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THE MINISTRY ОF HIGHЕR EDUCATION, SCIENCE AND
INNOVATION ОF THЕ RЕPUBLIC ОF UZBЕKISTАN
SАMАRKАND STАTЕ INSTITUTЕ ОF FОRЕIGN LАNGUАGЕS
THE FACULTY OF ENGLISH II
CОURSЕ WORK
THEME: THE ROLE OF RUSSIAN POETRY IN THE UPBRINGING OF
CHILDREN
Scientific supervisor: Mamayoqubova Sh.O
Done by: Rakhimova M
Group: 2205 (uzbek)
SАMАRKАND – 2023
CONTENTS
INTRODUCTION……………………………………………………..…….……..
..................3
CHAPTER I. THE THEORITICAL BASICS OF RUSSIAN POETRY AND
HISTORY OF
POETRY………………………………………………….................………5
1.1.
Russian literature: Russian poetry and its basis………………….5
1.2.
The historical background of poetry in
literature………….....................................................................................15
Conclusion
on
the
chapter
I………………………………………….........……….....19
CHAPTER II. THE IMPORTANCE OF RUSSIAN POETRY IN
UPBRINGING
CHILDREN……………………….………………………...................20
2.1.
The main educational role of Russian poetry children’s
life………........................................................................................….......20
2.2.
The practical methods of using Russian poetry to teach
children……...........................................................................................25
Conclusion
on
the
chapter
II……………………………………….........………......39
CONCLUSION…………………………………………………….....................…
………...41
THE LIST OF USED
LITERATURE…………………………...........……………...44
INTERNET
SOURCES……………………………………………................…………..46
2
INTRODUCTION
The 21st century is a time when modern technologies are rapidly developing
and are reflected in every field. In this globalized society, the demand for learning
foreign languages is increasing day by day. In the Resolution of the President of the
Republic of Uzbekistan Shavkat Miromonovich Mirziyoyev dated May 19, 2021
“On measures to bring the activities of popularization of learning foreign languages
to a qualitatively new level in the Republic of Uzbekistan” In accordance with the
State program “year of supporting and strengthening the health of the population”,
developing foreign language teaching as a priority direction of education policy,
radically improving the quality of education in this direction, attracting qualified
pedagogues to the field and encouraging the population to learn foreign languages
special importance is focused on increasing the interest.
A new stage, a new era has begun in the teaching of foreign languages in our
country. The use of advanced pedagogical technologies, interactive, innovative
methods, communicative and informational tools is required in the process of
teaching foreign language classes. In our republic, new methods and requirements
have been developed in accordance with the European framework recommendations
(CEFR) for foreign language teaching and assessment of knowledge and skills of
foreign language teachers. According to it, textbooks were created for students of
general education schools and vocational schools. In accordance with these
requirements, classrooms were equipped with new information and communication
techniques. Foreign language science is divided into four aspects (reading, writing,
listening and speaking), and separate concepts and skills are given for each of them.
The importance of advanced modern technologies in teaching foreign
languages is incomparable. Because the use of technological tools in the educational
process plays an incomparable role in the assimilation and strengthening of
knowledge in every department of foreign language learning. For example, it is
impossible to develop listening comprehension skills without computers, players,
and CDs. Listening comprehension is one of the most important parts of language
learning. At the same time, the reader is required to pay attention to the speaker's
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pronunciation, adherence to grammatical rules, vocabulary and its meanings. In
today's process of globalization, the Internet has covered every aspect of our lives.
Among the young generation, the rational use of social networks and various sites
in learning foreign languages has become an urgent issue.
The aim of the work. The aim of the work is to analyze and research of the
importance of Russian poetry in raising children.
The investigation of the problem. Studying and developing solutions to the
problems of Russian poetry in education and upbringing of preschool children
The structure of the work. The work is organized into an introduction, two
chapters, a conclusion, and a bibliography in line with the objectives and goals of
the paper.
 The primary focus of the coursework is an examination and analysis of the
role that Russian poetry plays in the parenting of young children.
 Total amount of the work is 39 pages.
 The introduction covers the purpose, goals, tasks, realities, structure, and
practical importance of the qualifying paper.
 A summary of the investigation's results is given in the conclusion.
 Include citations for all of the scholarly articles, websites, and other sources
utilized in your research.
The subject of the given research includes examples of Russian poetry and
preschool children.
