened in the south of Italy, in Messina. The disaster occurred on December 15, 1908, at about six in the morning. Thousands of people died, there were a large number of wounded.
All ships nearby swam to the shore. The sailors began to provide the necessary assistance to the victims.
Gorky at that time lived on the island of Capri, worked and received treatment. “What can I do for the victims? - thought the writer. - They need medicine, clothes, money. They need to build new houses to continue living.”
A. M. Gorky's books were distributed throughout the world. The writer turned to the whole world for help. Many people responded. Money and things began to be sent to Messina. Many donations came to Gorky himself. One day, money and a letter written in a child's handwriting arrived from Russia. Unknown kids from Bailov (a suburb of Baku) wrote: “Please give our money... to the writer Maxim Gorky for the Messinians.” The letter was signed: “School of naughty people.” It was a school for children from democratic families, organized by Baku revolutionaries in 1909. Teachers believed that any complex child could be turned into a joyful, cheerful naughty boy.
The children earned money by selling out tickets to the play, which they staged themselves under the guidance of the talented teacher Alisa Ivanovna Radchenko. The envelope contained a photograph of twelve participants in the performance.
Gorky replied: “Dear children! I received the money you collected for the Messinians and I sincerely thank you for everyone you helped. I sincerely wish for you, good little people, that throughout your life you will be as sensitive and responsive to the grief of others as you were in this case. The best pleasure, the highest joy of life is to feel needed and close to people! This is the truth, do not forget it, and it will give you immeasurable happiness. ...Be healthy, love each other and - do more pranks - when you are old men and women - you will begin to remember the pranks with a cheerful laugh. I press your paws tightly, may they be honest and strong all the days of your life!..”
Then the children from the “School of Naughty People” - Borya, Vitya, Dima, Fedya, Zhenya, Lena, Lisa, etc. - sent Gorky a letter.
One of the boys wrote: “Uncle Alyosha! I love you, do you have a horse, a cow and a bull? Write us a story about a little sparrow. And also write us some fictitious story about the boy fishing. I kiss you... I would like to see you.”
Gorky this time did not leave his little friends’ letters unanswered. In his second letter to the naughty people, Gorky admitted: “I really love playing with children, this is an old habit of mine, little, about ten years old, I nursed my brother<…>then I nursed two more children...”
Gorky said that upon receiving the children’s letters, he “laughed with joy so much that all the fish stuck their noses out of the water - what’s the matter?” But the most important thing is that Gorky fulfilled the request of one of the children: the fairy tale “Sparrow” was first published in 1912 in the collection of fairy tales “The Blue Book”, which was published in the same year; the fairy tale was published separately in 1917 by the Parus publishing house. The fairy tale “The Case of Evseyka” was published in the newspaper “Den”, and then, with minor changes, reprinted in the magazine “Northern Lights”.
In November 1910, the writer received a letter from a seven-year-old boy. Impressed by the death of Lev Nikolaevich Tolstoy, the boy wrote:
“Dear Maxim Gorky! All the writers have died, you are the only one alive. Send me a story and a letter. I kiss you, your Ilyusha.” Gorky responded to his correspondent one or two weeks later, sending him the fairy tale “Morning.”
On the topic of philistinism, one of the most important topics of all his creativity, Gorky returns in the fairy tale “Yashka”. First published in the magazine “Northern Lights”, 1919, No. 1 - 2, January - February.
“The Tale of Ivanushka the Fool” goes back to Russian folk traditions.
