Three "evening tales" by the lion and irina tokmakov. Three "evening tales" of the lion and irina tokmakovs Story by irina tokmakova who to be read online

Children's poet, novelist and translator of children's poetry Irina Petrovna Tokmakova was born in Moscow on March 3, 1929 in the family of an electrical engineer and a pediatrician, head of the House of Foundlings.
Irina wrote poetry since childhood, but she believed that she had no writing skills. She graduated from school with a gold medal, entered the philological faculty of Moscow State University. In 1953, after graduation, she entered graduate school in general and comparative linguistics, worked as a translator. She got married and gave birth to a son.
Once the Swedish power engineer Borgkvist came to Russia, who, having met Irina, sent her a book of children's songs in Swedish as a gift. Irina translated these verses for her son. But her husband, illustrator Lev Tokmakov, took the translations to the publishing house, and soon they came out in the form of a book.
Soon a book of Irina Tokmakova's own poems for children, created together with her husband, “Trees”, was published. She immediately became a classic of children's poetry. Then prose appeared: "Alya, Klyaksich and the letter" A "," Maybe zero is not to blame? " Irina Tokmakova also translates from many European languages, Tajik, Uzbek, Hindi.
Irina Tokmakova is a laureate of the State Prize of Russia, laureate of the Russian Literary Prize named after Alexander Green (2002).

Irina Petrovna Tokmakova

And a cheerful morning will come

Poems, fairy tales, stories

"It's a fun morning ..."

In order, it was so.

Sing along, sing along:
Ten birds - a flock ...
This one is a finch.
This is a swift.
This is a funny siskin.
Well, this one is an evil eagle.
Birds, birds, go home!

And the two-year-old girl nimbly lies down on the floor, makes a funny depiction of horror on her face and deftly crawls under the bed ...

This is how my acquaintance with the poetry of Irina Tokmakova began. My daughter crawled under the bed, and her mother read the poems "Ten birds - a flock" with expression.

Ten years later I saw an article by Tokmakova in the Pravda newspaper. She wrote that modern children's literature, and especially one directed to children, should first of all teach ... an adult, teach him how to deal with a child!

The writer was right, and I knew this from experience.

Irina Petrovna works for the smallest listener and reader - for preschoolers and junior schoolchildren. Writes poems, songs, stories, fairy tales and plays. And in all her works, reality and fiction walk side by side and are friends. Listen, read the poems "In a wonderful country" and "Bukvarinsk", "Kittens" and "Patter", other works, and you will agree with me. ‹…›

Tokmakova's poems are simple, short, sonorous, easy to remember. We need them as well as the first words.

Each of us learns the world in different ways: for some, cognition is easy, for others it is more difficult. Some mature faster, others slower. But in any case, none of us can do without our native language, without words and expressions of the simplest. They miraculously unite into that strong thread that connects native words both among themselves, and with the wisdom of a fairy tale, and with the joy and sadness of our time. From the earliest years, along with the recognition of the native language, the child is immersed in a certain culture. That is why they say: "The word, the language is the whole world."

Through words they recognize themselves and others. Words can be repeated, recited, chanted, and fun to play with.

Where does Irina Petrovna - an adult - know the first words of children so well? Or does she invent them, compose them?

Good children's books are obtained only from a writer who has not forgotten what it is like to be small among adults. Such a writer clearly remembers how children think, feel, quarrel and reconcile - he remembers how they grow up. If I didn’t remember, I wouldn’t have found the words that you would immediately believe.

"How much must be remembered!" - some of you may be surprised.

You really need to remember a lot. But even a children's writer cannot remember everything about childhood. And then he composes, comes up with interesting stories that could well be in fact.

Like on a hill - snow, snow,
And under the hill - snow, snow,
And on the tree - snow, snow,
And under the tree - snow, snow,
And a bear sleeps under the snow.
Hush, hush ... Do not make noise.

The sooner the feeling of love for the hometown, village, home, friends and neighbors awakens in the human soul, the more spiritual strength a person has. Irina Petrovna always remembers this. For more than half a century, she has never parted with poems, fairy tales, stories, and therefore with you - her readers.

We talked a little about special adults.

Now let's talk about special children. It's easier because kids are all special. Only a special person plays doctors and astronauts, mothers and daughters and princesses, teachers and robbers, wild animals and vendors. In such games, everything is as in reality, as in life - everything is "for the truth": serious faces, important actions, real offenses and joys, real friendship. This means that children's play is not just fun, but everyone's dream of tomorrow. A child's play is the belief that one must imitate the best deeds and actions of adults, this is an eternal childish desire to grow up as soon as possible.