The object of the work is to analyze of the value of Russian poetry in the
education of preschool children.
The main aim of the work is to study the practical and theoretical importance
of modern English literature in the education of preschool children.
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CHAPTER I. THE THEORITICAL BASICS OF RUSSIAN POETRY AND
HISTORY OF POETRY
1.1 Russian literature: Russian poetry and its basis
Russian literature refers to the literature of Russia and its exiles, as well as the
literature of the Russian language. The roots of Russian literature can be traced back
to the Middle Ages, when epics and chronicles were written in the Old East Slavic
language. By the Age of Enlightenment, literature had grown in importance, and
from the early 1830s Russian literature enjoyed a remarkable golden age in poetry,
prose, and drama. Romanticism blossomed into a poetic genius:
Vasily Zhukovsky and later his protégé Alexander Pushkin attracted attention.
Prose also flourished. Mikhail Lermontov was one of the most important poets and
novelists. The first great Russian writer was Nikolai Gogol. Then came Ivan
Turgenev, who mastered both short stories and novels. Fyodor Dostoevsky and Leo
Tolstoy soon became internationally known. Other important figures of Russian
realism were Ivan Goncharov, Mikhail Saltykov-Shchedrin and Nikolai Leskov. In
the second half of the century, Anton Chekhov became a major playwright,
specializing in short stories. The early 20th century is considered the Silver Age of
Russian poetry. The poets most associated with the "Silver Age" are Konstantin
Balmont, Valery Bryusov, Alexander Blok, Anna Akhmatova, Nikolai Gumilyov,
Sergey Yesenin, Vladimir Mayakovsky, Marina Tsvetaeva. This era produced some
of the best novelists and short story writers, including Alexander Kuprin, Nobel
laureate Ivan Bunin, Leonid Andreev, Fedor Sologub, Yevgeny Zamyatin,
Alexander Belyayev, Andrei Beli and Maxim Gorky.
After the Revolution of 1917, Russian literature split into Soviet and white
exile parts. While ensuring universal literacy and a sophisticated printing industry,
the Soviet Union also implemented ideological censorship. In the 1930s, socialist
realism became the dominant current in Russia. Its main figures were writers such
as Nikolai Ostrovsky, Alexander Fadeev, who laid the foundations of this style.
Ostrovsky's novel How Steel Was Tempered is his one of the most popular works of
Russian socialist literature. Some writers, such as Mikhail Bulgakov, Andrei
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Platonov and Daniil Charms, were criticized and wrote with little or no hope of
publication. Various writers in exile, including the poet Vladislav Khodasevich,
Georgy Ivanov, Vyacheslav Ivanov. Writers such as Gaito Gazdanov, Vladimir
Nabokov and Bunin continued to write in exile. Some writers, like Nobel Prizewinning author Alexander Solzhenitsyn and Varlam Shalamov, who wrote about life
in the concentration camps, dared to oppose Soviet ideology. Khrushchev's thaw
breathed new life into literature, and poetry became a popular culture phenomenon.
This “thaw” did not last long. In the 1970s, several prominent authors were banned
from publication and prosecuted for anti-Soviet stances.
The second half of the 20th century was a difficult time for Russian literature,
with few clear voices. There was the playwright Vladimir Sorokin and the poet
Dmitry Prigov. The 21st century saw the emergence of a new generation of Russian
writers who differed greatly from the postmodern Russian prose of the late 20th
century, and critics began to speak of a “new realism”.
Russian writers have made significant contributions to numerous literary
genres. He has five Nobel Prize winners in literature in Russia. There is a famous
folk saying that Russians are “the most read nation in the world”.
Old Russian literature, with some masterpieces written in Old East Slavic (i.e.,
Kievan Rus’ language, not to be confused with modern Church Slavic or modern
Ukrainian, Russian or Belarusian) It has been constructed. The main type of Old
Russian historical literature was chronicles, most of which were anonymous.
Anonymous works also include The Story of Igor's Campaign and Daniel the Imred's
Prayer. Hagiography (Russian: жития святых, zitiya svyatykh, “the life of the
saints”) formed a popular genre of Old Russian literature. The life of Alexander
Nevsky is a well-known example. Other Russian literary works include
Zadonschina, Physiologe, Synopsis, and A Journey Beyond the Three Seas. Vilinas
- oral folk epics - blended Christian and pagan traditions. Medieval Russian literature
was predominantly religious in character, adopting Church Slavonic with many
South Slavic elements. The first work written in colloquial Russian, the
autobiography of Archbishop Avakum, was not written until the mid-17th century.