From the letter to the naughty people it is clear how the story with the samovar was written. “Although I’m not very young,” Gorky slyly noted, “I’m not a boring guy, and I know how to show quite well what happens to a samovar in which they put hot coals and forgot to pour water.” Apparently, Gorky more than once happened to meet with children and talk about the samovar. This incident is described in one of the books of the autobiographical trilogy “In People”: “...” One Sunday, when the owners left for early mass, and I, having put the samovar on, went to clean the rooms, the eldest child, having climbed into the kitchen, pulled out the tap from samovar and sat down under the table to play with the tap. There were a lot of coals in the pipe of the samovar, and when the water flowed out of it, it came apart. While still in the rooms, I heard the samovar humming unnaturally angrily, and when I entered the kitchen, I saw with horror that it was all blue and shaking, as if it wanted to jump off the floor. The unsoldered faucet sleeve sank sadly, the lid slid to one side, drops of tin flowed from under the handles - the lilac-blue samovar seemed completely drunk. I poured water on him, he hissed and sadly collapsed on the floor. “...”.
So, the history of the creation of fairy tales for young children includes the reasons and motivations for Gorky’s correspondence with the students of the “School of Naughty People”, his position as a publisher and writer in relation to the order coming from the little reader. The chronology of creation does not always coincide with the chronology of publication:
1. “Morning” - a fairy tale written in 1910, published for the first time in the children's magazine “Lark” (1918, M 11-12);
2. “Sparrow” - 1912 - first published in the collection “Blue Book” in the same year, but published separately only in 1917, publishing house “Parus”;
3. “The Case of Evseyka” - 1912 - newspaper “Day” in 1912, then in 1919, magazine “Northern Lights” (N2 3-4);
4. “Samovar” - 1913 - first published in the collection “Yolka. A book for small children”, publication “Parus”, 1918;
5. “The Tale of Ivanushka the Fool” - 1918;
6. “Yashka” - 1919 - first published in the magazine “Northern Lights”, 1919, No. 1 - 2, January - February.
3. FEATURES OF THE POETICS OF SIX FAIRY-TALE WORKS
3.1 “MORNING” AS A TALE ESSAY
As noted above, Gorky in 1910 received a letter from a seven-year-old boy upset by the death of L.N. Tolstoy. In future - famous composer Ilya Frenkel. After some time, at the request of a young correspondent, the fairy tale “Morning” was written. The very title of the work was already intended to help overcome the sadness associated with the departure of the writer, to inspire the little reader with the thought of the continuing life of nature, of the joyful and bright beginning of a new day.
The beginning of the fairy tale sets the reader up to perceive it, the author conveys his mood and joy of life: “The best thing in the world is to watch the day being born!” . Morning, everything on Earth wakes up, and after it comes day, “good afternoon.” We can note the weak development of the plot, which allows us to talk about the similarity of this tale with the essay.
The sun is the first to rise; in the fairy tale, it is kind and tireless, “a source of joy and strength.” The author asks the reader to love the “lord of the world” and be like him - cheerful, kind to everyone. People wake up with the sun. It watches them as they go to their fields to work. About the majesty of the image of a person A.M. Gorky wrote in his poem like this: “Man! It’s as if the sun is born in my chest, and slowly moves in the bright light - forward! and higher! A tragically beautiful man!”
Along with the sun and man, there are other images in the fairy tale: mountains, waves, green lizards, flowers, bees, wasps, birds, pine trees - they all live on the earth, work and enjoy life, even if it is coming to an end.
Despite this, there is a lot of optimism in the tale. She captivates the reader with her colorfulness. For this purpose, the writer uses epithets: golden sun, velvet petals, sweet smell, in the air, blue, warm, full of fragrances, affectionate song.
Nature in the fairy tale is spiritualized, the use of personifications helps the writer create vivid pictures of nature that depict the joy of life: the sun looks, smiles, laughs; flowers look into the sky, laugh, smile proudly; the waves bow and sing, the darkness quietly hides. Many comparisons enhance the impression of the unusualness of the morning seen: the waves bow to the sun, like court beauties; siskins are like street children, just as mischievous; swallows and swifts flash like black arrows; The pine trees look like huge bowls filled with light, like golden wine.
