The world of childhood is not only the world of a child. L.N. Tolstoy. Pedagogical views. Artistic features of stories, fairy tales, fables for children Children in the image of Leo Tolstoy

The works of Lev Nikolaevich Tolstov have been familiar to us since our school days. After reading, the story Childhood, which is part of his great novel and written in 1952, leaves a special impression on the soul. This story personifies a certain stage in the hero's life.

A special place in the justification of the character of the main character and an integral part of life is Nikolenka Irteneva’s mother, since the purity of the soul and actions of the mother always influence the development of a person as an individual. Throughout her life, she is a support and incentive to achieve her goals. The author presents all memories of his mother in the most tender and sincere feelings.

The main character Nikolenka remembers his mother with great love and awe. The voice is gentle and penetrating into the heart. The look is always gentle and looks at life with love. Only the mother’s hands are the strongest and hold the child’s hand throughout the beginning of his life. In this chapter, Tolstoy shows how strong maternal love can be and, in general, what a mother should be like.

The whole image of Mama is very gentle and sensitive. Before us is a loving mother who reflects the mother of our writer herself, Princess Natalya Nikolaevna. From Tolstoy's works we understand that she was like an angel with a pure smile and sincere eyes. Every morning Nikolenka came down to say hello to his mother, because for him there was no kinder and more beloved person in the whole world. The boy also loved his father, and at the same time he was an authority and a person to follow. Nikolenka’s mother was responsive and always helped those in need. Her favorite pastimes, besides education, were playing the piano and embroidering wonderful canvases. Family life was not as happy as we think, since her marriage was unhappy. She forgave her husband for all his faults because she loved him.

No matter how pure and sincere a person Mother is, life is hard on her. When Nikolenka turns ten years old, she falls ill and dies in severe agony. After such a shock, Nikolenka grows up in one day, because the loss of a loved one ends childhood overnight. Throughout his life, he remembers his mother with great gratitude and love. He remembers her voice, eyes and strong emotional hugs. This image of a mother makes us smile, because the children of such mothers achieve a lot in life, so being a mother and father, you should not forget about your human qualities.

Essay Mother in the story Childhood

For most people, mother is the most dear and beloved person. Only a mother is capable of giving her child sincere, incorruptible, true love. The image of a mother in the immortal story “Childhood” is a vivid example of a woman’s true love for her child.

L.N. Tolstoy describes the ideal image of a mother who dotes on her child. The central character of the work, Nikolenka, remembers only good things about her mother. In the boy’s memory, his mother appears kind, loving, and responsive. For the hero, the time spent with his mother is the brightest and brightest period in his life. His mother's voice is the most pleasant he has ever heard. Nikolenka will not confuse this voice with any other and will not hear it anywhere else. The mother's tender gaze is filled with care and love, her wonderful hands are gentle and pleasant. Even in his dreams, the hero with extraordinary ease guessed the presence of his mother: he recognized her by just one touch, grabbed her hand and pressed it tightly to his lips.

Mother called Nikolenka exclusively “my darling”, “my angel” and other no less pleasant and affectionate words. In the house where Nikolenka and his mother lived, there were often guests who talked for a long time in the living room. The boy often fell asleep while talking, then the mother, having seen off the guests, came up to her child and slowly stroked his hair. She "poured out all her love and affection."

The author emphasizes that the mother really wanted her to remain the most beloved person in the memory of her children. In one of the episodes of the story, Nikolenka once again confesses her love to her mother, the mother remains silent for a while and then tells her son to love her forever, even if she is no longer alive. Nikolenka often turns to God with prayers, asking for protection for her family.

The mother tried to ensure that her children grew up to be versatile personalities. She helped the children study hard, play the piano, read a lot, and master dance steps. It is worth noting that the mother was kind to not only her children, but also her children’s nanny, as well as the housekeeper Natalya Savishna. To the latter, for sincere and conscientious work, the mother gives her freedom, which speaks of her justice and humanity.

The image of Natalya Nikolaevna in Tolstoy’s work “Childhood” is the personification of maternal love, care and tenderness.

Option 3

One of the characters in the work is the image of the mother of the protagonist of the story, which arises from Nikolenka’s childhood memories.