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Peter the Great, who came to the throne in the late 17th century, continued to
influence Russian culture well into the 18th century. The reign of Peter the Great in
the early 18th century brought a series of modernizing changes to Russian literature.
The reforms he implemented encouraged Russian artists and scientists to innovate
in crafts and fields with the intention of creating an economy and culture on par. It
set a precedent for the rest of the 18th century when writers of the Russian language
began to develop clear ideas about the proper use and development of the Russian
language. Through discussions of interpretations of the Russian language and the
tone of Russian literature, writers of the first half of the eighteenth century were able
to lay the groundwork for more poignant and more topical works of the second half
of the eighteenth century.
The satirist Antioch Dmitrievich Kantemir (1708-1744) was one of the earliest
Russian writers to admire not only the reforming ideals of Peter I, but also the
growing Enlightenment movement in Europe. I was alone. Cantemir's works
regularly express his admiration for Peter, most notably an epic poem dedicated to
the emperor entitled Petrida. More often, however, Kantemir indirectly praised
Peter's influence through his satiric criticism of Russia's “superficiality and
obscurantism,” which he saw as manifestations of the backwardness Peter attempted
to correct through his reforms.[5.1] Kantemir honored this tradition of reform not
only through his support for Peter, but by initiating a decade-long debate on the
proper syllabic versification using the Russian language.
Vasily Kirillovich Trediakovsky, a poet, playwright, essayist, translator and
contemporary to Antiokh Kantemir, also found himself deeply entrenched in
Enlightenment conventions in his work with the Russian Academy of Sciences and
his groundbreaking translations of French and classical works to the Russian
language. A turning point in the course of Russian literature, his translation of Paul
Tallemant's work Voyage to the Isle of Love, was the first to use the Russian
vernacular as opposed the formal and outdated Church-Slavonic. This introduction
set a precedent for secular works to be composed in the vernacular, while sacred
texts would remain in Church-Slavonic. However, his work was often incredibly
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theoretical and scholarly, focused on promoting the versification of the language
with which he spoke.
While Trediakovsky's approach to writing is often described as highly erudite,
the young writer and scholarly rival to Trediakovsky, Alexander Petrovich
Sumarokov, 1717–1777, was dedicated to the styles of French classicism.
Sumarokov's interest in the form of French literature mirrored his devotion to the
westernizing spirit of Peter the Great's age. Although he often disagreed with
Trediakovsky, Sumarokov also advocated the use of simple, natural language in
order to diversify the audience and make more efficient use of the Russian language.
Like his colleagues and counterparts, Sumarokov extolled the legacy of Peter I,
writing in his manifesto Epistle on Poetry, “The great Peter hurls his thunder from
the Baltic shores, the Russian sword glitters in all corners of the universe”. Peter the
Great's policies of westernization and displays of military prowess naturally
attracted Sumarokov and his contemporaries.
Mikhail Vasilyevich Lomonosov, in particular, expressed his gratitude for and
dedication to Peter's legacy in his unfinished Peter the Great, Lomonosov's works
often focused on themes of the awe-inspiring, grandeur nature, and was therefore
drawn to Peter because of the magnitude of his military, architectural and cultural
feats. In contrast to Sumarokov's dedication to simplicity, Lomonosov espoused the
belief in a hierarchy of literary styles divided into high, medium and low. This style
facilitated Lomonosov's epic, arrogant writings and the use of both colloquial and
Church Slavonic languages.
The influence of Peter I and the discussion of the function and form of
literature in relation to the Russian language in the first half of the eighteenth century
set a stylistic precedent for the writers of Catherine II's reign in the second half of
the century. However, the subjects and areas of these authors' work were often more
poignant, political, and controversial. For example, Alexander Nikolaevich
Radishchev shocked the Russian public with his portrayal of the socioeconomic
situation of the serfs. Empress Catherine II condemned the depiction and sent
Radishchev into exile in Siberia.