You should pay attention to how skillfully the author expresses philosophical thoughts about the importance of work in human life. In a form accessible to children, he talks about the most important things that should become a moral guideline for them throughout their lives. The author also puts before the children real question(which is also close to the essay genre): why do those who work all their lives remain poor from birth to death? But Gorky does not give the reader an answer. Respect for the work of ancestors, understanding the value of life itself and the need for work, joy from everything that surrounds you, overwhelms the fairy tale, creates a joyful positive attitude in the soul of the child. The whole fairy tale is perceived as a confidential conversation between the writer and the little man. To influence and persuade, the writer uses rhetorical exclamations that convey author's attitude to what he writes about: “Ah, they worked superbly, our ancestors, there is something to love and respect for the great work they did all around us!” .
Gorky uses entertainment to describe nature and the world around him. He glorifies the sun, flowers, sea, birds. Gorky writes that work and life on earth are wonderful. He wrote about this in his articles and embodied it in his fairy tale. The fairy tale is a kind of hymn to work and man. The technique of spiritualizing nature and humanizing surrounding phenomena helps the writer paint a vivid figurative picture of a summer morning.
3.2 “SPAUGHTER”: THE THEME OF CHILDREN’S INDEPENDENCE
The main character of the fairy tale is the little sparrow Pudik, he doesn’t know how to fly yet, but he is very curious and constantly looks out from his nest: “I wanted to quickly find out what God’s world is and is it suitable for him?” Pudik, like all children, is distinguished from adults by his great curiosity, the desire to understand everything that is happening around him, he constantly asks questions: “why do the trees sway, why are people wingless - did the cat cut off their wings?” When asking questions, he has his own ready answer: (“the trees are swaying - let them stop, then there will be no wind”). Sparrow does not listen to anyone, he understands everything in his own way. Gorky, in the image of the boastful Pudik, shows the character of a naughty, playful child. The theme of the fairy tale is about a naughty, inquisitive sparrow who did not listen to his mother and almost fell into the clutches of an evil cat. The heroes of the fairy tale: little sparrow Pudik, mother sparrow, father sparrow.
Reading a fairy tale Small child In the mother - caring, worried, patient, selfless, and the father - who brings food - the little sparrow Pudika can recognize his parents.
Next, we see that excessive curiosity and stubbornness lead Pudik to trouble - he falls out of the nest, where the red cat, about whom his caring mother warned him, was already waiting for him. Mother Sparrow rushes to the aid of her naughty son, she bravely fights the cat and saves Pudik at the cost of her tail. The little sparrow even flew up out of fear for the first time when he found himself in the nest. In the end, he admits: “You can’t learn everything at once.”
Gorky likes the independence of the little sparrow Pudik, hence the ambiguity of attitude towards his action: on the one hand, the author shows that you need to trust the experience of your parents, but on the other hand, caution and the desire to live without opening up the world around you, as in “The Wise Minnow” by Saltykov-Shchedrin does not accept.
Gorky's innovative ideas lie at the heart of this fairy tale; we feel the gentle humor of the writer, who, in a simple, funny form, strives to convey to the little reader the main idea of the fairy tale, to show what disobedience, boasting and self-confidence lead to. The language of the fairy tale is understandable to children, it is simple and clear. Gorky uses the technique of onomatopoeia in the characters’ speech, which is also typical for folk tales:
"- I'm sorry, what? - the mother sparrow asked him.
He shook his wings and, looking at the ground, chirped: Too black, too!
Dad flew in, brought bugs to Pudik and boasted: Am I smart? Mother Sparrow approved of him: Chiv, chiv!” .
A.M. Gorky uses colloquial vocabulary: you’ll make a fool of yourself, dad, he’ll gobble it up, at the top of his lungs, right there. Lexical repetitions are used to give dynamics to the action of a fairy tale, to convey the features of speech, to emphasize its expressiveness: fly, fly; sang, sang; nonsense, nonsense, nonsense, etc.
This fairy tale is characterized by the use of words with diminutive suffixes: birdies, flywheels, mice, they convey folk character speech.