Nikolenka’s mother, Natalya Nikolaevna, is presented by the writer as a kind, timid, compliant woman, often smiling sadly and charmingly. The woman is an educated person with excellent knowledge of the German language, which she teaches to her children. In addition, Natalya Nikolaevna plays excellent music on the piano, teaching children to play the instrument at the same time, and in her free time she embroiders exquisite items.

Nikolenka’s mother experiences a reverent love for her husband, expressed in her blind faith and constant forgiveness, even of large card losses. The son, remembering his mother’s behavior, assumes that she does not feel the care, love and understanding of her husband in marriage, but deliberately hides this from others, including children, wanting to remain a happy woman in their hearts forever.

The image of the mother is characterized by tenderness, sensitivity, warmth, affection, despite her difficult and short life. Natalya Nikolaevna is distinguished by her responsiveness, compassion, mercy, constantly helping the disadvantaged and those in need. The woman is kind to her elderly nanny, to whom she signs freedom before her death.

In Nikolenka’s childhood memories, mother appears in the image of a person of spiritual warmth and purity, whose bright and vivid impressions remain with her son for the rest of his life.

During her lifetime, Natalya Nikolaevna strives to diversify her own children, teaching them not only literacy and languages, but also instilling in them a love of art. A woman's only desire is her dream of preserving maternal love in the hearts of her children. Natalya Nikolaevna passes away at a young age from an illness that overtook her, dying in inhuman pain at the time when Nikolenka turned ten years old.

However, despite his young age, the son’s memories of his mother do not weaken in his soul; she is for him a symbol of love, tenderness, kindness and responsiveness, illuminating Nikolenka’s life path with her mother’s warm smile.

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Modern Russian children's literature did not grow out of nowhere. Its deep traditions should be sought first of all in the work of those great Russian writers for whom the children's theme was a reverent and heartfelt theme, a serious and indispensable theme, whose work in some important part has firmly entered into children's reading due to its specificity, simplicity and sincerity.

The formation of children's literature as an aesthetic phenomenon proceeded in line with general literary development.

In the initial stage, children's literature took into account social inequality, but presented it abstractly: rich child - poor child. Charity was the only sphere of activity of the rich child: he was good because he did not do this or that, being obedient, and if he did something, it was only good. The sphere of manifestation of virtue for the poor child was wider. The poor child was often more noble and savvy than a noble child: she pulled the little nobleman out of the water, helped out in difficult times and was capable of subtle feelings.

In the process of development of children's literature, the traditional pair “virtuous - vicious” ceases to be mandatory and is replaced by another antithesis: “sensitive - cold”. This new understanding of the child, rooted in sentimentalism, strengthened in the era of romanticism and formed the basis of the romantic concept of childhood. Children's literature began to develop this concept, but already in the 40-50s of the 19th century, “big” literature also mastered it. Childhood is presented 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 their peers, without asking if he is rich, if he is the same in origin... Yes, we must learn from children, to achieve a vision of true goodness and truth. Such is the poeticization of childhood in Russian classics: “Childhood” by L. N. Tolstoy, “Childhood Years of Bagrov the Grandson” by S. Aksakov. The family has always been a prototype of folk life in Russian literature: Pushkin’s Grinevs, Turgenev’s Kalitins , Tolstoy's Rostovs... The Bagrov family occupies a special place among them, because behind it stands the Aksakov family themselves.

On August 26, 1854, Sergei Timofeevich Aksakov informs his beloved little granddaughter Olya that in a year he will send her a book in which he will tell... about the young spring, About the flowers of the fields, About little birds, About a nest of testicles, Beautiful butterflies, Moths playful, About the forest Bear, About the white mushroom And Olya will read a book all day long.

Two years later, again congratulating Olya on her birthday, Aksakov wrote: “My dear Olya! Two years ago I promised to send a book in poetry in a year, but God forbid that it will be ready for your next birthday. And the book is coming out completely not the one I promised you.” Indeed, Aksakov’s plan expanded significantly, and the result was a book about the years of distant childhood, about the people and destinies of the past.

With complete truthfulness, Aksakov spoke about everything that he experienced in childhood, starting from the first subtle sensations and ending with the subtlest range of human feelings.

L. N. Tolstoy considered the greatest advantage of Aksakov’s “Childhood” to be the love for nature, the poetry of nature, spilled in the book.

The feeling of nature came to the boy, the hero of the book, during the first spring in the village and was formed under the influence of his father Alexei Stepanovich Bagrov and uncle Yevseich.