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However, some chose subjects that were less offensive to the dictator. For
example, Nikolai Karamzin (1766–1826) is known for campaigning for Russian
writers to adopt characteristics of poetry and prose, such as the heightened emotions
and physical vanity that were considered feminine at the time. It is Karamzin's call
to Russian writers male writers to write with femininity did not fit the Enlightenment
ideals of reason and theory seen as masculine attributes. His work was therefore
generally not well received. However, they reflected Catherine the Great's growing
respect for female rulers in some areas of society, or at least conflicting feelings. It
ushered in an era when it was considered an abstract concept associated with the
attributes of vanity, and pathos.
On the other hand, some writers praised Catherine II more directly, and Gavri
La Romanovich Derzhavin, famous for her odes, often dedicated her poems to
Catherine II. Unlike most of his contemporaries, Derzhavin was very devoted to his
nation. He served in the army before holding various posts in Catherine II's
government, including secretary to the Empress and Minister of Justice. Unlike those
who were guided by the great style of Mikhail Lomonosov and Alexander
Sumarokov, Derzhavin was attentive to the details of his subjects.
Primarily a comedy writer, Denis Fonvizin approached the topic of the
Russian nobility from a critical perspective. Fonvizin believed that the nobility
should adhere to the standards that were under Peter the Great's rule, during which
the quality of devotion to the state would be rewarded. His work criticized the
current system of rewarding the nobility without condemning the duties they once
performed. Fonvizin used satire and comedy to support an aristocratic system in
which the elite were rewarded on the basis of individual merit, rather than the
hierarchical favors that prevailed during the reign of Catherine the Great II.
The 19th century is traditionally called the "golden age" of Russian literature.
Romanticism especially blossomed in poetic talent. The name of Vasily Zhukovsky,
and later his protégé Alexander Pushkin, came to the fore. Pushkin is known for
crystallizing the literary Russian language and introducing a new artistic level to
Russian literature. His most famous work is the poetic novel Eugene Onegin (1833).
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Mikhail Lermontov (also known for his 1841 novel The Hero of Our Time), Evgeny
Baratynsky, Konstantin Batyushkov, Nikolai Nekrasov, Alexei Konstantinovich
Tolstoy, Fyodor Tyutchev, Afanasy Fet and others at all. A new generation of poets
followed in Pushkin's footsteps.
His prose also flourished. The first great Russian novel was Dead Souls (1842)
by Nikolai Gogol. The realist school of fiction can be said to have been started by
Ivan Goncharov, primarily known for his novel Oblomov (1859), and Ivan
Turgenev. Fyodor Dostoyevsky and Leo Tolstoy quickly rose to international
prominence, with many scholars such as F. R. Leavis calling one of the greatest
novelists of all time. Mikhail Saltykov-Shchedrin was known for his grotesque
satire, and his satirical chronicle The Tale of the City (1870) and his family story
The Golovlevs (1880) are considered his masterpieces. is regarded. Nikolai Leskov
is best known for his short fiction and unique skaz technique. Towards the end of
the century, Anton Chekhov was a master of the short story and an international
playwright.
Another important development of his 19th century was the fabulist Ivan
Krylov. Non-fiction writers such as critic Vissarion Belinsky and political reformer
Alexander Herzen. Playwrights such as Alexander Griboyedov, Alexander
Ostrovsky, Alexander Suhovo-Kovylin, satirist Kozma Prutkov (pseudonym).
The beginning of the 20th century is considered the silver age of Russian
poetry. Famous poets of this era include: Alexander Blok, Sergey Yesenin, Valery
Bryusov, Konstantin Balmont, Mikhail Kuzmin, Igor Severyanin, Sasha Chorny,
Nikolai Gumilyov, Maximilian Voloshin, Innokenty Annensky, Zinaida Gippius.
The poets most associated with the "Silver Age" are Anna Akhmatova, Marina
Tsvetaeva, Osip Mandelstam and Boris Pasternak.
The Silver Age is seen as the development of his nineteenth-century Russian
literary tradition, which some avant-garde poets sought to subvert. Velimir
Khlebnikov, David Burliuk, Aleksei Kruchenykh, Vladimir Mayakovsky.
The Silver Age is best known for its poetry, but Alexander Kuprin, Nobel
laureate Ivan Bunin, Leonid Andreev, Fedor Sologub, Alexei Remizov, Yevgeny
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Samyatin, Alexander Belyaev, Dmitry・Produced first-class novelists and short
story writers such as Merezhkovsky and Andrei. Most of them wrote both poetry
and prose, but Berry.