Here Irina Petrovna helps children: she writes, composes books about everything in the world. But he writes not just to entertain the child, no. She teaches to think seriously about life, teaches serious actions. About this her stories, for example "The Pines Are Noisy", "Rostik and Kesha", the poems "I heard", "Conversations" and many, many others.

Everyone has their favorite toys. Growing up, you do not part with them for a long time: you place them on cabinets, shelves, sit on the sofa, on the floor. And you are doing the right thing!

Favorite toys, especially dolls and animals, are part of childhood, the children's world, children themselves composed it around them. In such a world you can live as long as you like, because there are friends around. This world is inhabited by beautiful heroes - mischievous and obedient, funny and touching, honest and loyal. Why part with them!

Children's books live exactly the same life - your best friends and advisers. Ask a toy, such as Thumbelina or a bear, about something. Give them a moment to be silent and think, and you yourself are responsible for them. Interesting! But the book itself answers us with the voices of its heroes to any questions. In my opinion, even more interesting! You are holding one of these books now.

Any well-known work by Tokmakova, included in the book "And the cheerful morning will come", will certainly make you find and remember other poems and prose of Irina Petrovna, her translations of works for children from Armenian, Lithuanian, Uzbek, Tajik, English, Bulgarian, German and other languages ... Tokmakova translates a lot - she helps writers from other countries to come with their books to children who read in Russian. So readers and writers, with the help of books, learn good things from each other, understand better and faster that a person is born and lives for happiness - for the world, for people, and not for grief - for war and the destruction of all living things. And if a person does not understand this, his life is wasted, it brings neither joy nor benefit to anyone. So, I was born in vain ...

And yet the joys and sorrows in our life often go side by side. Adults, people who have lived a lot say: "This is how the world works."

It is interesting that writers and children, without saying a word, most often answer this like this: "We want to make the world a better place."

Correct answer.

There is no other person's grief, there should not be. Therefore, children's writers are always looking for the reasons for the good and bad actions of adults and children:

I hate Tarasov:
He shot a moose.
I heard him say
Even though he spoke softly.

Now the calf-lipped
Who will feed in the forest?
I hate Tarasov.
Let him go home!

When a person strives for a better life, he wants justice not only for himself, but also for others. And “others” are not only people, they are all living things around. Irina Tokmakova writes a lot about nature, knows how to make the personal state of her characters - children and adults, trees and flowers, domestic and wild animals - interesting to every reader. Even in a short poem, she wisely humanizes nature, reveals the content of the daily worries of both the tree and the beast.

This interview comes out 3 years late. Irina Petrovna Tokmakova was always very reverent and demanding about the word - this time too, she wanted the text to have "the correct intonation." But when the time came for the final revisions, Irina Petrovna's health began to fail, and we postponed the approval of the material for an indefinite period. Unfortunately, during the life of Irina Petrovna, we never returned to our conversation. And the day before yesterday, April 5, at the age of 89, she was gone.

After some hesitation, we nevertheless decided to publish this interview in memory of the wonderful children's writer, poetess and translator, the author of fairy tale stories “Maybe zero is not to blame?”, “Bon voyage”, “Alya, Klyaksich and the letter A”, “Happy, Ivushkin! ”, Poems and plays, translations of English and Swedish poetry and prose, including“ Alice in a Fairyland ”by Lewis Carroll,“ The Wind in the Willows ”by Kenneth Graham,“ Moomin and the Wizard's Hat ”Tove Jansson,“ Winnie the Pooh and His Friends ”by Alan Milne.

We very much hope that this conversation will become an occasion for all of us to open books by Irina Petrovna Tokmakova with the children and, at least for the evening, plunge into the fairy-tale world to which she devoted her whole life.

Irina Petrovna, why fairy tales?

But the children learned these songs and dances against the backdrop of a terrible hunger. You know, the wooden bowls in the dining rooms were full of holes - not because the dishes were dilapidated, but because the kids used to scrape the bottom with spoons. And when my mother gave me some money, I went to the market and bought sweets for them. What a joy it was for them! At that time, I helped my mother around the clock. I walked with them, put them to bed. I am very accustomed to children, I fell in love with them. Then I began to compose fairy tales and tell them before bed. Children from early childhood entered into my soul. There was never a desire to be an adult prose writer. And if I wrote lyrics, then rarely, for the soul.