The banks of the river coming to life under the spring sun, with all kinds of game, swimming ducks and rushing flocks of birds, which the father and Yevseich knew by their voices, filled the boy’s heart with delight.

It was during this period that the boy felt that merging with nature, which is so characteristic of the writer Aksakov: “At the end of Fomina’s week that wonderful time began, which does not always appear in harmony, when nature, awakening from sleep, begins to live a full, young, hasty life: when everything turns into excitement, movement, sound, color, smell... Not understanding anything then, not analyzing, not appreciating, not calling anything by any name, I myself sensed a new life in myself, became a part of nature, and only in adulthood, conscious memories of this time, I consciously appreciated all its charming charm, all its poetic beauty." Nature has a beneficial effect on the child. The boy becomes tenderly and sympathetically attached to his mother. Their mutual love and understanding of each other grows. Mother becomes for Seryozha the greatest authority, the most beloved and dear authority in the world. He shares with her everything he saw, everything he heard and experienced. The kindness and sincerity that his mother brought up in Seryozha encouraged the boy to sympathize with the forced position of the serfs. In the rich estate of grandmother Praskovya Ivanovna, Parashin, the headman was Mironych, whom Seryozha called to himself “a man with scary eyes.” While inspecting the mill with his father, the boy observed Mironych’s rude attitude towards the old man and other peasants and felt an “internal trembling.” Many questions arose in Serezha’s mind: “Why is the sick old man suffering, what is the evil Mironych, what is the power of Mikhailushka and grandmother.”

Aksakov shows primary interest in the inner world of his hero. He watches with close attention the emergence and development of mental movements, even the most insignificant ones. The mental maturity that has outstripped his age has developed in Seryozha the habit of analyzing his own feelings and thoughts. He not only lives by impressions. He makes them the subject of analysis, looking for appropriate interpretations and concepts for them and fixing them in his memory. When the hero of the story fails to do this, Bagrov, matured and remembering, comes to the rescue. And throughout the book we hear two voices.

Knowledge about the outside world expands and deepens - and more and more often the desire to practically master it comes. And even though Seryozha was not burdened by the need for physical labor, the need for labor, inherent in human nature, powerfully awakens in him. Seryozha not only admired the delights of field work. He also noticed how unbearably difficult they were for the serfs. And, having matured, he not only sympathizes, he is convinced of the “importance and holiness of work”, that “peasants and peasant women are much more skillful and dexterous than us, because they know how to do things that we cannot.”

The wider the horizons of Seryozha’s world expand, the more persistently facts invade it, violating its harmony. Seryozha’s mind just doesn’t fit why the evil headman Mironych, who drives the peasants out to corvée even on a holiday, is considered by the peasants themselves to be a good man. “Why was the Easter cake for the Bagrovs “much whiter than the one with which the courtyard people broke their fast?” Some of these many “whys” remained unanswered. Even his beloved mother, whose “reasonable judgment” Seryozha was used to checking his impressions and thoughts. And she didn’t - no, and he will rebuke him: “It’s none of your business.” Other “whys” affected relationships that children, with their innate justice, could not understand at all, much less justify. All this led to a “confusion of concepts”, producing “ some kind of discord in... the head," outraged the "clear silence... of the soul." The world of adults, not always understandable to children, begins to shine through with a direct, natural, purely human child's gaze. And much in it begins to look not only strange , but not abnormal, worthy of condemnation.

Experiencing the disharmony of the external world, Seryozha comes to the consciousness of his own imperfection: a critical attitude towards himself awakens in him, “clear silence” is replaced in his soul by childishly exaggerated doubts and searches for a way out.

But Seryozha’s inner world does not split, does not fall apart. It changes qualitatively: it is filled with socio-psychological content, it includes situations and collisions, in overcoming which the formation of a person takes place, preparing him for equal participation in life.

The narrative in "Childhood Years" ends on the eve of the most important event in Seryozha's life - he is about to enter the gymnasium. Childhood is over. The image of a growing, mature person with his own eventful and spiritual-emotional world, constantly and qualitatively changing, is the main pathos of the book “The Childhood Years of Bagrov the Grandson.” But Aksakov himself expressed it more precisely and more fully than others: “A person’s life in childhood, a child’s world, creating under the influence of daily new impressions.. A person’s life in a child.”

