Characteristics of Nikolenka from the story “Childhood” by L. Tolstoy. Children's theme in the works of L.N. Tolstoy's attitude towards maman
Leo Tolstoy with his trilogy “Childhood. Adolescence. Youth" marked the beginning of the fashion for the genre of autobiography with a detailed description childhood as the “golden time” in a person’s life. Since the publication of the novel “Childhood” in 1852, this idea of childhood as a special period, the most serene and happy, became a common place in Russian literature and reigned for the next 50–70 years. Right up to the writing of another version of childhood, demanded by social changes in Russia, the author of which was the proletarian writer Maxim Gorky. Gorky described the model ascetic childhood, according to which all the most interesting things happen when a person grows up and, accordingly, everything for children will be ahead, in the future. If we compare these two models of childhood with the classification of life options just given, we can see that the image of a golden, carefree childhood corresponds to the option "life is like a dream" and Gorky’s active focus on the future is an option "life as a preface"
Tolstoy’s “childhood,” notes Watchel, became an inevitable point of reference for an entire generation of Russian writers. “The Childhood Years of Bagrov’s Grandson” (1859), “Kitten Letaev” by A. Bely (1922), “The Life of Arsenyev” by I. Bunin (1927–30), “Oblomov “I. Goncharova, “Memoirs” of Alexandre Benois (1960) are striking examples of this trend.
Tolstoy created the first literary myth of Russian childhood. This myth turned out to be so deeply embedded in our consciousness that to this day they try to raise children in Russia in the spirit of hyperprotection and reverence, protecting them from any troubles and worries: “Let them live while they are little, then they will eat some more”; “We shouldn’t deprive children of their childhood.”
The beginning of the life of Nikolenka, the hero of Tolstoy’s “Childhood,” passed in the quiet of the family estate, surrounded by nature. The central character of all his memories was his mother. She radiated kindness and love and always greeted Nikolenka with a smile. Both nature and mother were idealized, recalling the two hypostases of the pagan image of mother earth. In Tolstoy’s descriptions and in Nikolenka’s memoirs, the mother was a real angel - a gentle, bright image. If you don’t know, Lev Nikolaevich did not remember his mother - she died when he was not yet two years old.
The image of the father is presented completely differently. The word "revelry" would serve as the most apt expression to describe his pastime. Throughout the entire story you will not find your father busy with anything. Looking through Russian pseudo-biographies, Watchel notes with curiosity that fathers are most often portrayed as impractical, idle people. In rare cases, they are seriously worried about the state of affairs in the estate, but this usually does not lead to any serious consequences, except for expressions of concern on the forehead and lengthy conversations about the fate of the fatherland. Fathers attract the attention of children, but, as a rule, adult husbands keep their distance from their offspring. In patriarchal Russia, fathers do not play any active role in raising children. They are just carefree spenders and rakes. It is interesting that even in Nabokov’s semi-biographical novel “The Gift,” the father, in reality a famous and very serious politician, is shown as an eccentric butterfly collector with his head in the clouds, far from life. The literary tradition was so strong! The adult Nabokov was contemptuous of his father’s exaggerated authority, leaving him with the role of “underdog.” The example of Tolstoy and Nabokov shows that tenderness and gratitude for a carefree childhood are replaced by irritation and complaints towards adults when children try to realize themselves and comprehend their lives.
And yet, literary tradition justified fathers' neglect of family responsibilities and children's problems. Children did not remain unattended by adults. The extended family included not only parents, children, and their grandparents, but also nannies, tutors (governesses), and uncles. The number of teachers was clearly excessive, but it created an atmosphere of increased attention, love and care around the children. When the children grew up, at the age of 14–16, they were sent to study. This was a real tragedy for both children and servants. The howl could be heard throughout the yard. Do you remember the scene of Stolz’s farewell to his father and the courtyard in the film adaptation of Goncharov’s “Oblomov”? Actually, this is how my difficult adult life began. The period of a “golden”, happy, serene childhood was ending.
In addition to the nanny, the landowner's children were surrounded by many servants. The number of household servants particularly amazed Western readers and researchers. Watchel even ironically suggests that the Russian habit of assigning three people to every job, so that then you can’t make ends meet, originates in this very noble tradition of maintaining a huge army of parasites.
Servants were always on hand. And when French or German teachers (tutors) were invited to live in the house, the courtyard servants sought to protect the children from “strangers” and their claims. They didn’t like strangers, they laughed at them.
The estate itself is a place of nostalgic pilgrimage. Remote from the capitals, Moscow and St. Petersburg, it is surrounded by forests, meadows, and sometimes you need to drive horses all day to get to the nearest neighbor. Before the reign of Catherine the Great, the estates had a rather modest appearance; they were mostly wooden houses with a large hall in the center, several rooms for servants, a master's office, and a small mezzanine with bedrooms. As a result of the European fashion introduced by the Empress, large, luxurious estates with parks, fountains and monuments began to be built. But in the literary tradition, images of the eighteenth century have been preserved - a house with a quiet, patriarchal way of life and the leisurely life of the whole family on the estate. The city and the capital were contrasted with true, rural life, surrounded by nature and in accordance with natural cycles and weather changes. Moreover, village holidays structured this life.
And such an existence was described by writers of the 19th century as a paradise, and leaving for the city is perceived in their works as a lost paradise. In Goncharov's "Oblomov" the main character recalls the time when he was the center of the universe, surrounded by the love of his mother and nanny. The images of childhood are so strong that they attract and constantly lead Oblomov into the idyll of the family estate. And next to little Ilyusha all the time there was a nanny who told the boy fairy tales and recreated a world even more perfect and ideal than the one in which the boy spent his childhood - rivers with milk and honey. And most importantly, no one does anything, because everything is already there.
If in the European tradition childhood is portrayed as a source of limitations and suffering that can be overcome over time, in adulthood, then in Russian literature childhood is a source of happiness and pleasure, where the hero wants and strives to return at any cost. Rejecting the historical ideal of gradual improvement of life, the Russian strives to fall into childhood, serene contemplation, to break away from the rest of the world, to retire into the silence of his own illusions.
Before a child turns eight or nine years old, he feels like a free king in the estate, he indulges in his favorite games or idleness under the watchful eye of a nanny. At this time, the children were not loaded with lessons. Later, teachers were invited to live on the estate - men for boys, women for girls. They were often the French who came to Russia in the period from 1789 to 1820. The representatives of the aristocracy or pseudo-aristocracy left behind by Napoleon's Grand Army were happy to live on their estates in complete comfort, honor and respect. The presence of a foreigner in the house was a sign of a certain status of the owner. Only rich people could afford to keep a French or German in the house from the very birth of the child, worrying about the purity of the children's foreign pronunciation. One way or another, communication with a foreigner broadened the children’s horizons. And only very rarely did Russians become teachers.
In the second half of the nineteenth century, the fashion for the English appeared. Thus, the hero of “Anna Karenina” Vronsky, arranging his life on the estate with Anna and their daughter, sought to adhere to the English style. This trend lasted until the beginning of the twentieth century. Nabokov claimed that he learned to read in English earlier than in Russian. Since the mid-nineteenth century, children began to study in regular schools, including a foreign language.
The role of L.N. Tolstoy in the development of children's literature and children's reading. "ABC". Ideological and artistic features.
Works for children - short stories by Tolstoy. Unity of pedagogical and literary embodiment.
Stories about children. Realism.
Stories about animals. Humanism of stories.
Fable stories. Depth and clarity of pedagogical ideas.
L.N. Tolstoy is a brilliant writer, philosopher, publicist, teacher, “Tolstoy is the whole world,” according to Gorky. For us, Leo Tolstoy is still the glory and pride of Russian literature for children.
Leo Tolstoy (1828-1910) is a major thinker and realist writer. The significance of his work for Russian and world culture is enormous.
The very first works of Tolstoy passed into children's reading. "Childhood", "Adolescence" and "Sevastopol Stories"
L. Tolstoy’s work on “The ABC” and “The New ABC”. Tolstoy began working on the ABC in 1859. He revised for it many stories published in the supplement to the Yasnaya Polyana magazine and stories from students of the public school in Yasnaya Polyana. The short story genre is typical for ABC, since Tolstoy took into account the specifics of children's perception.