Even then, did you realize that writing is your path?

Literature has always been easy for me. I wrote a great essay for the lesson both to myself and to a neighbor on a desk. She wrote poetry, of course. But then there was a breakdown. Lebedev-Kumach's daughter, Marina, studied with me. I asked her to show my poems to my father. He read and wrote an adult review, referring to me as an adult author. He didn't like some of the images. He said that this could not be so and that I needed to write plot poems. But this is such an authority. I followed his recommendations and broke down on that. Then I didn't write anything for a long time.

It's good that there was a good English teacher in the evacuation. I became interested in a foreign language and began to prepare for the philological faculty. To enter without exams, I needed a gold medal. And all the time I was studying. Mom drove out for a walk, but I set myself a goal - a medal. She entered without exams, but completely abandoned poetry.

When did you return to fairy tales?

I returned to fairy tales through translations of English and Swedish poems. I am a linguist by profession, I graduated from the Romano-Germanic department. She studied at the graduate school of the Faculty of Philology at the Department of General and Comparative Linguistics. I had a small child, the scholarship was tiny, and at the same time I worked part-time as a guide-interpreter. And in one of the international delegations of power engineers, Mr. Borkvist, very well-known in his midst, approached me. We got to talking, and he was moved when I read him a poem by Gustav Freding in Swedish (this is my second language).

When Mr. Borkvist returned to Stockholm, he sent me a volume of Freding's poems, and since I had a little son, he also attached a book of children's folk songs. I really wanted to translate them. I translated, and my husband drew illustrations for them and took the songs to Detgiz (now it is the Children's Literature publishing house). And they were just thinking of publishing a series of folk songs. And they immediately took everything from me. I really liked this business, and I decided to continue. Then in Leninka, where I was working on my dissertation, I found Scottish folk songs. They seemed lovely to me. I translated them, and they were immediately taken.

Translation is actually a new work. Have you had to adapt texts for young readers?

English fairy tales are very different from ours. There is more absurdity in them, and in the Russians - melodies, lulling, movement. They are dynamic, but not tricky, and there is a lot of incomprehensible in English folklore, it is viscous. What I translated - Edith Nesbit's trilogy - is the beginning of the 20th century. Glorious fairy tales, but there is some protraction, old-fashionedness. I had to adapt, but not interfering much.

Although sometimes the translation becomes more popular than the original. For example, the translation of the fairy tale "Winnie the Pooh" by Boris Zakhoder. Children like him very much. But Zakhoder brought in a lot of his own, as he himself said, "added harshness." I made my own translation of "Winnie the Pooh", in terms of intonation it is closer to the author's. But this translation came out once, and it is impossible to reprint it - all the rights have been bought, you cannot approach it. What I translated word for word was Astrid Lindgren's “Mio, my Mio”. It is so wonderfully written, such a wonderful language. But "Peter Pan" seemed to me complicated, protracted, not childish, so there is little interference. Also translated by Tove Jansson. The widely published translation seemed a little dry to me. The translator knows the language, but he is a teacher and a scientist more than a writer.

When did you start writing yourself?

At that time, I graduated from graduate school and began working as an English teacher at the Physicotechnical Institute in Dolgoprudny. The road took a very long time, and besides, I got sick. Then my husband insisted that I leave my job and start translating. And after these translations in the summer, the poem "To the apple tree" suddenly appeared to me. And then I thought of writing a whole children's cycle about trees. It didn’t come out very smoothly right away, but with a lot of effort it did. And my husband, besides being an artist, was a good editor. He illustrated and edited these verses. Now the book "Trees" is published constantly.

The ideas of all the works appear “all of a sudden”?

I was asked to write a whole educational cycle of fairy tales in Murzilka. The request in the editorial office of the magazine was such that something about the Russian language would appear. I wrote a fairy tale "Alya, Klyaksich and the letter A" about the Russian alphabet. There all the letters are characters that come to life. Klyaksich chased away the letter I, and the girl Alya could not sign the letter to her mother. And now Alya with the letter A traveled alphabetically.

Then there was the second book - "Alya, Klyaksich and Vrednyuga" - the basic rules of the Russian language for the first grade. Then "Alya, Anton and Pereputut" is the second class. Another tale about numbers. There the character disappears from the puzzle, and it is impossible to solve it. And the last of Ali's series of adventures is about the English language. There, feeling cheeky, I wrote some poetry in English. By the way, the name of the heroine - Alya, an abbreviation for the full "Alexander" - came from Pakhmutova. We were very familiar with their family.