Having been published, “The Childhood Years of Bagrov the Grandson” immediately became a textbook classic work. "Childhood..." after its release, it evoked rave reviews from contemporaries. Each of S. T. Aksakov’s famous contemporaries had his own view of his books, but they all agreed on one thing: recognition of the outstanding artistic merits of these books and the rare talent of their author.

For Tolstoy L.N. in “The Childhood Years of Bagrov the Grandson” “the evenly sweet poetry of nature is spread throughout everything, as a result of which it may sometimes seem boring, but it is unusually soothing and amazingly clear, faithful and proportionate in its reflection.”

Aksakov's story is, first of all, an artistic depiction of the childhood years of his own life. In order to give the facts and events of his distant past a typical meaning, the author of these artistic memoirs hides under the guise of an outside narrator, conscientiously presenting what he heard from Bagrov the grandson.

Since the narration is told on behalf of its main character, the author’s “I” and the author’s speech almost completely merge with the image and speech of Bagrov the grandson himself. His attitude to the events described, as a rule, expresses the author’s attitude towards them.

In L. N. Tolstoy's trilogy "Childhood. Adolescence. Youth" the narration is also told from the perspective of its main character.

However, next to the childish and youthful image of Nikolenka Irtenyev in the trilogy, a clearly defined image of the author’s “I” is given, the image of an adult, wise by the life experience of an “intelligent and sensitive” person, excited by the memory of the past, reliving, critically evaluating this past. Thus, Nikolenka Irtenyev’s own point of view on the events of his life depicted and the author’s assessment of these events do not coincide at all.

The theme of childhood is deeply organic to Tolstoy’s work and expresses the characteristic features of his views on man and society. And it is no coincidence that Tolstoy dedicated his first work of art to this topic. The leading, fundamental principle in the spiritual development of Nikolenka Irtenyev is his desire for goodness, for truth, for truth, for love, for beauty. The initial source of these high spiritual aspirations of his is the image of his mother, who personified for him all that is most beautiful. A simple Russian woman, Natalya Savishna, played a big role in Nikolenka’s spiritual development.

In his story, Tolstoy calls childhood the happiest time of human life. “Happy, happy, irrevocable time of childhood!.. Will that freshness, carefreeness, need for love and the power of faith that you possess in childhood ever return? What time could be better than that when the two best virtues are innocent gaiety and the boundless need for love - were the only motives in life? " Nikolenka Irtenyev’s childhood years were restless; in childhood he experienced a lot of moral suffering, disappointments in the people around him, including those closest to him, disappointments in himself.

Tolstoy depicts how Nikolenka gradually reveals the discrepancy between the outer shell of the world around her and its true content. Nikolenka gradually realizes that the people he meets, not excluding those closest and dearest to him, are in fact not at all what they want to seem. He notices unnaturalness and falsehood in every person, and this develops in him mercilessness towards people. Noticing these qualities in himself, he morally punishes himself. The following example is typical for this: Nikolenka wrote poems on the occasion of his grandmother’s birthday. There is a line in them that says that he loves his grandmother like his own mother. Having discovered this, he begins to find out how he could write such a line. On the one hand, he sees in these words a kind of betrayal towards his mother, and on the other, insincerity towards his grandmother. Nikolenka reasons like this: if this line is sincere, it means he has stopped loving his mother; and if he still loves his mother, it means that he committed falsehood in relation to his grandmother. As a result, Nikolenka’s analytical ability is strengthened. By subjecting everything to analysis, Nikolenka enriches her spiritual world, but the same analysis destroys her naivety, an unaccountable faith in everything good and beautiful, which Tolstoy considered “the best gift of childhood.” This is shown very well in the "Games" chapter. Children play, and the game gives them great pleasure. But they receive this pleasure to the extent that the game seems to them like real life. As soon as this naive faith is lost, the game becomes uninteresting. The first to express the idea that the game is not the real thing is Volodya, Nikolenka’s older brother. Nikolenka understands that his brother is right, but nevertheless, Volodya’s words deeply upset him.

Nikolenka reflects: “If you really judge, then there will be no game. And there will be no game, then what will be left?” This last phrase is significant. It indicates that real life (not a game) brings little joy to Nikolenka. Real life is the life of “big people”, that is, adults, people close to him. Nikolenka lives, as it were, in two worlds - in the world of adults, full of mutual distrust, and in the world of children, attracting with its harmony.