There are many educational moments in the fairy tale; it is instructive and kind. The author sympathizes with Pudik. He is sure that the hero has learned a lesson for life, since the little sparrow says that you can’t learn everything at once. The folk basis of the fairy tale is felt throughout the entire text. Like the folk tale, the fairy tale “Sparrow” fosters a kind attitude towards the world and teaches us to see its diversity. The plot also shows similarities with a folk tale: a ban, a violation of a ban, a red cat as an antagonist, a mother as a helper and savior. With this episode, the second shows the great love of a mother who is able to save her son at the cost of her life. Pudik wonders, is mom really the strongest? Children reading the fairy tale understand that it is not the mother who is stronger, but the love for her son. The moral lesson of the fairy tale is clear to the reader; you need to love and appreciate your mother, thank her for her care and self-sacrifice.
Pudik believes that his parents are the most perfect creatures on earth, because they live high under the roof and look down on everyone. Sparrow sees people below who do not have wings, they are larger than Pudik, but they are “eaten by midges” - these small creatures that people are afraid of. Pudik thinks that since he is small and eats these midges, that means he stronger than man. If a person had wings, people would catch sparrows as they catch midges. These arguments speak of the hero’s curiosity, which is inherent in every child; he is kind to everyone, because when he grows up, he wants to make everyone fly.
With this tale, Gorky quite simply gives children a serious life lesson, teaches little readers to be attentive to all living things, to see the beauty of the world, to take their parents seriously and to enjoy life.
3.3 STORY - THE TALE “THE CASE OF YEVSEIKA”, FEATURES OF THE PLOT AND SPACE-TIME ORGANIZATION
The fairy tale is built on the motif of a dream that Evseyka sees, and since at the end of the fairy tale he returns to his original place, it can be argued that the composition is circular. The miraculous return coincides with the awakening of the hero.
A tale of a hero's miraculous journey to the bottom of the sea. Main boy hero Evseyka falls to the seabed, a miraculous movement again tells us that a miracle happens in a fairy tale. The writer uses a technique known in literature: a fantastic adventure takes place in a dream. The line between dream and reality is invisible.
The writer conveys the life of the underwater world through fiction. Unusual fish and sea creatures swim past the boy, they talk like people, laugh, sing songs in chorus, tease each other, take offense at offensive words. This description of underwater inhabitants is comparable to the manner of H.H. Andersen. Every living creature, every fantastic creature in his fairy tales has its own character, history, humor, whims, manner of speech and quirks. Evseyka is drawn into the relationship between the inhabitants of the seabed, he resists, realizing that they are fish, and he is a man. As in the real world, the hero has to resort to ingenuity so as not to offend anyone, not to cause anger and not to get into trouble. Gorky continues the traditions of folk tales, using the plot of a fantastic fall into the underwater kingdom. The latter, in turn, is also described fantastically, for this Gorky used epithets: hot day, scarlet starfish, curious things, green fish, white stones, with bluish-silver scales, fast shrimp.
There is one episode in the fairy tale in which best qualities boy. He is characterized by determination and resourcefulness. From the very beginning of the tale, the writer sympathizes with Evseika and uses evaluative vocabulary that helps him express his and the hero’s attitude to what is happening: a good man, very well, walks solidly, smiled pleasantly, asked angrily.
Evseyka himself considers himself smart: “I don’t understand German at all, but I immediately understood fish language! Wow, what a good fellow!” ; smart and savvy. Feeling the danger of the situation, Evseyka is looking for an opportunity to return to earth. You should pay attention to Evseika’s speech, he is very tactful and polite, the writer wants to show that even in moments of danger, the boy does not get lost, politeness and courtesy help him avoid trouble.