Initially, in the first edition, “ABC” was a single set of educational books. It consisted of the alphabet itself, that is, a primer, and four parts, each of which included stories for Russian reading, texts for Slavic reading and materials on arithmetic.
“The ABC” reflected Tolstoy’s many years of work experience at the Yasnaya Polyana school and the intense creative work of the writer (Japanese school - in 1859-1862, an elementary school opened by L.N. Tolstoy in his Yasnaya Polyana estate for peasant children of the surrounding villages. In addition to Tolstoy, 4 teachers worked in it. The Japanese school consisted of junior and senior classes, each with two departments. Education was free and joint. The Japanese school went down in history as an experimental pedagogical institution in which education was based on activity and initiative and the creative initiative of children, respect for the child's personality, taking into account his interests. In addition to teaching the Russian language and arithmetic, conversations were held with the children on history, natural science, and ethical topics, classes in gymnastics, singing, drawing, carpentry and agricultural work were carried out. excursions. All this put Ya. School among the leading public schools of the 60s of the 19th century. The presence in Ya. School of complete freedom for children to choose types of activities outside of a fixed academic schedule was a reflection of the ideas of free education - individualization of education). L.N. While working on The ABC, Tolstoy studied Arabic, ancient Greek and Indian literature, selecting the best works that could be used for retelling to children. He introduced into the ABC the most diverse material from oral folk art: the best of fairy tales, fables, epics, proverbs, sayings. The writer did not ignore his contemporary educational books either.
L.N. Tolstoy acted in his works for children as a defender of national literature, addressed primarily to peasant children. In his work and views on children's literature, some influence of revolutionary democracy is felt. Of course, other features of his worldview were also reflected in some of the ABC stories. The idea of non-resistance to evil through violence is reflected, for example, in the story “God sees the truth, but will not tell it soon.”
“The ABC” by L. Tolstoy was so different from all educational books in the manner of presentation that it immediately caused controversy. Some teachers reacted with hostility to it and reproached Tolstoy for the simplicity and figurative language. Others hesitated in their assessments and silently awaited the majority's opinion. Still others approved, immediately sensing the innovative talent of ABC. The decisive factor in the fate of this "ABC" was the reactionary attitude of the Ministry of Public Education - the "ABC" was not recommended for schools. The writer was extremely upset that “ABC” was not understood, but did not lose heart and set about revising the book.
In 1875, the second edition of the ABC appeared under the title “New ABC”. Somewhat later, four volumes of “Russian Books for Reading” were published. In “The New Alphabet” Tolstoy processes folk proverbs plot-wise, framing them as miniature stories or fables. For example, based on the proverb “A dog lies in the hay, does not eat itself and does not give to others,” the fable “The Bull, the Dog and the Hay” was written.
Tolstoy’s “New ABC” and “Russian Books for Reading” are characterized by a variety of genres: stories, essays, fables, fairy tales. During the period of reworking the ABC, more than 100 new fairy tales and stories were written, for example: “Three Bears”, “Bone”, “Kitten”, “Burden”, “Filipok”, “Hedgehog and Hare”. The new edition was critically acclaimed and recommended for public schools as a textbook and reading book. Subsequent editions of “The New Alphabet” were published jointly with “Russian Books for Reading” under the general title “Russian Book for Reading”.
Artistic perfection, expressiveness, simplicity and naturalness of language, universal content and accessibility to children's perception are the distinctive features of Tolstoy's works, included in the ABC and Books for Reading. They present works of almost all genres of literature: novella, short story, fable, fairy tale, scientific educational article and short story.
The “New ABC” solved important pedagogical problems: it taught the native language, developed artistic taste, introduced people to the life of people, the life of nature; helped moral education. In “ABC” there are no random, faceless texts; even every auxiliary material for exercises in syllabic reading is a work of verbal art.
Miniature stories. The composition of the “New ABC” takes into account the age characteristics of children. First, short stories are given, just a few lines. The sentences in them are simple, without complicating the perception of inconsistencies and subordinate clauses, for example: “The cat slept on the roof, clenched its paws. A bird sat down next to the cat. Don’t sit close, little bird, cats are cunning.” (The works are alternated so as not to tire the child). In the stories for the very first reading, consisting of one sentence, useful information of an educational nature or advice on how to behave is given: “The sky is higher, the sea is lower,” “Dry the hay on the house,” “Love Vanya Masha.”
Gradually the content of the works expands; alternately a scientific educational story, a fable, a fairy tale, or a true story are given.
Tolstoy's educational books are distinguished by well-chosen reading material. Children immediately become familiar with the riches of oral folk art. Proverbs, sayings, fairy tales, epics make up a significant part of Tolstoy's educational books.
Especially a lot of proverbs. Tolstoy selected them from the collections of Dahl and Snegirev, polished them, composed them himself - following the folk example: “A drop is small, and drop by drop the sea”, “Ours spun, and yours slept”, “Love to take, love and give”, “Raven for the sea” I flew, but didn’t become smarter”, “The spoken word is silver, not the spoken golden one.”
Proverbs, sayings, and riddles in “ABC” alternate with short sketches, micro-scenes, and small stories from folk life (“Katya went mushroom hunting,” “Varya had a siskin,” “The children found a hedgehog,” “Carrying a Bug a bone”). Everything about them is close to a peasant child.
In the traditions of folk pedagogy and Christian morality, Tolstoy pursues the idea: love work, respect your elders, do good. Other everyday sketches are executed so masterfully that they acquire a high generalized meaning and come close to a parable. Here, for example: “The grandmother had a granddaughter; Before, the granddaughter was small and kept sleeping, and the grandmother baked bread, chalked the hut, washed, sewed, spun and wove for her granddaughter; and then the grandmother became old and lay down on the stove and kept sleeping. And the granddaughter baked, washed, sewed, weaved and spun for her grandmother.” A few lines of simple two-syllable words. The second part is almost a mirror image of the first. What's the depth? The wise course of life, the responsibility of generations, the transmission of traditions... Everything is contained in two sentences. Here every word seems to be weighed, emphasized in a special way.
The parables about the old man planting apple trees, “The Old Grandfather and Granddaughter”, “Father and Sons” have become classic.
Fables. The genre of fable, a classic in children's reading, corresponded to the pedagogical and artistic views of Leo Tolstoy. Leo Tolstoy creates his fables by turning to primary sources: Aesop's fables, Bidpai's Indian fables. The writer not only translates classical texts, he recreates them. They are perceived as original works because they are as close as possible to children's perception. These are the most famous of them: “The Lion and the Mouse”, “The Ant and the Dove”, “The Monkey and the Pea”, “The Liar”, “Two Comrades” (“The Oak and the Hazel Tree”, “The Hen and the Chickens”, “The Donkey and the Horse” and etc.
Tolstoy's fables are characterized by a dynamic plot (a chain of dynamic artistic paintings); they are presented laconically and simply. Many of them are built in the form of dialogue (“The Squirrel and the Wolf”, “The Wolf and the Dog”, “The Learned Son”). Morality follows from action, as a result of an action. Thus, in the fable “The Donkey and the Horse,” the horse’s reluctance to help the donkey turns against it. The donkey could not bear the heavy load and fell dead, and the horse had to carry both the luggage and the donkey skin: “I didn’t want to help him out a little, now I’m dragging everything, and even the skin.”
L. Tolstoy's fables promote hard work, honesty, courage, and kindness (“The Ant and the Dove,” “Father and Sons,” “Liar,” “Two Comrades,” “Old Grandfather and Granddaughter”). The kindness and selflessness of the dove who saved the ant evokes a reciprocal desire to help, and when she is caught in the net, the ant saves her: “The ant crawled up to the hunter and bit him on the leg; the hunter groaned and dropped his net.”
The fable “The Liar” ridicules the frivolity and stupidity of a shepherd boy who deceived the men by shouting: “Help, wolf!” When trouble actually came, they did not believe the boy’s cry, and the entire herd was slaughtered by the wolf.
Tolstoy's fables describe the real living conditions in a peasant family and make you think about the attitude towards the old and helpless. In the fable “The Old Grandfather and Granddaughter,” little Misha gives a good lesson to his parents, who left the old grandfather without supervision and care: “It’s me, father, who makes the tub. When you and your mother are too old to feed you from this tub.”