A large place in the story is occupied by the description of the feeling of love in people. Nikolenka’s children’s world, limited by the patriarchal noble family and hereditary estate, is truly full of warmth and charm for him. Tender love for the mother and respectful adoration of the father, attachment to the eccentric good-natured Karl Ivanovich, to Natalya Savishna, the conviction that everything around exists only to make “me” and “us” feel good, children’s friendship and carefree children’s games, unaccountable children’s curiosity, all this taken together paints the world around him in the brightest, most rainbow colors for Nikolenka. But at the same time, Tolstoy makes you feel that in reality this world is full of trouble, grief and suffering. The author shows how the world of adults destroys the feeling of love and does not give it the opportunity to develop in all its purity and spontaneity. Nikolenka’s attitude towards Ilinka Grap reflects the bad influence of the world of the “big” on him. Ilinka Grap was from a poor family, and he became the subject of ridicule and bullying from the boys in Nikolenka Irtenev’s circle. Children were already capable of being cruel. Nikolenka does not lag behind her friends. But then, as always, he experiences a feeling of shame and remorse. children's literature Tolstoy Aksakov

The world of actual relations between estate and social life surrounding Nikolenka is revealed in “Childhood” in two aspects: in the subjective, i.e. in the form in which it is perceived by a naive child and from the perspective of its objective social and moral content, as it is understood by the author.

The entire narrative is built on the constant comparison and collision of these two aspects.

The images of all the characters in the story are grouped around the central image - Nikolenka Irtenyev. The objective content of these images is characterized not so much by Nikolenka’s own attitude towards them, but by the actual influence that they had on the course of his moral development, which Nikolenka himself cannot yet judge, but the author judges very definitely. A clear example of this is the emphasized contrast between Nikolenka’s childhood attitude towards Natalya Savishna and the author’s memory of her.

“Ever since I can remember, I remember Natalya Savishna, her love and caresses; but now I only know how to appreciate them...” - this is what the author says. As for Nikolenka, “it never occurred to him what a rare, wonderful creature this old woman was.” Nikolenka “was so used to her disinterested, tender love... that he didn’t even imagine that it could be otherwise, he wasn’t at all grateful to her.”

The thoughts and feelings of Nikolenka, punished by Natalya Savishna for soiling the tablecloth, are imbued with lordly arrogance, offensive lordly disdain for this “rare” “wonderful” old lady: “What!” I said to myself, walking around the hall and choking on tears, “Natalya Savishna. just Natalya, you tell me, and also hits me in the face with a wet tablecloth, like a yard boy. No, this is terrible! " However, despite the disdainful attitude and despite Nikolenka's inattention to Natalya Savishna ("I... never asked myself questions: and what, is she happy, is she content... "), she is given as an image of a person who had perhaps the most “strong and beneficial influence” on Nikolenka, on his “direction and development of sensitivity.”

In a completely different relationship to Nikolenka’s moral development, the story depicts the image of his father, Pyotr Aleksandrovich Irtenyev. Nikolenka’s enthusiastic attitude towards her father, imbued with the deepest respect for all his words and actions, does not correspond at all to the author’s assessment of this man.

A clear example of this is the clearly negative characterization given to Pyotr Aleksandrovich Irtenyev by the author in the chapter “What kind of man was my father?” It is this negative author’s characterization, and not Nikolenka’s childhood assessments, that corresponds to the real content of the image of Pyotr Alexandrovich, which finds subtle expression in the tragedy of the mother, in the grandmother’s ill will towards the unworthy husband of her adored daughter.

Like other images of adults surrounding Nikolenka, the image of the father is revealed not in his own development, but through the development of Nikolenka, who, as she matures, gradually frees herself from childhood illusions.

The image of a father gradually falling lower and lower in the eyes of his growing son plays a very important role. Taken by itself, this image is built on the contrast between the brilliant secular reputation of Pyotr Alexandrovich and the immorality and uncleanliness of his inner appearance.

Behind the outward appearance of Pyotr Alexandrovich, a charming socialite, a loving husband and a gentle father, hides a gambling gambler and a sensualist, deceiving his wife and ruining his children.

In the image of the father, the immorality of the secular ideal comme il faut is revealed with the greatest depth.