Children's literature was one of the major genres in the Soviet Union because
of its educational function. The majority of early Soviet children's books were
poetry: Korney Chukovsky (1882-1969), Samuil Marshak (1887-1964) and Agnia
Barto (1906-1981) are among the most widely read poets. "Adult" poets such as
Mayakovsky and Sergey Mikhalkov (1913–2009) also contributed to the genre.
Some early Soviet children's prose were loose adaptations of foreign fairy tales
unknown in modern Russia. Alexei N. Tolstoy (1882–1945) wrote Buratino, a
lighthearted summary of Carlo Collodi's Pinocchio. Alexander Volkov (1891–1977)
introduced Soviet children to fantasy fiction through his loose translation of L. Frank
Baum's The Wonderful Wizard of Oz, published in 1939 as The Wizard of the
Emerald City and then wrote a series of his five sequels. It has nothing to do with
trees. Other notable writers include Nikolai Nosov (1908–1976), Lazar Lagin
(1903–1979), Vitaly Bianchi (1894–1959) and Vladimir Steev (1903–1993).
Fairy tales were relatively free from ideological oppression, but the realistic
children's prose of the Stalin era was highly ideological and aimed at educating
children to be patriots and communists. bottom. A notable author in this sense was
Arkady Gaydar (1904–1941), a Red Army commander (colonel) during the Russian
Civil War. His stories and plays about Timur depict teams of young pioneer
volunteers helping the elderly and fighting hooligans. There was a hero-pioneer
story genre that shared some similarities with the hagiographic Christian genre.
Under Brezhnev (who was in power from 1966 to 1982) the pressure eased. There
is no trace of propaganda in the middle and late Soviet children's books by Eduard
Uspensky, Yuri Entin and Viktor Dragunsky. In the 1970s, many of these books and
stories by foreign children's writers were made into cartoons. Inspired by the
country's scientific revolution, industrialization, and space pioneers, Soviet science
fiction flourished, albeit within the limits allowed by censorship. The sci-fi writer
stuck to hard sci-fi and looked to H.G. Wells and Jules Verne as role models. His
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two notable exceptions to this trend are early Soviet dissident Evgeny Samyatin,
author of the dystopian novel We, and Mikhail Bulgakov, who explains the
communist ideology and communist ideology. used his sci-fi in Heart of a Dog, Fatal
Egg, and Ivan Vasilyevich. That's real practice. Like future dissident writers,
Zamyatin and Bulgakov had serious publishing problems due to censorship in the
Soviet Union.
After the Khrushchev Thaw of the 1950s, Soviet science fiction began to
develop its own style. Philosophy, ethics, and utopian and dystopian ideas were at
its core, with social science fiction being the most popular subgenre.
Views of the future of the planet as utopian communist societies were the only
ones welcomed, but the freedom of the genre still provided loopholes for free
speech.Arkady, Boris Strugatsky, Kir Bulychev The books by the brothers are
particularly socially problematic and often contain satire on contemporary Soviet
society. Ivan Efremov, on the other hand, became famous for his utopian vision of
the future and for his historical novel Ancient Greece. Strugatskies is also known for
creating the first Soviet science his fantasy trilogy, "Monday Begins Saturday".
Other notable his science fiction writers include Vladimir Savchenko, Georgi
Gurevich, Alexander He Kazantsev, Georgiy Martynov and Eremei Parnov. Space
opera was underdeveloped, viewed unfavorably by both state censors and serious
writers.
In the middle of the Soviet era, certain fields of science fiction and children's
books emerged. Sci-fi for children. Children must be educated and entertained at the
same time. The protagonist of this genre is Brychev, who, along with adult books,
has created a children's space adventure series about Alisa Selezneva, a girl from the
future. Others include Nikolai Nosov, who wrote a book about the dwarf Neznaika,
Evgeny Vertistov, who wrote about Robot Boy Electronic, Vitaly Melentyev,
Vladislav Krapivin, and Vitaly Gubarev. Mysteries were also a popular genre.
Detective novels by brothers Arkady and Georgy Vayner and spy novels by Yulian
Semyonov are best sellers , any of which were adapted for film and television in the
1970s and 1980s.
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Village prose is a genre that conveys nostalgic descriptions of rural life.
Valentin Rasputin's 1976 novel Matyoroy (Farewell to Matyora) by Proshchaniye
depicted a village destroyed to make way for a hydroelectric power plant[22.50].