Tolstoy's fables cultivate humane feelings, creating lively, diverse characters, showing the complex and contradictory life of the village. Deep content, artistic presentation, and a clearly expressed pedagogical orientation are the characteristic features of L.N.’s fables. Tolstoy for children.
Fairy tales are widely represented in Tolstoy's books for children. There are folk tales here, in the author’s retelling, for example, “Lipunyushka”, “How a Man Divided Geese”, “The Fox and the Black Grouse”, and Tolstoy’s fairy tales, written in strict language, without the use of traditional poetic ritual (openings, repetitions, other fairy tale formulas) . The writer conveys, first of all, the depth of thought, the spirit of a folk tale.
Readers of primary school age are interested in Tolstoy's fairy tales, the characters of which are children (“The Girl and the Robbers”, “The Boy with Thumb”). My favorite children's fairy tale is “The Three Bears.” It is based on the French fairy tale “The Girl with Golden Curls, or the Three Bears.”
Its narration is extremely close to a realistic story: it does not have the traditional beginning and ending of folk tales. Events unfold immediately, from the first phrases: “One girl left home for the forest. She got lost in the forest and began to look for the way home, but didn’t find it, but came to a house in the forest.” The bears' rooms, furnishings in their house, and table settings are depicted with expressive details and memorable repetitions. It seems as if children’s eyes are slowly and curiously looking through all these everyday details: three cups - a large cup, a smaller cup and a little blue cup; three spoons - large, medium and small; three chairs - large, medium and small with a blue cushion; three beds - large, medium and small.
The action unfolds gradually; little listeners and readers can calmly enjoy the complete freedom of action of the little heroine and imagine themselves sitting with her near cups of stew, rocking on a chair, lying on the bed. The fairy-tale situation is so full of action and tense anticipation of the outcome that the absence of dialogue in the first two parts of the fairy tale is not felt. The dialogue appears in the last, third part and, growing, creates the climax of the fairy tale: the bears saw the girl: “Here she is!” Hold it, hold it! Here she is! Ay-yay! Hold it!” Immediately after the climax follows the denouement: the girl turned out to be resourceful - she was not at a loss and jumped out the window. The writer created a realistic image of a Russian peasant girl, brave, curious and playful. This little fairy tale is akin to a theatrical play. Children perceive it joyfully and festively, and reading aloud, “by role,” is useful for developing expressiveness and flexibility of speech.
Tolstoy's favorite type of fairy tales are fairy tales that approach a fable or a parable. Their genre distinction is difficult, and often in collections of Tolstoy’s fairy tales works are published that have the subtitle “fable”. Fairy tales of this type often feature traditional animal characters (“The Hedgehog and the Hare,” “The Raven and the Crows,” “The Cow and the Goat,” “The Fox”).
A special group consists of fairy tales created based on plots from eastern folklore sources (“The Righteous Judge”, “Vizir Abdul”, “The Tsar and the Falcon”, “The Tsar and the Shirt” and others). The most typical tale is “Two Brothers” about different attitudes to life: passive following of circumstances and active search for one’s happiness. The author’s sympathies are on the side of active, active heroes who defend justice, such as the characters in the fairy tales “Equal Inheritance”, “Two Merchants”, “Vizir Abdul”.
Tolstoy's educational tales are original: “Volga and Vazuza”, “Shat and Don”, “Sudoma”. They are not only about geographical concepts - the cognitive principle is closely intertwined with the moral. Here, for example, is how the dispute between two rivers - the Volga and Vazuza - is resolved, “which of them is smarter and will live better.” Vazuza tried to trick her sister, but lost. And Volga “neither quietly nor quickly went her way and caught up with Vazuza,” forgave her sister and took her with her to the Khvalynsk kingdom. This fairy tale teaches you to reason and draw the right conclusions.
Tolstoy's tales are designed to make it easier to memorize scientific material. Many works of the “New ABC” and “Russian Books for Reading” are subject to this principle.
In Tolstoy's books there are many stories that also gravitate towards folklore. In the stories “The Chinese Queen Silinchi”, “How the Bukharans learned to breed silkworms”, entertaining episodes related to the spread of silk production are told. “Peter I and the peasant”, “How my aunt told her grandmother about how Emelka Pugachev gave her a ten-kopeck piece”—these were interesting because they were connected with historical events or characters.
Scientific educational stories. “ABC” and “Books for Reading” contain extensive scientific and educational material, but Tolstoy did not consider them as manuals on geography, history, or physics. Its goal is different - to awaken an initial interest in understanding the world around us, to develop observation and inquisitiveness of children's thoughts.
The little reader will get a wide variety of information about natural phenomena and human activity from Tolstoy’s stories “Where did fire come from when people didn’t know fire?”, “Why is there wind?”, “Why do trees crack in the cold?”, “Where does water go from the sea?” " Questions and dialogues enliven business stories and reasoning. In descriptive stories, imagery and expressive details play a big role: “When you carelessly pick a leaf with a dewdrop, the droplet will roll down like a light ball, and you will not see how it slips past the stem. It happened that you would pick such a cup, slowly bring it to your mouth and drink the dewdrop, and this dewdrop seemed tastier than any drink” (“What Dew Happens on the Grass”).
There is no equal to Tolstoy in the genre of stories about nature. Stories such as “Old Poplar”, “Bird Cherry”, “Lozina” open the child to the natural world as a source of beauty and wisdom. Strong feelings are evoked by the picture of the death of bird cherry trees that fell under the felling.
Tolstoy stood at the origins of Russian zoo fiction. “The Lion and the Dog”, “Elephant”, “Eagle”, “Swans”, “Fire Dogs” have been included in children’s reading books for more than a century. These stories are distinguished by special plot tension, the predominance of action over description, and the persuasiveness and accuracy of what is depicted. This is how the story “The Lion and the Dog” is structured. The extraordinary story is conveyed with extreme restraint and sparingness - the author avoids metaphors. Only the external behavior of the lion is recorded: “When he realized that she was dead, he suddenly jumped up, bristled, began to whip his tail on the sides, rushed to the wall of the cage and began to gnaw on the bolts and the floor. The whole day he fought, rushed around the cage and roared, then he lay down next to the dead dog and fell silent... Then he hugged the dead dog with his paws and lay there for five days. On the sixth day the lion died.”
These stories have the greatest educational impact on young children. The writer teaches children friendship and devotion using examples from the lives of animals.
Many touching and dramatic episodes include the story of Bulka, the officer’s favorite dog. Stories about the relationship between man and animals (“Jacob’s Dog”, “Kitten”) are restrained and emotional, they awaken humane feelings and call for human responsibility.
Children in the image of L. Tolstoy. Tolstoy's books are generously populated with children. Nikolenka Irteniev and other heroes of “Childhood”, “Adolescence”, Natasha and Petya Rostov, Seryozha Karenin... Tolstoy created a gallery of children's images, bright, lively, memorable, revealed the “dialectic of the soul” of a child.
Considering childhood an important period in life, L. Tolstoy pays a lot of attention to the images of children, especially peasant ones. He notes their impressionability, inquisitiveness, curiosity, responsiveness, and hard work. Among his characters are children, teenagers, peasant children and noble children. Tolstoy does not focus on social difference, although in each story children are in their own environment. Peasant children are shown in their native environment, against the backdrop of village life and peasant life. Moreover, the village and its life are often conveyed in such a way that we see them through the eyes of the children: “When Filipok walked through his settlement, the dogs did not touch him - they knew him. But when he went out to other people’s yards, Zhuchka jumped out and barked, and behind Zhuchka was a big dog, Volchok.” The main artistic technique in the depiction of peasant children by L.N. Tolstoy often turns out to be a technique of contrast. Sometimes these are contrasting details associated with the description of appearance. To emphasize how small Filipok is, the writer shows him in his father’s huge hat and long coat (the story “Filipok”).
Sometimes it is the contrast between mental movements and their external manifestations, which helps to reveal the child’s inner world and psychologically justify his every action.