“The Case of Yevseyka” is an excellent example of a literary fairy tale of a special type - scientific and educational. The writer expresses the main idea of the fairy tale, showing how the hero, having found himself in trouble, shows perseverance, ingenuity, and resourcefulness. Gorky teaches children to be brave, resourceful, decisive, kind in difficult situations and not to lose fortitude.
3.4 “SAMOVAR”: SATIRICAL PROPERTIES OF A TALE
The fairy tale tells about a samovar, he appears to us as pot-bellied, boastful, considers himself smart, handsome, but who is arrogant and thinks that he is better than everyone. All these characteristics can be seen in Samovar’s songs:
Phew, I'm so hot!
Phew, how powerful I am! .
The plot of the tale is based on a dispute central character with a teapot. In their conversation, one can identify the characteristics of the Samovar:
Oh, what a braggart you are,
It's unpleasant to even listen to!
All things around behave differently. The creamer started a conversation with the empty sugar bowl. The grimy stew also joins the general conversation. Gorky skillfully uses dialogue, conveying the peculiarities of speech and character of each character. He describes each character in few words, but in such a way that it is easy to imagine the appearance of each: the teapot is old, the creamer is blue, the hunchbacked gentleman (“he always said something sad”), the sugar bowl is thick, wide and funny, the stew pot is grimy. Epithets create for us images of things that we are used to seeing every day. Colloquial vocabulary emphasizes the ordinariness of the situation: snorts, snouts, sings at the top of his lungs, so-so, muttered. The character traits of a person, which acquire cups, a teapot, a sugar bowl, a stew, etc., received satirical exaggeration in the fairy tale.
The tension of events was increasing, and there was no longer any water in the samovar, but it was still buzzing and brave, never ceasing to boast. The rhythm of the poems corresponds to the tension of events. The tale ends with the samovar unsoldering and falling into pieces.
Gorky talks about things familiar and close to children. The main idea of the fairy tale is that behind simple things the author expresses important thoughts - you cannot brag and be arrogant. Boasting and disrespect for others - making fun of these negative qualities man was the main task of the writer. Little readers are invited to think about the behavior of the heroes and draw a moral conclusion for themselves about what such behavior leads to, so the fairy tale contains an instructive meaning.
3.5 THE TALE ABOUT IVANUSHKA THE FOOL IN THE CONTEXT OF FOLK TRADITION
First of all, let's turn our attention to the title. The term “fairy tale” is already included by the author in the title. Most likely, this is motivated by the fact that the image of Ivanushka the Fool is one of the most popular heroes of Russian folk tales.
Exploring the plots of folk tales “About Ivanushka the Fool”, it can be noted that Ivanushka is always the youngest, third son in a peasant family. The older brothers always help their father and mother, are busy with some kind of business, and they laugh at Ivanushka, since he doesn’t succeed in anything he undertakes. Parents most often feel sorry for their youngest son.
According to the plot, one day an unusual event occurs: either someone poisons the crops, or the father gets sick, or the king gives a dangerous task. Then Ivanushka gets down to business. We see his main qualities: honesty and kindness; having met a wizard on the way, he acquires an assistant. Ivanushka is kind to both people and animals, he will never pass by someone in trouble, he will always help. He always speaks politely to elders, and always outwits villains. In fairy tales, Ivanushka often solves riddles, showing his intelligence; other heroes cannot solve these riddles. For his diligence, he receives a magical assistant. He achieves success in all tasks.
The fairy tale “About Ivanushka the Fool” contains a plot and images of oral folk art. Gorky recalls the fairy tales that he heard as a child from his grandmother Akulina Ivanovna and nanny Evgenia. Treatment folk plot Gorky’s work is so original that it can be considered Gorky’s creation. An everyday fairy tale begins with a fabulous beginning: “Once upon a time there was Ivanushka the Fool, a handsome man, and no matter what he did, everything turned out funny for him - not like with people.” The ending of the tale is happy, as in folk tales. The image of Ivanushka the Fool also has a folklore origin, as it should be, he is a cheerful, cheerful person, but everything he does turns out funny, as Gorky emphasizes, not like people do. Gorky endows the hero with a resilient character. Ivanushka sings songs, is not afraid of difficulties, he overcomes all obstacles. Gorky's image of Ivanushka is deeper and more complex. In the fairy tale, the first place comes not from Ivanushka’s stupidity, but from kindness and strength, which helps him conquer the bear.