Often real people act as prototypes for your heroes?

I take a lot from my life. For example, we had an Airedale. And so I wrote a fairy tale in which a dog understood human language, if a kind person spoke to it, and the unkind heard only barking. I wrote the main character from my pet. Later there was a book called "And the Merry Morning Will Come" - this is a fairy tale, where a girl finds herself in the post-war period in the city of Krutogorsk, the prototype of which was Penza during our evacuation. And in the fairy tale "Maroussia will still return" the main character lived in a dacha, which I copied from mine. The fairy tale features a talking house called Zeleny Klim. We still call our country house that way. In "Happily, Ivushkin!" the house is also real, as we lived in the Kostroma region. Almost everywhere, where there is a description of the house, the interior of my dacha or the places where I had to live appears. But the children's characters are fictional.

Did you write fairy tales for your son?

I did not compose fairy tales for my son. True, one had to. As a child, he fell asleep very badly. And I came up with an "Evening Tale" in which the boy does not want to sleep, so the owls decided to take him away and turn him into an owlet so that he would not sleep at night. The play "Zhenya the Owlet" has even been written based on this tale.

Do you think over the instructive elements in the fairy tale in advance, for example, now there will be a fairy tale about friendship or now about how useful it is to go to bed early?

I am not doing this deliberately: now I am going to write morality. It comes from the subconscious, crawls out of the bins. For example, in the fairy tale "Happily, Ivushkin!" I didn’t think: I should write that children should not doubt their parents. It turned out by itself.

I write without thinking through the whole story. This piece is thought out action by action. When I write prose, I release the characters on the page and I don't know what will happen next. They start to live. I just watch them. I never know in advance what they will do.

I highly appreciate Samuil Marshak. And the recommendations depend on the age. "Guys and Animals" - for the little ones, "How Grishka tore up books" - for schoolchildren. And I really love "Quiet Fairy Tale" - a very nice, kind poem about hedgehogs. I love the works of Lev Kassil. For example, the Great Confrontation is perfect for middle-aged children. Vitaly Bianki has a lot of good prose for preschoolers and the smallest - about nature, about animals. The witty and adorable book "The Adventures of Captain Vrungel" by Andrey Nekrasov.

The secret of a good fairy tale is to always remember that a fairy tale is written for a child. When I watch some modern cartoons, I am annoyed that everything is there: the authors demonstrate themselves, their imagination and skill. There is only one thing - love for children.

What exactly do you think is the secret to the success of your books?

First, love for children. A children's writer first of all needs to love children. Secondly, knowledge of child psychology and a professional approach. Writing fairy tales is a serious profession. Compared to Marshak, Barto, Mikhalkov, a lot now looks amateurish. And my personal secret is this: I approached myself very strictly and worked a lot. I wrote a short verse about pines for two months. My husband helped, was an editor, he always analyzed a lot of options, achieving perfection. And I could not afford a fuzzy rhyme, a break in the rhythm. Demanding self is very important for real, not momentary, success.

Interviewed by Ekaterina Lyulchak

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about the author

She graduated from the Faculty of Philosophy of Moscow State University, defended her thesis in political science and studied at VGIK as a screenwriter. She worked as a science journalist at RBC, wrote articles about unusual people for Ogonyok and social problems on Pravoslavie.ru. After 10 years of work in journalism, she officially confessed her love for psychology, becoming a student at the Faculty of Clinical Psychology, Moscow State University of Psychology and Education. But a journalist is always a journalist. Therefore, at the lectures, Ekaterina draws not only new knowledge, but also topics for future articles. The passion for clinical psychology is fully shared by Catherine's husband and her daughter, who recently solemnly renamed the plush hippo Hippo the Hypothalamus.

Was born Irina Petrovna Tokmakova March 3, 1929 in an intelligent family of electrical engineer Pyotr Karpovich Manukov and pediatrician Lydia Alexandrovna Diligentskaya.
From a young age, Tokmakova wrote poetry, but did not take her hobby seriously and therefore chose the profession of a linguist. Irina Petrovna graduated from school with honors, with a gold medal. She entered the philological faculty of Moscow State University. In 1953 she graduated from the Faculty of Philology of Moscow State University, studied in graduate school in general and comparative linguistics. At the same time she worked as a translator.
Her husband, illustrator Lev Tokmakov, played an important role at the beginning of his career; he took the translations of Swedish poems to the publishing house, where they were accepted for publication.
A year later, the first book of her own poems, "Trees", was published, written together with Lev Tokmakov.
Peru Tokmakova owns educational fairy tales for preschool children and classical translations of English and Swedish folklore poems.
Irina Petrovna Tokmakova, laureate of the State Prize of Russia for works for children and youth (for the book "Happy journey!").
Later, a large number of works for children were released: "The Seasons", "The Pines Are Noisy", "The Tale of the Sazanchik", "Zhenya the Owl", "In the Native Land: Tradition", "Summer Downpour", "The Enchanted Hoof", "