The story “The Pit” psychologically convincingly shows the painful hesitations of little Vanya, who saw plums for the first time: he “never ate plums and kept smelling them. And he really liked them. I really wanted to eat it. He kept walking past them." The temptation was so strong that the boy ate the plum. The father found out the truth in a simple way: “Vanya turned pale and said: “No, I threw the bone out the window.” And everyone laughed, and Vanya cried.” Stories by L.N. Tolstoy, dedicated to children, aptly exposes the bad and clearly shows every good movement of the child’s soul.
The plots of most of Tolstoy's stories about children are dramatic, there are almost no descriptions. In the process of working on stories, Tolstoy strengthens their emotional and educational impact on children. He strives for brevity, swiftness of action, simplicity of style (“Jump”, “Shark”).
Tolstoy considered his best work for children to be the story “Prisoner of the Caucasus” (1872), which he placed in the fourth book for reading. This children's story takes on a large, “adult” theme of the Caucasus, war, and complex human relationships. But still, “Prisoner of the Caucasus” was written for children. All the characteristic features of the style of Tolstoy, a children's writer, were clearly manifested in this story: clarity of the plot line, active hero, contrast of characters, laconic expressive language.
This is a realistic work, which vividly and vitally describes the life of the mountaineers and depicts the nature of the Caucasus. It is written in a language accessible to children, close to fairy tales. The story is told from the point of view of the narrator. The main events are grouped around the adventures of the Russian officer Zhilin, who was captured by the highlanders. The plot of the story develops dynamically, the actions of the hero are presented as a series of colorful, expressive pictures. The escape of Zhilin, who was in a hurry to hide in the dark, is depicted tensely and dramatically: “He is in a hurry, but the month is getting faster and faster; the tops of their heads began to glow to the right. I began to approach the forest, a month emerged from behind the mountains - white, as light as day.”
The main device of the story is opposition; The prisoners Zhilin and Kostylin are shown in contrast. Even their appearance is depicted in contrast. Zhilin is outwardly energetic and active. “He was a master of all kinds of needlework,” “Even though he was short in stature, he was brave,” the author emphasizes. And in the appearance of Kostylin, L. Tolstoy brings to the fore unpleasant features: “the man is overweight, plump, sweating.” Not only Zhilin and Kostylin are shown in contrast, but also the life, customs, and people of the village. Residents are depicted as Zhilin sees them. The appearance of the old Tatar man emphasizes cruelty, hatred, malice: “the nose is hooked, like a hawk, and the eyes are gray, angry and there are no teeth - only two fangs.”
The image of the Tatar girl Dina evokes the warmest sympathy. In Dina, traits of sincerity and spontaneity are noted. This touching, defenseless girl (“her hands are thin as twigs, she has no strength”) selflessly helps Zhilin escape from captivity. “Dinushka,” the “clever girl,” calls her Zhilin, and says to his savior: “I will remember you forever.” The image of Dina brings warmth and lyricism to the restrained, even harsh tonality of the story, giving it a humanistic sound. Dina's attitude towards Zhilin gives hope for overcoming senseless nationalist enmity. “Prisoner of the Caucasus” is the most poetic and perfect work in “Russian Books for Reading”. It embodied the unity of aesthetic and pedagogical principles.
L.N. Tolstoy made a significant contribution to the development of children's literature. Works for children are closely connected with the entire creative heritage of the great writer. They are still published in almost all languages of our multinational country. The works of L. Tolstoy are included in educational books for primary and secondary schools. They are included in the school education program. Tolstoy's stories for children are published in the series “My First Books”, “Book by Book”, “School Library”, etc.
Garmaeva Erzhena
This work examines the works of writers of the 19th century.
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MKU "Department of Education of the Municipal Administration "Barguzinsky District"
Municipal budgetary educational institution "Ulyunskaya secondary school named after Sahar Khamnaev" 671601, Republic of Buryatia, Barguzinsky district, village. Ulyun, st. Pionerskaya, 29 Tel. 8 (301 31) 94-129; fax 8 (301 31) 94-219; e-mail:[email protected]
Research work on Russian language and literature
Images of children in the works of 19th century writers
Completed by: 8th grade student Garmaeva Erzhena
Scientific adviser:
Stepanova B.B.,
teacher of Russian language and literature
2017-2018
Content
1.
Introduction…………………………………………………………………………………
I. Theoretical part
1.1.
The theme of childhood in Russian literature of the 19th century………………………..
II. Practical part
2.1.
"Bezhin Meadow". (1851 G.)............................................... .......................................
2.2.
Nikolenka Irtenyev from the story by L.N. Tolstoy"Childhood" 1852).
2.3. "Children of the Dungeon" V.G. Korolenko (1886). .........................................
Conclusion………………………………………………………………
Bibliography………………………………………………………...
Annex 1. " Images of peasant children in the story of I.S. Turgenev"Bezhin Meadow"
Appendix 2. " Nikolenki Irteneva»
Appendix 3. “Vasya and Valek????? »
Appendix 4. Table«
The influence of external and internal ...... on the formation of a child’s personality»??????
Introduction
We all come from childhood.
Antoine de Saint-Exupery
"A little prince"
Childhood is the brightest and most joyful time in the life of every person. At least, it should be like this, because in childhood a person’s character is laid, his attitude towards himself and the world around him.In Russian literature lessons we are given the opportunity to see the wonderful world of childhood of our peers. And we learn about them thanks to the works of L. N. Tolstoy, I. S. Turgenev, A. P. Chekhov and others., where the main characters are children, their psychology, relationships with people around them.Despite the fact that these works were written in the 19th century, I, as a reader of the 21st century, deeply understand their childhood experiences, and I fully share with them their bitterness from defeat and the joy of their victories. These works will always be reference books for several generations of children, because they very accurately reveal the essence of the development of a child as a person. This is the relevance of my work.
The object of the study is the images of children in the literature of 19th century writers. Subject of research: character, actions of heroes, their influence on the formation of a teenager’s personality.
Objectives of the research work:
Explore images of children in the works of Russian writers;
Analyze works about children; penetrate into their actions and relationships, comprehend and understand character traits (which he gradually acquires, and what are the reasons for these changes;
Learn to formulate your thoughts.
Tasks:
1. Compare several works of Russian writers of the 19th century.
2. Characterize the images of the heroes chosen for the research project.
3. Based on a comparative analysis, see the image of the world of childhood and the formation of the child’s personality.
4. Summarize the work done and draw conclusions.
Present your conclusions in the form of a comparative table.
Research methods:Based on the research objectives, the following research methods were determined, i.e. ways to achieve the research goal:
1. general methods (theoretical) - study and comparison of literary works, comparison of episodes (since it allows you to establish the similarities and differences of objects and phenomena; identifying commonalities that are repeated in phenomena);
2. purposive sampling method;
generalization of the material (conclusions at different stages of the study and in the work as a whole).
I. Theoretical part.
1.1. The theme of childhood in Russian literature of the 19th century.
Childhood is one of the most key themes in fiction. The world of childhood is a complex world of a child’s communication with people, the world of his relationships.
In the literature of the 19th century, “an image of childhood was created with clear national features, and signs of the child’s class affiliation were dissolved.” The canons of the image of Russian childhood were formed - the image of winter, village life and folk amusements, a sensitive and kind child.
Childhood is presented by writers as a time of innocence and purity. Children are incomparably more moral than adults. They do not lie (until they are driven to it by fear), they get close to peers without asking whether he is rich or equal in origin. Children need to learn to understand true goodness and truth. The heroes of the works are brought up by the world around them in all its manifestations. The theme of childhood is inextricably linked with the theme of the Russian people. All works recreate the complex lives of children who dream of a better life that would make them happy.
“The future of humanity” is what one of F. Dostoevsky’s heroes calls children. What this “future of humanity” may look like tomorrow largely depends on spiritually mature love for children, based on an understanding of the uniqueness of their inner world and the ability to learn something from them. “Happy, happy, irrevocable time of childhood!” exclaimed L. Tolstoy. “How can one not love, not cherish the memories of her? These memories refresh, elevate my soul and serve as a source of the best pleasures for me.”
The topic of childhood allows us to assess the state of society. Literature of the 19th century is interested in the social and moral aspect. Finding Harmony Leads to Peace
childhood, because there is integrity, purity.
Images of childhood that appear in works of artistic culture, one way or another, reflect important aspects of social reality. Throughout the history of mankind, the real content of childhood, and, consequently, the image of the child and childhood in works of literature has changed many times.