Indicative in the episode with the bear is their dialogue about kindness and intelligence; Ivanushka concludes that the one who is angry is stupid. In such a simple formula, along with such everyday phrases as: “whoever is smarter will be the first to finish” an argument or fight, Gorky goes into complex philosophical categories so that already early childhood give an explanation to the child. The author does not forget to talk about this with his characteristic humor.
The fairy tale uses colloquial, everyday vocabulary: man, stew, asked for, dragged in, fool. painfully harmless, go ahead and dial, etc.
The folk character of the fairy tale is visible in the special verbal comedy: play with puns, unexpected literal meaning familiar words. We see how Ivanushka diligently fulfills the man’s order to guard the door. Ivan takes it off its hinges and carries it around the forest, thereby showing his childish naivety and spontaneity, but they, in turn, cover up his ridiculous actions.
The fairy tale contains a moral lesson, folk wisdom that life itself teaches - not the truly fool who sits on the stove, measures the ashes with a hat, spits at the ceiling or sells a bull to a birch tree, but the one who, arrogant, does not hear the world around himself, not connected with him together. Pride is a sin, and it will be punished!
3.6 THE TALE “YASHKA” AS A SOCIAL SATIRE
Gorky also returns to the theme of philistinism, one of the most important themes of his entire work, in the fairy tale “Yashka”. The satire here is clearly political and anti-religious in nature.
The fairy tale “Yashka” opened the first issue of the Northern Lights magazine, which Gorky edited, in 1919, but it was written before the October Revolution. In 1918, the class struggle in Russia reached extraordinary tension.
A ten-year-old boy, Yashka, goes to heaven for his everyday suffering. And then he sees lines of holy saints. They languish with boredom and unctuously whine about their sacrificial suffering and valor: “our legs are broken, our arms are dislocated, because how we suffered!” . This heavenly life made Yashka no longer want to drink, eat, or play. And he returns to earth to live “for the glory of people.” The plot of the tale itself was borrowed by Gorky from folklore. The folk version of the fairy tale told about a soldier who went to heaven, but he did not like living in heaven.
The beginning is the same as in the folk tale: “Once upon a time there was a boy Yashka.” At the beginning of the fairy tale, Yashka goes to heaven, but on earth he was constantly beaten, he suffered until he was ten years old and died. In paradise, Yashka sees beautiful nature, seemingly to live and rejoice, but the beautiful picture is overshadowed by the saints who “walk in a round dance and boast about their torments.” The boy is not happy with what he sees; the saints make a depressing impression on him. Yashka was surprised by the fact that they all considered their merit to be torment and patience. They do not notice the beauty of nature around them and are only busy constantly talking about their own things. God himself was tired of them, he was tired of listening to them and was not averse to having fun. All this made Yashka bored, although they did not beat him or starve him. He was so bored that he didn’t want to eat or drink. Yashka began to ask to go to the ground and even agreed to be beaten there again if there was anything for it, and he didn’t want to complain about his life. In this episode, the social characteristics of the hero invade the text. Paradise life he wanted to exchange it for earthly life. Yashka decided to serve people on earth, and not complain to God in paradise about his torment. He wanted to help people in their labors, to console them in their grief, to cheer them up in their sorrows. Despite my hard life Yashka retained his cheerfulness and kindness. On earth, he wants to learn to play the balalaika, so that later, when he dies, he will amuse God.