Along with the image of Nikolenka’s father, all other images of typical representatives of the noble world are placed in the story: the elder brother Volodya, who in many ways repeats the image of his father, the grandmother with her tyranny and arrogance, Prince Ivan Ivanovich, whose relationship makes Nikolenka experience the humiliation of dependence on a rich relative , the Kornakov family is an example of the callousness of secular child rearing, and the arrogant, self-satisfied barchuks take the Ivins.

The immorality of secular morals and relationships, embodied in all these images, is revealed to us gradually as Nikolenka Irteniev comprehends it.

In the “details of feelings,” in the “secret processes of human mental life,” in the very “dialectics of the soul,” Tolstoy seeks and finds the expression of the typical and reveals this typical in the infinite variety of its individual manifestations.

“Childhood” still retains all its artistic and educational significance as a deeply realistic picture of noble life and customs of the 30-40s of the last century, a heartfelt depiction of the complex process of formation of the human personality and the influence that the social environment has on this process.

Among the most talented books in which the inner world of a child is revealed is “Nikita’s Childhood” - a story by the wonderful writer A. N. Tolstoy.

Considered against the backdrop of the works of Aksakov S. T. and Tolstoy L. N., the story “Nikita’s Childhood” takes its place due to both the new historical era and the nature of the personal fate of its author.

The autobiographical story for children "Nikita's Childhood" ("A Tale of Many Excellent Things" - in the first edition) was written by Tolstoy in 1920 for a children's magazine in France; in 1922 it was published in Berlin, and for Soviet children it was first released in 1936.

"Nikita's Childhood" is a poetic narrative about the years of human formation. This is an original, original creation of the writer’s creative memory.

The work describes a chronicle of the main events in the hero's life during the year, the last year before the start of the teaching. The relationship between the life of a ten-year-old child and the life of nature creates a unique lyrical flavor of the story: “Nikita sailed under the stars, calmly looking at distant worlds.”

“All this is mine,” he thought, “someday I’ll board an airship and fly away...” This is how a boy perceives nature when he rides on a cart in the summer after threshing; Nikita is close to her, dissolves in the world around him. After the New Year's party, Nikita returns home alone, having seen off the children who were invited to visit: “It seemed to Nikita that he was riding in a dream, in an enchanted kingdom. Only in an enchanted kingdom can it be so strange and so happy in the soul.”

Unity with nature, the feeling of being an integral part of it, creates in the boy’s soul an almost constant expectation of happiness, wonderful, fantastic. Therefore, Nikita’s close attention to everything that surrounds him becomes understandable.

Nikita's vision of the real echoes his fantastic ideas, coming from the boy's dreams, from the desire to poeticize the world around him. He infects others with this desire. So, Lilya and him are looking for a vase that Nikita once dreamed about. And when, in fact, this vase was found by the children on the clock in a dark room, and there was a ring in it, Nikita said with confidence: “This is magical.”

Tolstoy endowed Nikita with respect for the people. Nikita considers Mishka Koryashonka, a shepherd who works in the barnyard, to be the most authoritative person. This is a serious and reasonable guy who, in imitation of adults, speaks with feigned indifference. "Nikita looked at Koryashonok with great respect."

Although Mishka is small, the Russian mentality and Russian character are already clearly visible in his comments, advice and actions.

Another acquaintance of Nikita is the curly-haired, snub-nosed and large-mouthed Styopa Karnaushkin with a “charmed fist”. Nikita's company of village friends is completed by Semka, Lenka, Artamoshka the smaller, Nil, Vanka Black Ears and Bobylev's nephew Petrushka.

All day long Nikita spins around in the yard, at the well, in the carriage house, in the servants' room, on the threshing floor... For Nikita, Mishka Koryashonok's judgment is clearest of all.

But less important is what the carpenter Pakhom, the worker Vasily, and the stooped Artem said or did.

Nikita is curious about the life of the village, peasant children, peasant activities, not understanding, however, the difficulties and hardships of village life, but at the same time spontaneously, instinctively, not separating himself from it, feeling himself somehow inextricably linked with the village.

Tolstoy's story is the last link in the series of books about noble childhood; here there is everything characteristic of the little boy’s childhood, but still this is the end of a noble estate, the landowner’s life is in decline.

The fate of children's literature is firmly connected with the history of great literature. These connections are complex: in some ways lagging behind “adult” literature, children’s literature does not trail behind it, but goes its own way, making its own discoveries and sometimes ahead of “adult” literature. The development of children's literature has its own internal logic. But the full patterns of development of children's literature appear only in the general historical and literary context.