Children's poet and novelist, translator of children's poems, laureate of the State Prize of Russia for works for children and youth (for the book "Happy journey!"). Irina Petrovna has always been an excellent student: she graduated from school with a gold medal, having particular success in literature and English; having entered the philological faculty of Moscow State University without exams, she graduated with honors; I combined my postgraduate studies with work as a guide-translator. Listen to Tokmakova's works for schoolchildren and young children.

Once I. Tokmakova accompanied foreign power engineers - there were only five of them, but they came from different countries, so the young translator had to speak English, French and Swedish at the same time! The Swedish power engineer was an elderly man - he was amazed that a young Muscovite not only spoke his native language, but also quoted lines of Swedish poets to him. Returning to Stockholm, he sent Irina Petrovna a collection of Swedish folk songs. This small book, taken out of the package, in fact, will drastically change the fate of I. Tokmakova, although no one suspected it yet ...

Lev Tokmakov (he himself tried to write poetry) involuntarily heard Swedish lullabies performed by his wife, became interested and offered them to the editorial board of the Murzilka magazine, with which he collaborated. The first publication of I. Tokmakova appeared there. Then the poems-songs translated by her from the Swedish language were collected in a separate book "The bees lead a round dance", but it was not L. Tokmakov who was instructed to illustrate it, but the famous artist A.V. Kokorin. And here is the second book by I. Tokmakova: "Little Willie-Winky" (translated from Scottish folk songs) - has already been published in illustrations by L.A. Tokmakov. Willie-Winky is a gnome, similar to Ole Lukkoye from the tale of G.H. Andersen. After "Kroshka" Irina Petrovna was admitted to the Writers' Union - on the recommendation of S.Ya. Marshak! So I. Tokmakova, having abandoned the career of a scientist, philologist, teacher, became a children's poet and writer. But not only - the range of Irina Petrovna's literary pursuits is extremely wide.

The creative union of Irina and Lev Tokmakovs developed successfully. The children's poet Irina Tokmakova, published in the 1960s, were illustrated by the artist Lev Tokmakov: Trees (1962), Kukareku (1965), Carousel (1967), Evening Tale (1968). Irina Petrovna is the author of not only poetry books, but also a significant number of fairy tales: such as "Alya, Klyaksich and the letter" A "," Maybe zero is not to blame? "," Happily, Ivushkin! "," Rostik and Kesha " , "Maroussia will not return" and others. They came out in illustrations by L. Tokmakov and other artists (V. Dugin, B. Lapshin, G. Makaveeva, V. Chizhikov and others).

Irina Tokmakova, in turn, worked with the works of foreign children's authors as a translator. In the translations or retellings of Irina Petrovna, Russian-speaking children met the famous heroes of John

M. Barry, Lewis Carroll, Pamela Travers and others. I.P. Tokmakova translated a huge number of poems from the languages ​​of the peoples of the USSR and the world: Armenian, Bulgarian, Vietnamese, Hindi, Czech and others. As a poet-translator, Irina Petrovna often "guest" on the pages of the "Kukumber" magazine. According to I. Tokmakova: “As an integral part of beauty, poetry is called upon to save the world. Save from grief, pragmatism and money-grubbing, which they are trying to build into virtue. "

In 2004, the President of the Russian Federation V.V. Putin sent congratulations on the 75th birthday of I.P. Tokmakova, who made a huge contribution to both domestic and world children's literature. Irina Petrovna has long been a recognized authority in the pedagogical field. She is the author and co-author of many textbooks for preschool and primary school children. Together with his son Vasily (who once listened to his mother's Swedish folk songs in the cradle) I.P. Tokmakova wrote the book "Reading Together, Let's Play Together, or Adventures in Tutitamia", designated as "a guide for a novice mother and an advanced baby." Tokmakov Sr. also left a mark in children's literature as a writer: in 1969 the book "Mishin's Gem" was published, which Lev Alekseevich himself wrote and illustrated.