II. Practical part.
2.1.Images of peasant children in I.S. Turgenev’s story “Bezhin Meadow.” (1851)
“Reading the story, it’s as if you’re actually admiring
boys - each of them has character, in each
unique soul"
I. Smolnikov “Mid-Century”
How did I.S. Turgenev imagine the world of peasant children of the 19th century? What is it filled with? How did they live?
In the story we meet peasant children who were guarding a herd of horses in a meadow on a hot summer night. There are five boys: Pavlusha, Fedya, Ilyusha, Kostya and Vanya.
Every child is a mystery. We feel that Turgenev seems to be calling us to peer and think, without stopping at the first impression. The author is very good with children. In Turgenev's portrayal, these are gifted, capable children. Each of them has its own special character. What are they?
- Fedya is full of self-esteem, which is expressed in the fact that he tries to listen more than to speak: he is afraid that he might say something stupid.
- Pavlusha is businesslike and caring: he cooks potatoes, goes for water. He is the bravest and most courageous of the boys: alone, without a twig, he galloped towards the wolf, while all the other boys were terribly frightened. By nature he is endowed with common sense.
- Ilyusha is inquisitive, inquisitive, but his mind and curiosity are directed only towards the terrible and mysterious. It seems to him that all life is surrounded only by spirits hostile to man.
- Kostya is compassionate by nature: he sympathizes with all people who, in his opinion, have suffered from evil spirits.
- Vanya, about whom almost nothing is said in the story, deeply loves nature. During the day he likes flowers, at night he likes stars. It was he, in a sincere outburst of his childish spontaneity, who diverted the boys’ attention from talking about the terrible to the beautiful stars.)
The images of the guys are depicted vividly in the story, they are deeply individual, each is interesting and deep in its own way, as only a professional of such a class as I. S. Turgenev can have.
All these children talk very differently about people and village events, but they all sincerely believe in miracles and are ready to solve the unknown mysteries of life. Boys have many prejudices and superstitions, this is a consequence of the darkness and downtroddenness of their fathers and mothers.
Real life, according to Turgenev, will soon dispel the boys’ illusions and mystical moods, but will certainly preserve their rare poetic feelings.
It can be seen that poverty and need force children from a very early age to take a serious part in the labors of their parents. Thus, peasant children are completely deprived of education. On the other hand, these very circumstances of life put them in close relationships with nature, with difficulty, and from childhood they develop in them physical strength, good spirits, resourcefulness, in a word - character.
2.2. Nikolenka Irtenyev from L. Tolstoy’s story “Childhood” (1852).
Nikolenka Irteniev is a boy from a noble family, he lives and is raised according to established rules, and is friends with children from the same families. He loves his parents and is proud of them. But Nikolenka’s childhood years were restless. He experienced a lot of disappointment in the people around him, including those closest to him.
As a child, Nikolenka especially strived for goodness, truth, love and beauty. And the source of all the most beautiful things for him during these years was his mother. With what love he remembers the sounds of her voice, which were “so sweet and welcoming,” the gentle touches of her hands, “a sad, charming smile.” Nikolenka’s love for her mother and love for God “somehow strangely merged into one feeling,” and this made his soul feel “light, bright and joyful,” and he began to dream about “that God would give happiness to everyone, so that everyone was happy...".
A simple Russian woman, Natalya Savishna, played a big role in the boy’s spiritual development. “Her whole life was pure, selfless love and selflessness,” she instilled in Nikolenka the idea that kindness is one of the main qualities in a person’s life.
Nikolenka acutely senses falsehood and deception, and punishes herself for noticing these qualities in herself. Also, a large place in the story is occupied by the description of the feeling of love for people, and this child’s ability to love others delights Tolstoy. Nikolenka Irteniev often deeply repents of her bad actions and acutely experiences her failures. This characterizes him as a thinking person, capable of analyzing his behavior and a person beginning to mature.
This is a little ten-year-old boy with a kind, sensitive heart, a lively and impressionable soul. The formation of Nikolenka’s character takes place among various people close to him: parents, brothers and sisters, teachers, courtyard servants. Relationships with each of them leave a unique mark in the boy’s heart, influencing Nikolenka’s state of mind, thoughts and feelings. A responsive and impressionable child carefully observes not only events occurring in the external world, but also changes in his inner world. This attentiveness to all the movements of her own soul helps Nikolenka cope with many problems and draw the right conclusions. It seems to me that in the future Nikolenka will grow into a kind, observant, sympathetic and honest person.
(Appendix 2)
2.5. “Children of the Dungeon” by V.G. Korolenko (1886)
Among the writers who paid special attention to children deprived of the love and care of adults and who do not have the necessary conditions for a prosperous life is V.G. Korolenko. In his works, he created holistic, genuine images of children deprived of childhood. However, the inner world of these children is rich and deep.
The place of the events described in the work is the city of Rivne, where Korolenko studied in the third grade of a real gymnasium. The city is named in the story Prince-Veno. In the image of a judge, the writer reproduced some of the features of his father, who was a district judge in provincial towns and for whom truly knightly honesty was familiar and natural.
Before meeting Valek and Marusya, Vasya felt constant loneliness. The father did not notice his boy because of grief (Vasya’s mother died). Everyone considered Vasya a tramp and a worthless boy, and his father also got used to this idea.
After meeting Valek and Marusya, Vasya felt joy from a new acquaintance. He liked talking with Valek and bringing gifts to Marusa. But at night his heart sank with pain of regret when the boy thought about the gray stone that was sucking the life out of Marusya. Vasya fell in love with Valek and Marusya, missed them when he could not come to their mountain. Not seeing his friends became a great deprivation for him.
When Valek told Vasya directly that they were beggars and had to steal in order not to die of hunger, Vasya went home and cried bitterly from a feeling of deep grief. His love for his friends did not diminish, but it was mixed with “a sharp stream of regret that reached the point of heartache.”
Vasya’s character and his attitude towards life changed a lot after meeting Valek and Marusya. Vasya learned to be patient. When Marusya could not run and play, Vasya patiently sat next to her and brought flowers. The boy's character showed compassion and the ability to soften the pain of others. He felt the depth of social differences and realized that people do not always do bad things (like stealing) because they want to. Vasya saw the complexity of life and began to think about the concept of justice, fidelity and human love. Vasya and Sonya came to Marusya’s grave, because for them the image of Marusya became a symbol of love and human suffering.
You can make a whole list of human qualities that Vasya shows - this is love for his family, the desire to understand people, attention and love for nature, courage, nobility, loyalty to his word, honesty, compassion, kindness, mercy.
During his friendship with disadvantaged children, Vasya was able to realize the unclear “something” he was striving for and show the best human qualities. The story told by V.G. Korolenko, - a lesson in mercy and love for people.
Conclusion
In the course of our work, a number of works written in the second half of the 19th century were analyzed. The central image of the considered stories and tales is the image of a child.
And it is difficult to find a writer who would not turn his memory to childhood. That is why, turning over the familiar pages of our favorite books, we are convinced that the best of them are about the most amazing and beautiful time of life - childhood. After all, for a child’s heart there are no rich and poor, no noble and ignorant, but only loving and indifferent, evil and kind.
The images of the heroes are clear and close to us, their peers. And we, together with them, experience their bitterness from defeats and the joy of their victories.
Despite different approaches to creating images of children, writers note one thing - a child, by his spiritual nature, seeks harmony and agreement, he is disgusted by hatred and bitterness, he is completely open to love. And how important it is that from childhood a child enters adolescence with a pure and clear soul, believing and loving, and that the memory of the heart is not overshadowed by painful memories and preserves those that will respond with grace to his entire subsequent destiny.
After comparing the images of the characters, I came to the following conclusion:
- In peasant boys, Turgenev reveals the poetic nature of the Russian people, their living connection with their native nature.
- L. Tolstoy pays primary attention to the inner world of his heroes; they closely monitor the emergence and development of mental movements, reproducing even the most insignificant of them.
- Lessons of kindness and compassion can be seen in V.G. Korolenko’s story “Children of the Dungeon.”