The world of childhood is not only the world of a child.

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.

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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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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.

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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 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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Scientific and educational stories. “ABC” and “Books for Reading” contain extensive scientific and educational material, but Tolstoy did not consider them as manuals on geography, history, and 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.

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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 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.

59 7.3. L.N. Tolstoy's role 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.

Composition

In one of his articles, L. Tolstoy wrote that children love morality, but only smart, and not “stupid” ones. This idea permeates a hundred stories for children. He strives to evoke deep feelings in the child, to instill in him love and respect for people. 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, hard work.

* “The grandmother had a granddaughter: before the granddaughter was small and kept sleeping, and the grandmother herself baked bread, chalked the hut, washed, sewed, spun and weaved for her granddaughter, and then the grandmother became old and lay down on the stove and
* sleeping. And the granddaughter baked, washed, sewed, weaved and spun for her grandmother.”

This short story reveals the very essence of the relationship between children and adults in a peasant family. The flow of life and the unity of generations are conveyed with folklore expressiveness and laconicism. The moral in this story is not an abstract lesson, but the core that unites its theme and idea. 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, barked, and behind Zhuchka was a big dog, Volchok.” The main artistic technique in the depiction of peasant children by L.N. Tolstoy is often the 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 help to reveal the child’s inner world and psychologically justify his every action.

Misha understands: he needs to admit to adults that he threw fragments of a broken glass into the cow's slop; but fear constrains him, and he remains silent (story “Cow”).

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.” L. N. Tolstoy's stories, dedicated to children, aptly expose the bad and clearly show 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”). Thus, in the first version of the story “The Jump,” the description of the climactic scene was quite detailed. It included several long phrases describing how the boy walked along the mast crossbar:

* “There was nothing around the boy but air, and under him there was a small piece of wood, which from below seemed no larger than a button. His legs covered the entire crossbar, and it bent under him. If he had tripped or the bar had broken under him, he probably would have fallen and been killed." In the second version, there was only one phrase left, laconic and extremely emotionally intense: “If he only stumbled, he would have smashed to pieces on the deck.”

Tolstoy's work on the language and style of stories is an unrivaled example of how to write for children. S. Marshak said this very precisely: “Today, re-reading Tolstoy’s educational books, we especially appreciate in them his brilliant ability to use all the shades, all the possibilities of his native language, his generous expenditure of writing skill for every three or four lines that turn into his pen into smart, touching and compelling stories.”z

Reading lesson (3rd grade)
Subject:“The image of childhood in the works of L.N. Tolstoy. The story "Shark".

Goals:

1. 
   Continue your acquaintance with Tolstoy’s work and his biography.
2. 
   Speech development, retelling skills, conscious, fluent reading skills in whole words.
3. 
   Cultivate friendship, morality, and awareness of actions.

Equipment: portrait, book exhibition, crossword puzzle, printed texts and proverbs.
During the classes:
1.Organizational point:

The long-awaited call was given,

The lesson begins.

2.Message of the topic and purpose of the lesson:

Today, we will continue our acquaintance with the work of L.N. Tolstoy and let's talk about what his works bring up in children.

3.Biography of the writer and his works:

A) - Let’s remember the biography of the writer (children’s speeches):

Lev Nikolaevich Tolstoy was born in 1882 - almost * years ago. B died in 1910. He lived to be 82 years old and devoted his entire life to literature. His books have been translated into many languages ​​and are read all over the world. The complete collection of works contains 90 volumes.

Lev Nikolaevich studied history, music, drawing, and medicine. But most importantly, he loved children very much. At that time there were few schools for poor children as they could not study. He wrote textbooks for them and began teaching them to read and write himself.
B) – About L.N.’s childhood You will recognize Tolstoy when you read an article from the writer’s memoirs, which is called “The Childhood of L.N. Tolstoy."
- Reading become independent.

Let's try the answers to the questions (questions on the board):

1) What does the writer tell about his mother?

2)What was his older brother like?

3) What is the “Ant Kingdom?”
B) Explanation of the epigraph.

2. How did the artilleryman react to the fun of his son and his comrade?

3.What kind of person do you think the old artilleryman was?

4.What did you like?

5.Homework. Retelling the text.

6. Lesson summary.

Which writer's work have we read?

What does the story teach?

What do you remember from the lesson?