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March 28150th birthday anniversary
Maxim Gorky
(1868 – 1936)
“A person cannot be denied two things: bread and a book”
(Maksim Gorky)
Gorky loved children very much. IN early years on holidays, with taking guys from all over the street, he went with them for the whole day V forest, and when returning, he often dragged the most tired to the shoulder h ax and back - in a specially made chair.
In my homeland, in Nizhny Novgorod, on New Year’s Day 1901 th d Gorky arranged a Christmas tree for one and a half thousand children of the Nizhny Novgorod poor - with colored electric lights mi (at that time it seemed almost a miracle) and gifts: a bag with a pound of gifts, boots, a shirt. With pain he looked at n travel sadness in the eyes of the little guests, in their elders To seriousness, indignant at those who deprived children of their childhood.
And later the children wrote letters to Gorky, and he answered them - V always friendly, often playfully. "Huge oud V I feel flattered when I correspond with the children,” G said the writer. Everyone knows his saying: "For de T she needs to write the same way as for adults, only better.”
Gorky soulfully portrayed children in his work With TV: works “Foma Gordeev”, “Three”, “Childhood”, Tales of Italy”, “Passion-faces”, “Spectators”, “Grandfather” Ar hip and Lenka", "Misha", "Samovar", "About Ivanushka-doo R Achka", "Shake", "The Case of Evseyka", "Sparrow".
The gymnasium library has such books by M. Gorky for children.
This is how playfully, with humor, Gorky addressed his m to scarlet friends:
My dear children!
It is very difficult to live in the world!
Everywhere - dads and moms
Disobedient and stubborn.
Grandmothers and grandfathers walk
And they growl like cannibals.
And wherever you go -
There are uncles and aunts everywhere.
And there are teachers everywhere
They walk around with cheerful eyes.
They walk, cough, and watch:
Who is the smartest of the guys?
And they will notice: the boy is a striker,
So they will give him bad marks.
Putting glasses on my noses,
They look: where are the girls?
And walking like camels,
They give the girls a bad rating.
My dear children!
These orders are difficult!
Fairy tale by Maxim Gorky "Sparrow"
This tale is about a sparrow family consisting of a sparrow father, a sparrow mother and their yellow-throated son, who cannot yet fly, named Pudik.
He is the main character of this fairy tale. His character is written by the authormost prominently. Pudik, like any kid, longed for independence, knew how to reason, had his own opinion and the habit of disagreeing with adults, for which he paid. It’s interesting: you read about sparrows, but at the same time you think about people - about relationships in families between children and adults.
Everyone has their own business. The father hunts, carries insects and feeds his son. His mother is raising Pudik and teaching him the wisdom of life. The most active one in this family is Pudik. He's interested in everything. He can be called an inquisitive “why”: why the wind blows, why a person does not have wings, why trees sway. At the same time, he is a dreamer. His dream is to make everyone fly, because in the air, in his opinion, it is better than on the ground.
Living by his own mind, Pudik did not want to agree that a person is good without wings: “Nonsense! - said Pudik. - Nonsense, nonsense! Everyone should have wings!” He even composed a poem on this topic:
Eh, wingless man,
You have two legs
Even though you are very great,
The midges are eating you!
And I'm very small
But I eat midges myself.
One day, a self-confident little sparrow did not listen to his mother, fell from the nest and almost fell into the cat’s claws. His mother sparrow saved him. Everything ended well, except that the mother, protecting her son, was left without a tail. And for Pudik himself, this event became a moment that made him flap his wings out of fear and fly up to the window. The joy of the first flight was so great that the son did not even notice how the angry mother pecked him on the back of the head. He realized: “You can’t learn everything at once.”
When reading a fairy tale, you need to draw the child’s attention to the abundance of words with the letter “h” and try to highlight it with emphasis. This is a kind of imitation of the chirping of sparrows.
Questions will tell you what to talk about with a child who has listened to a fairy tale. What price did the mother sparrow have to pay to save her son?
7. Why, In your, Pudik learned from falling from the nest? Is it just the ability to take off from the ground?