Two to five

There is also a thirteenth. It lies in the fact, that in our poems we should not so much adapt to the child, how much to adapt it to yourself, to their own “adults” feelings and thoughts. Of course, we must do it with great care, without violating the nature of the child, but if we don't, we will have to give up the role of educators. We are obliged to gradually break many of the above commandments., in order to bring the baby close to the perception of great poets by gradually complicating the poetic form. This will be true verse education., which for some reason we still have very little care. The method of verse education of older preschoolers is to develop the most rational techniques for the gradual violation of the above rules – of all, except for the twelfth, which requires high quality nursery rhymes. This rule should not be violated under any circumstances..
Unfortunately, many teachers, reviewers and critics still judge children's poetry solely by its content, not knowing, that the most valuable content of children's poetry will be hopelessly ruined by an unsuccessful and sloppy form, – so it is in the interests of the subject that you first need to study the formal features of children's poetry, as well as the most effective methods of their creation.
Any, who will at least briefly familiarize themselves with that golden fund of Soviet children's poetry, which was created by Mayakovsky, Marshak, Mikhalkov, Barto, Kvitko, Yanka Kupala, Scored and a galaxy of their younger brothers, can't help but come to a conviction, that the richest variety of poetic forms is quite consistent here with the same rich variety of plots. Compared with the literature of the pre-revolutionary era, the number of genres in today's children's poetry has increased enormously., included in the daily life of children; Soviet poets managed to introduce even younger preschoolers to the most pressing topics, which the whole country lives.
For the last twenty years I have been from year to year (with a short break) I watch several kindergartens in the Moscow region and see, how many topics, which are now in the circle of interests of the child. Here is a rough list of those poems and songs, which exist in these kindergartens and are especially popular among toddlers. Already the very titles of these works of poetry show, how the range of interests and tastes of the child has expanded recently.
“Song about Lenin”. – “Mayday”. – “we – for peace!” – “Flight into space”. “Boy and pilot”. – “Harvest festival”. – “My dad is a deputy”. – “Who built this house”. – “War with the Dnieper”. – “fir-tree”. – “Santa Claus”. “rain”. – “Cranes”. – “Mustachioed - Striped”. – “Kids in a cage”. – “Uncle Styopa”. – “Bullfinch”. – Folkloric shifters, rhymes, heavier, riddles, play rhymes. – Mischievous entertaining tales in verse – and along with this such, became popular, tracks, as “Through valleys and hills”, “Migratory birds fly”, “Mother, my fogs, rastumany” (learned on the radio).
Already from this list of titles alone we see, what no, in fact, such a literary genre, understandable for children, which Soviet pedagogy of recent times would not have introduced into the spiritual life of a preschooler. It's all about keeping the proportions – therein, so that one single genre does not supplant all the others.
So the question about the subject of poetry for children can be considered (in outline) resolved. Those heated debates about this, which were so often conducted in the twenties – thirties, now they are already far behind.
This is not the case with the question of the poetic form of poetry., offered to children. Until now, this important issue has not attracted any serious attention of researchers.. Critics don't seem to notice him. The vast majority of teachers ignore him completely..
meanwhile (I repeat again and again!) in the interests of the same topic, which is dear to teachers (and not only for teachers, but to all of us), they should at all costs study the poetics of children's poetry. That's why hope never leaves me, that my humble commandments will not be completely useless.
Of course, orders – too loud a name for these unassuming rules. These are just milestones, set for themselves by one of the aspiring children's writers, who strove to get closer to the psyche of small children, to influence her as much as possible.
we, Soviet writers, we have a precious opportunity to study this psyche not only in private, in a narrow circle of family, but also in those countless “communities” children, what are nurseries in our country, kindergartens, etc.. Therefore, the main feature of our preschool poems is precisely that, that they should be adapted to be read aloud in front of large groups of children. Of course, they can also be read to single children, but their composition, their rhythms and images are organized like this, so that they can be easily perceived by numerous audiences of children. Here is one of the most characteristic features of our current children's poetry.: when we write, we imagine ourselves on the stage in front of many young listeners.
Children's writers in the West did not know this feeling., and that is why their works in most cases were chamber, deeply intimate.
How many children did Edward Lear see before him?, when he wrote his lovely “A book of absurdities”? Only three little grandchildren of the Earl of Darby, who at that time taught drawing.
And only three girls, Liddell sisters, listened to Lewis Carroll, author “Alice in Wonderland”, when he improvised his famous tale over the sleepy Oxford river, in which the intonations of his quiet voice are forever preserved.
To us, children's writers of the Soviet republics, even if we wanted to be intimate, it would never have been possible, since all our life we ​​are, so to speak, in the ocean of children. Endless ocean – from Artek to the Arctic. It is in it that all our creativity is formed.. I would write in a completely different way “Fly-tsokotuhu”, “Barmalea”, “Stolen sun”, “Telephone”, if I didn't feel while writing, that I will need to read these things in vast halls, in front of many little listeners. here – then the quality of these verses, which I would call scenic. These tales are theatrical: the plot unfolds in them according to the laws of dramatic action (tie, collision and so on.).
The very volume of each tale is determined by the, that it should be spoken in front of a restless and impatient crowd, whose psyche does not resemble the psyche of an individual listener. “Stolen sun” I first wrote in the form of a long, monotonous tale:
Cranes across the sky,
And the bears in the woods
Rushed at full speed,
To turn back the sun.
The cranes flew
To the Egyptian land…
etc.
But since in this design, this tale was suitable only for individual reading, I cut it in five, accelerated the pace, brought the maximum variety to her rhythm – in short, adapted it to the perception of the children's team.
This does not mean, of course, what “room”, solitary reading of fairy tales has receded into the past. in front of, there has never been such an abundance of mothers and fathers, who read books to their young children. But let these books pass the test in the mass audiences of children first..
This is not an idle requirement., since collective reading takes an increasing place in the system of upbringing of preschoolers and primary schoolchildren. All these colossal houses of culture, children's towns and palaces, organizing a multimillion mass of Soviet guys, show us, to writers, new requirements, which we cannot fail to fulfill. In order to fully comprehend these requirements, we have only one way – with all his activities to join this childish “community”. I, eg, like others “children's authors”, I can't imagine such a month in my life, when I would be divorced from the collective of children. Like other comrades, I performed and perform with my poems in the Crimea, and in the Caucasus, and in Leningrad, and in the Hall of Columns, and in the Tchaikovsky hall, and in the House of the Soviet Army, and in the writers club, and in the club of scientists, and in many schools in all areas, in many kindergartens, children's hospitals, children's sanatoriums, children's libraries, orphanages of culture and so on., and so on., etc..
Only such incessant, everyday communication with groups of small children gave and gives us, Soviet children's writers, the ability to harmonize your creativity with their mass psyche.
NOTES
Two to five. – For the first time under the title “Small children”, L. 1928. AT 1933 year, the third revised edition was released under the title “Two to five”. Reprinted from the seventeenth edition: “Two to five”, required, M. 1963.

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  1. Darina

    I liked the production

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