List of used literature
1. Biryukov P. Parents and children in the work of L.N. Tolstoy. - M., 1988, - 165 p.
2. Korolenko V.G. “Children of the Dungeon”, Seeker, 2014.
3. Tolstoy L.N. Childhood // Tolstoy L.N. Complete works - M.: Nauka, 2000.
4. Turgenev I. S. Bezhin meadow. M.: Children's literature, 1988.- 40 p.
5. Tyupa V.I. The artistry of Chekhov's story. – M., 1989.
The world of childhood is the dreams, experiences, and aspirations of so many children and adults. Many poets and writers wrote about the world of childhood. A. Pogorelsky “The Black Hen, or Underground Inhabitants”, L.N. Tolstoy "Prisoner of the Caucasus", "Childhood", F.M. Dostoevsky “The Boy at Christ’s Christmas Tree”, O. Henry “The Leader of the Redskins”, J. London “The Tale of Kish”, V.Yu. Dragunsky "Girl on a Ball", V.G. Korolenko "Children of the Dungeon", M. Twain "The Adventures of Tom Sawyer", L. Caroil "Alice in Wonderland", A.M. Gorky "Childhood".
There are many images of children in Tolstoy's works. Nikolenka in the famous trilogy, Seryozha in Anna Karenina, children in fairy tales and “folk stories” by Tolstoy... Of all Tolstoy’s works, the most images of children are in War and Peace. Firstly, this in itself is a large work, reflecting the fullness of existence, so it turned out that Tolstoy’s heroes grow up, become parents themselves, the change of generations and the movement of life forward could not help but be reflected in this great work.
But the theme of childhood is still somehow important for Tolstoy. Childhood in Tolstoy's understanding is associated with purity, sincerity, and intolerance of falsehood. Tolstoy said that if he were given a choice: to populate the world with angels who never change, perfect, but without children, or to leave the world as it is, with its imperfections, but with pure children’s souls, he would choose the latter.
The best heroes of "War and Peace" are pure in soul, like children, sincere, capable of reckless feeling, the main thing is that there is something childish in their perception of the world. Pierre is characterized by childish gullibility and insecurity, and Natasha is similar to him in this. Tolstoy's most educated, intelligent, strong-willed hero is Andrei Bolkonsky. But he has a childlike, direct sense of nature to the highest degree. The clouds, the river, the oak tree talk to him.
Tolstoy often compares his favorite heroes to children. Natasha cries “like a child” when Pierre smiles, the serious, even gloomy expression on his face disappears and another “childish, kind, even stupid and as if asking for forgiveness” appears. “A special, innocent, childish appearance” Natasha notices in Prince Andrei, and this even during his severe dying illness. Prince Andrei's smile is “masculine and at the same time childish.” Remembering his love for Natasha, Prince Andrei always connects this feeling with the best that is in him, with his childhood.
Before his death, “all the best, happiest moments in his life, especially his earliest childhood, when they undressed him and put him in his crib, when the nanny sang over him, rocking him to sleep, when, burying his head in the pillows, he felt happy with the mere consciousness of life, - appeared to his imagination not even as the past, but as reality.” It must be said that Tolstoy had a unique ability to remember distant events; in his memoirs “My Life” he writes that he remembers himself as a baby.
In “War and Peace” there are many images of children; one might even say that a special “children’s world” is one of the component worlds of the work. Everyone remembers the scene of their first acquaintance with Natasha, when “a dark-eyed, big-mouthed, ugly, but lively girl” “accidentally, with an ill-timed run, jumped so far” into the living room. This childhood trait - the ability to get carried away, to passionately surrender to what she is doing at the moment, Natasha retained throughout her life.
But, perhaps, of all the Rostov children, Petya would have become the most wonderful person if he had not died so early. Tolstoy emphasizes his musicality, kindness, and his ability to understand another person. The episode where Petya takes care of the little captive French drummer Vincent is very important in the overall concept of the work. Only love, only peace in the sense of unity and harmony can resist war. Prince Andrei, Petya, Platon Karataev - these are the three most important characters in the book from this point of view. And each of them is associated with childhood motives. Platon Karataev, with his roundness, gentleness, love for his little dog, “unsoldierlike”, homely behavior, is the bearer of the idea of absolute goodness.
Let's return to the children's images in the work. Some literary scholars have expressed the opinion that the main character of “War and Peace” is Nikolenka Bolkonsky. There are good reasons for this. After all, Nikolenka is invisibly present in the first scene - the scene of the argument in the Scherer salon; he also witnesses another important argument - in the epilogue. In this episode, Nikolenka, although the youngest participant in the scene, is shown as the most insightful and even endowed with knowledge of the future, which is revealed to him in a dream. He approves of “Uncle Pierre,” but the main deity for him is his father, who comes to him in a dream to bless him for a great feat. So the theme of children turns into the theme of “fathers and sons,” or rather, into the theme of Father and Son. It is not for nothing that the word “Father” is written with a capital letter, and the pronoun “he,” referring to Prince Andrei, is in italics. The Heavenly Father again sends the Son into this world, and Nikolenka swears: “I will do something with which even he would be pleased!”
Thus, the theme of childhood in “War and Peace” is considered in several aspects. The triumph of life, the unstoppability of this flow of life is heard in the joyful voices of the children of the main characters in the epilogue. Bolkonsky died, his wife Lisa died, Petya is gone. But the children of the Bezukhovs and Rostovs are the new little Andryusha, Natasha, Masha, Petya... In addition, the theme of childhood is also the theme of moral purity. Children are the measure of goodness and justice. Finally, some very important meaning is contained in Nikolenka’s dream, in his oath to the memory of his father. This mysterious episode was, apparently, more important for the author than for the readers. It is known that in the planned but unrealized continuation of War and Peace, Nikolenka was supposed to be the main character.
L.N. Tolstoy is a brilliant writer, philosopher, publicist, teacher, “Tolstoy is the whole world,” according to Gorky. For us, Leo Tolstoy is still the glory and pride of Russian literature for children.
L.N. Tolstoy (1828-1910) - the greatest thinker, realist writer.
The significance of his work for Russian and world culture is enormous.
Tolstoy's pedagogical views were not distinguished by strict consistency; they contained the same contradictions that are characteristic of his worldview. Denying the theoretical need for a broad educational program for the people, he at the same time selflessly implemented it at the Yasnaya Polyana school. L. Tolstoy sought to determine what books people love and read. All the writer’s sympathies belong to the people, he studies the needs of peasant readers, outlines ways to create literature for popular and children’s reading.
The very first works of Tolstoy passed into children's reading. "Childhood", "Adolescence" and "Sevastopol Stories"
L. Tolstoy’s work on “The ABC” and “The New ABC”. Tolstoy began working on the ABC in 1859. He revised for it many stories published in the supplement to the Yasnaya Polyana magazine and stories from students of the public school in Yasnaya Polyana. The short story genre is typical for ABC, since Tolstoy took into account the specifics of children's perception.
Initially, in the first edition, “ABC” was a single set of educational books. It consisted of the alphabet itself, that is, a primer, and four parts, each of which included stories for Russian reading, texts for Slavic reading and materials on arithmetic.
“The ABC” reflects Tolstoy’s many years of work experience at the Yasnaya Polyana school and the writer’s intense creative work. L.N. While working on The ABC, Tolstoy studied Arabic, ancient Greek and Indian literature, selecting the best works that could be used for retelling to children. He introduced into the ABC the most diverse material from oral folk art: the best of fairy tales, fables, epics, proverbs, sayings. The writer did not ignore his contemporary educational books either.
L.N. Tolstoy acted in his works for children as a defender of national literature, addressed primarily to peasant children. In his work and views on children's literature, some influence of revolutionary democracy is felt. Of course, other features of his worldview were also reflected in some of the ABC stories. The idea of non-resistance to evil through violence is reflected, for example, in the story “God sees the truth, but will not tell it soon.”
“The ABC” by L. Tolstoy was so different from all educational books in the manner of presentation that it immediately caused controversy. Some teachers reacted with hostility to it and reproached Tolstoy for the simplicity and figurative language. Others hesitated in their assessments and silently awaited the majority's opinion. Still others approved, immediately sensing the innovative talent of ABC. Decisive in the fate of this “ABC” was the reactionary attitude of the Ministry of Public Education - “ABC” was not recommended for schools. The writer was extremely upset that “ABC” was not understood, but did not lose heart and set about revising the book.
In 1875, the second edition of the ABC appeared under the title “New ABC”.
Somewhat later, four volumes of “Russian Books for Reading” were published. In “The New Alphabet” Tolstoy processes folk proverbs plot-wise, framing them as miniature stories or fables. For example, based on the proverb “A dog lies in the hay, does not eat itself and does not give to others,” the fable “The Bull, the Dog and the Hay” was written.
Tolstoy’s “New ABC” and “Russian Books for Reading” are characterized by a variety of genres: stories, essays, fables, fairy tales. During the period of reworking the ABC, more than 100 new fairy tales and stories were written, for example: “Three Bears”, “Bone”, “Kitten”, “Burden”, “Filipok”, “Hedgehog and Hare”. The new edition was critically acclaimed and recommended for public schools as a textbook and reading book. Subsequent editions of “The New Alphabet” were published jointly with “Russian Books for Reading” under the general title “Russian Book for Reading”.
Artistic perfection, expressiveness, simplicity and naturalness of language, universal content and accessibility to children's perception are the distinctive features of Tolstoy's works, included in the ABCs and Books for Reading. They present works of almost all genres of literature: novella, short story, fable, fairy tale, scientific educational article and short story.
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Miniature stories. The composition of the “New ABC” takes into account the age characteristics of children. First, short stories are given, just a few lines. The sentences in them are simple, without complicating the perception of inconsistencies and subordinate clauses, for example: “The cat slept on the roof, clenched its paws. A bird sat down next to the cat. Don’t sit close, little bird, cats are cunning.” (The works are alternated so as not to tire the child). In the stories for the very first reading, consisting of one sentence, useful information of an educational nature or advice on how to behave is given: “The sky is higher, the sea is lower,” “Dry the hay on the house,” “Love Vanya Masha.”
Gradually the content of the works expands; alternately a scientific educational story, a fable, a fairy tale, or a true story are given.
Tolstoy's educational books are distinguished by well-chosen reading material. Children immediately become familiar with the riches of oral folk art. Proverbs, sayings, fairy tales, epics make up a significant part of Tolstoy's educational books.
Especially a lot of proverbs. Tolstoy selected them from the collections of Dahl and Snegirev, polished them, composed them himself - following the folk example: “A drop is small, and drop by drop the sea”, “Ours spun, and yours slept”, “Love to take, love and give”, “Raven for the sea” I flew, but didn’t become smarter”, “The spoken word is silver, not the spoken golden one.”
Proverbs, sayings, and riddles in “ABC” alternate with short sketches, micro-scenes, and small stories from folk life (“Katya went mushroom hunting,” “Varya had a siskin,” “The children found a hedgehog,” “Carrying a Bug a bone”). Everything about them is close to a peasant child.
In the traditions of folk pedagogy and Christian morality, Tolstoy pursues the idea: love work, respect your elders, do good. Other everyday sketches are executed so masterfully that they acquire a high generalized meaning and come close to a parable. Here, for example: “The grandmother had a granddaughter; Before, the granddaughter was small and kept sleeping, and the grandmother baked bread, chalked the hut, washed, sewed, spun and wove for her granddaughter; and then the grandmother became old and lay down on the stove and kept sleeping. And the granddaughter baked, washed, sewed, weaved and spun for her grandmother.” A few lines of simple two-syllable words. The second part is almost a mirror image of the first. What's the depth? The wise course of life, the responsibility of generations, the transmission of traditions... Everything is contained in two sentences. Here every word seems to be weighed, emphasized in a special way.
The parables about the old man planting apple trees, “The Old Grandfather and Granddaughter”, “Father and Sons” have become classic.
Fables. The genre of fable, a classic in children's reading, corresponded to the pedagogical and artistic views of Leo Tolstoy. Leo Tolstoy creates his fables by turning to primary sources: Aesop's fables, Bidpai's Indian fables. The writer not only translates classical texts, he recreates them. They are perceived as original works because they are as close as possible to children's perception. These are the most famous of them: “The Lion and the Mouse”, “The Ant and the Dove”, “The Monkey and the Pea”, “The Liar”, “Two Comrades” (“The Oak and the Hazel Tree”, “The Hen and the Chickens”, “The Donkey and the Horse” and etc.
Tolstoy's fables are characterized by a dynamic plot (a chain of dynamic artistic paintings); they are presented laconically and simply. Many of them are built in the form of dialogue (“The Squirrel and the Wolf”, “The Wolf and the Dog”, “The Learned Son”). Morality follows from action, as a result of an action. Thus, in the fable “The Donkey and the Horse,” the horse’s reluctance to help the donkey turns against it. The donkey could not bear the heavy load and fell dead, and the horse had to carry both the luggage and the donkey skin: “I didn’t want to help him out a little, now I’m dragging everything, and even the skin.”
L. Tolstoy's fables promote hard work, honesty, courage, and kindness (“The Ant and the Dove,” “Father and Sons,” “Liar,” “Two Comrades,” “Old Grandfather and Granddaughter”). The kindness and selflessness of the dove who saved the ant evokes a reciprocal desire to help, and when she is caught in the net, the ant saves her: “The ant crawled up to the hunter and bit him on the leg; the hunter groaned and dropped his net.”
The fable “The Liar” ridicules the frivolity and stupidity of a shepherd boy who deceived the men by shouting: “Help, wolf!” When trouble actually came, they did not believe the boy’s cry, and the entire herd was slaughtered by the wolf.
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Tolstoy's fables cultivate humane feelings, creating lively, diverse characters, showing the complex and contradictory life of the village. Deep content, artistic presentation, and a clearly expressed pedagogical orientation are the characteristic features of L.N.’s fables. Tolstoy for children.
Fairy tales are widely represented in Tolstoy's books for children. There are folk tales here, in the author’s retelling, for example, “Lipunyushka”, “How a Man Divided Geese”, “The Fox and the Black Grouse”, and Tolstoy’s fairy tales, written in strict language, without the use of traditional poetic ritual (openings, repetitions, other fairy tale formulas) . The writer conveys, first of all, the depth of thought, the spirit of a folk tale.
Readers of primary school age are interested in Tolstoy's fairy tales, the characters of which are children (“The Girl and the Robbers”, “The Boy with Thumb”). My favorite children's fairy tale is “The Three Bears”. It is based on the French fairy tale “The Girl with Golden Curls, or the Three Bears.”
Its narration is extremely close to a realistic story: it does not have the traditional beginning and ending of folk tales. Events unfold immediately, from the first phrases: “One girl left home for the forest. She got lost in the forest and began to look for the way home, but didn’t find it, but came to a house in the forest.” The bears' rooms, furnishings in their house, and table settings are depicted with expressive details and memorable repetitions. It seems as if all these everyday details are slowly and curiously viewed through children's eyes: three cups - a large cup, a smaller cup and a little blue cup; three spoons - large, medium and small; three chairs - large, medium and small with a blue cushion; three beds - large, medium and small.
The action unfolds gradually; little listeners and readers can calmly enjoy the complete freedom of action of the little heroine and imagine themselves sitting with her near cups of stew, rocking on a chair, lying on the bed. The fairy-tale situation is so full of action and tense anticipation of the outcome that the absence of dialogue in the first two parts of the fairy tale is not felt. The dialogue appears in the last, third part and, growing, creates the climax of the fairy tale: the bears saw the girl: “Here she is!” Hold it, hold it! Here she is! Ay-yay! Hold it!” Immediately after the climax follows the denouement: the girl turned out to be resourceful - she was not at a loss and jumped out the window. The writer created a realistic image of a Russian peasant girl, brave, curious and playful. This little fairy tale is akin to a theatrical play. Children perceive it joyfully and festively, and reading aloud, “by role,” is useful for developing expressiveness and flexibility of speech.
Tolstoy's favorite type of fairy tales are fairy tales that approach a fable or a parable. Their genre distinction is difficult, and often in collections of Tolstoy’s fairy tales works are published that have the subtitle “fable”. Fairy tales of this type often feature traditional animal characters (“The Hedgehog and the Hare,” “The Raven and the Crows,” “The Cow and the Goat,” “The Fox”).
A special group consists of fairy tales created based on plots from eastern folklore sources (“The Righteous Judge”, “Vizir Abdul”, “The Tsar and the Falcon”, “The Tsar and the Shirt” and others). The most typical tale is “Two Brothers” about different attitudes to life: passive following of circumstances and active search for one’s happiness. The author’s sympathies are on the side of active, active heroes who defend justice, such as the characters in the fairy tales “Equal Inheritance”, “Two Merchants”, “Vizir Abdul”.
Tolstoy's educational tales are original: “Volga and Vazuza”, “Shat and Don”, “Sudoma”. They are not only about geographical concepts - the cognitive principle is closely intertwined with the moral. Here, for example, is how the dispute between two rivers - the Volga and Vazuza - is resolved, “which of them is smarter and will live better.” Vazuza tried to trick her sister, but lost. And Volga “neither quietly nor quickly went her way and caught up with Vazuza,” forgave her sister and took her with her to the Khvalynsk kingdom. This fairy tale teaches you to reason and draw the right conclusions.
Tolstoy's tales are designed to make it easier to memorize scientific material. Many works of the “New ABC” and “Russian Books for Reading” are subject to this principle.
In Tolstoy's books there are many stories that also gravitate towards folklore. In the stories “The Chinese Queen Silinchi”, “How the Bukharans learned to breed silkworms”, entertaining episodes related to the spread of silk production are told. “Peter I and the peasant”, “How my aunt told her grandmother about how Emelka Pugachev gave her a ten-kopeck piece” - these were interesting because they were connected with historical events or characters.
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The little reader will get a wide variety of information about natural phenomena and human activity from Tolstoy’s stories “Where did fire come from when people didn’t know fire?”, “Why is there wind?”, “Why do trees crack in the cold?”, “Where does water go from the sea?” " Questions and dialogues enliven business stories and reasoning. In descriptive stories, imagery and expressive details play a big role: “When you carelessly pick a leaf with a dewdrop, the droplet will roll down like a light ball, and you will not see how it slips past the stem. It happened that you would pick such a cup, slowly bring it to your mouth and drink the dewdrop, and this dewdrop seemed tastier than any drink” (“What Dew Happens on the Grass”).
There is no equal to Tolstoy in the genre of stories about nature. Stories such as “Old Poplar”, “Bird Cherry”, “Lozina” open the child to the natural world as a source of beauty and wisdom. Strong feelings are evoked by the picture of the death of bird cherry trees that fell under the felling.
Tolstoy stood at the origins of Russian zoo fiction. “The Lion and the Dog”, “Elephant”, “Eagle”, “Swans”, “Fire Dogs” have been included in children’s reading books for more than a century. These stories are distinguished by special plot tension, the predominance of action over description, and the persuasiveness and accuracy of what is depicted. This is how the story “The Lion and the Dog” is structured. The extraordinary story is conveyed with extreme restraint and sparingness - the author avoids metaphors. Only the external behavior of the lion is recorded: “When he realized that she was dead, he suddenly jumped up, bristled, began to whip his tail on the sides, rushed to the wall of the cage and began to gnaw on the bolts and the floor. The whole day he fought, rushed around the cage and roared, then he lay down next to the dead dog and fell silent... Then he hugged the dead dog with his paws and lay there for five days. On the sixth day the lion died.”
These stories have the greatest educational impact on young children. The writer teaches children friendship and devotion using examples from the lives of animals.
Many touching and dramatic episodes include the story of Bulka, the officer’s favorite dog. Stories about the relationship between man and animals (“Jacob’s Dog”, “Kitten”) are restrained and emotional, they awaken humane feelings and call for human responsibility.
Children in the image of L. Tolstoy. Tolstoy's books are generously populated with children. Nikolenka Irteniev and other heroes of “Childhood”, “Adolescence”, Natasha and Petya Rostov, Seryozha Karenin... Tolstoy created a gallery of children's images, bright, lively, memorable, revealed the “dialectic of the soul” of a child.
Considering childhood an important period in life, L. Tolstoy pays a lot of attention to the images of children, especially peasant ones. He notes their impressionability, inquisitiveness, curiosity, responsiveness, and hard work. Among his characters are children, teenagers, peasant children and noble children. Tolstoy does not focus on social difference, although in each story children are in their own environment. Peasant children are shown in their native environment, against the backdrop of village life and peasant life. Moreover, the village and its life are often conveyed in such a way that we see them through the eyes of the children: “When Filipok walked through his settlement, the dogs did not touch him - they knew him. But when he went out to other people’s yards, Zhuchka jumped out and barked, and behind Zhuchka was a big dog, Volchok.” The main artistic technique in the depiction of peasant children by L.N. Tolstoy often turns out to be a technique of contrast. Sometimes these are contrasting details associated with the description of appearance. To emphasize how small Filipok is, the writer shows him in his father’s huge hat and long coat (the story “Filipok”).
Sometimes it is the contrast between mental movements and their external manifestations, which helps to reveal the child’s inner world and psychologically justify his every action.
The story “The Pit” psychologically convincingly shows the painful hesitations of little Vanya, who saw plums for the first time: he “never ate plums and kept smelling them. And he really liked them. I really wanted to eat it. He kept walking past them." The temptation was so strong that the boy ate the plum. The father found out the truth in a simple way: “Vanya turned pale and said: “No, I threw the bone out the window.” And everyone laughed, and Vanya cried.” Stories by L.N. Tolstoy, dedicated to children, aptly exposes the bad and clearly shows every good movement of the child’s soul.
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Tolstoy considered his best work for children to be the story “Prisoner of the Caucasus” (1872), which he placed in the fourth book for reading. This children's story takes on a large, “adult” theme of the Caucasus, war, and complex human relationships. But still, “Prisoner of the Caucasus” was written for children. All the characteristic features of the style of Tolstoy, a children's writer, were clearly manifested in this story: clarity of the plot line, active hero, contrast of characters, laconic expressive language.
This is a realistic work, which vividly and vitally describes the life of the mountaineers and depicts the nature of the Caucasus. It is written in a language accessible to children, close to fairy tales. The story is told from the point of view of the narrator. The main events are grouped around the adventures of the Russian officer Zhilin, who was captured by the highlanders. The plot of the story develops dynamically, the actions of the hero are presented as a series of colorful, expressive pictures. The escape of Zhilin, who was in a hurry to hide in the dark, is depicted tensely and dramatically: “He is in a hurry, but the month is getting out faster and faster; the tops of their heads began to glow to the right. I began to approach the forest, a month emerged from behind the mountains - white, as light as day.”
The main technique of the story is opposition; The prisoners Zhilin and Kostylin are shown in contrast. Even their appearance is depicted in contrast. Zhilin is outwardly energetic and active. “He was a master at all kinds of needlework,” “Even though he was short in stature, he was brave,” the author emphasizes. And in the appearance of Kostylin, L. Tolstoy brings to the fore unpleasant features: “the man is overweight, plump, sweating.” Not only Zhilin and Kostylin are shown in contrast, but also the life, customs, and people of the village. Residents are depicted as Zhilin sees them. The appearance of the old Tatar man emphasizes cruelty, hatred, malice: “the nose is hooked, like a hawk, and the eyes are gray, angry and there are no teeth - only two fangs.”
The image of the Tatar girl Dina evokes the warmest sympathy. In Dina, traits of sincerity and spontaneity are noted. This touching, defenseless girl (“her hands are thin as twigs, she has no strength”) selflessly helps Zhilin escape from captivity. “Dinushka,” the “clever girl,” calls her Zhilin, and says to his savior: “I will remember you forever.” The image of Dina brings warmth and lyricism to the restrained, even harsh tonality of the story, giving it a humanistic sound. Dina's attitude towards Zhilin gives hope for overcoming senseless nationalist enmity. “Prisoner of the Caucasus” is the most poetic and perfect work in “Russian Reading Books”. It embodied the unity of aesthetic and pedagogical principles.
L.N. Tolstoy made a significant contribution to the development of children's literature. Works for children are closely connected with the entire creative heritage of the great writer. They are still published in almost all languages of our multinational country. The works of L. Tolstoy are included in educational books for primary and secondary schools. They are included in the school education program. Tolstoy's stories for children are published in the series “My First Books”, “Book by Book”, “School Library”, etc.
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