Historical fiction in the early Soviet era included many memoirs, novelized or
not. Valentin Katayev and Lev Kassil wrote a semi-autobiographical book about the
lives of children in Tsarist Russia. Vladimir Gilyarovsky wrote in Moscow and
Muscovites about life in pre-revolutionary Moscow. There is also an attempt to write
an epic revolutionary novel based on the author's own experiences, similar to Leo
Tolstoy's War and Peace. Alexei Tolstoy's Road to Golgotha (1920-1941) and
Mikhail Sholokhov's Quiet Stream of the Don (1928-1940) show Russia from the
beginning of the revolution to the end of the civil war. The Road to Calvary shows
the triumph of socialist ideas, and And Quiet Flows the Don paints a realistic and
brutal picture. Maxim Gorky and Andrei Beli's experimental novel The Life of Klim
Samgin (1925–1936) [23] and Moscow (1926–1931) trace the relationship between
Russian intellectuals and the revolutionary movement. Mikhail Bulgakov wanted to
write a trilogy about the Civil War, but only wrote the first part, The White Guard
(1923). Late Soviet historical fiction is dominated by World War II novels and short
stories, written by prose lieutenants (such as Vasily Bykov), Vasily Grossman,
Konstantin Simonov, Boris Vasilyev, Viktor Astafiev, Boris It was by writers such
as Polevoy. Based on the author's own war experience. Vasily Yan and Konstantin
Badygin are best known for their novels about medieval Russia, and Yury Tynyanov
for his books about the Russian Empire. Valentin Pikul writes about different times
and countries in a style inspired by Alexander Dumas. In the 1970s, a relatively
independent village prose emerged, the most prominent representatives of which
were Viktor He Astafiev and Valentin Rasputin.
Horror, adult fantasy, magical realism, and all kinds of fiction dealing with
the occult were not welcomed in Soviet Russia. Early books like Gogol's were not
banned, but few were written in these genres until the 1980s, and even fewer were
published. Bulgakov in (unpublished during the author's lifetime) and Strugadzky in
Monday Begins on Saturday introduced magical and mystical creatures to mock
13
modern Soviet reality. Another exception was the early Soviet writer Alexander
Grin, who wrote realistic and fantastical romantic stories.
The 21st century saw the emergence of a new generation of Russian writers
who differed greatly from the Russian postmodern prose of the late 20th century,
prompting critics to speak of a “new realism”. Growing up after the collapse of the
Soviet Union, “New Realists” write about everyday life without picking up the
mystical and surreal elements of their predecessors.
“New realists” are writers who assume that journalism, social and political
writing, and the media have a preaching ground, but whose "direct action" is the
responsibility of civil society. Leading "neorealists" include Ilya Stogov, Zakhar
Prilepin, Alexander Karashov, Arkady Babchenko, Vladimir Rorchenkov, and
Alexander Snegiryov.
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1.2 The historical background of poetry in literature
Poetry as an oral art probably predates written texts. The earliest poems are
believed to have been read or sung to recall oral traditions, genealogies, and laws.
Poetry is often closely associated with musical traditions, and the earliest poetry
exists in the form of hymns (such as the works of the Sumerian priestess
Enheduanna) and other types of songs such as chants. Thus, poetry is the art of
words. Much of the surviving poetry from antiquity records prayers and stories on
religious subjects, but it also contains historical accounts, instructions for daily
activities, love songs, and fiction. Scholars who have studied Homeric lore and
Balkan oral epics in particular have found that early texts bear clear traces of older
oral lore, including the use of repeated phrases as components of larger poetic units.
pointing out. A rhythmic and repetitious form would make a long story easier to
remember and retell, before writing was available as a reminder. Thus, many ancient
works, from the Vedas (1500 - 1000 BC) to the Odyssey (800 - 675 BC), appear to
have been composed in poetic form to aid memorization and oral transmission, in
prehistoric and ancient societies. Poetry appears among the earliest records of most
literate cultures, with poetic fragments found on early monoliths, runestones and
stelae.
In Africa, poetry has a history dating back to prehistorical times with the
creation of hunting poetry, and panegyric and elegiac court poetry were developed
extensively throughout the history of the empires of the Nile, Niger and Volta river
valleys. Some of the earliest written poetry in Africa can be found among the
Pyramid Texts written during the 25th century BC, while the Epic of Sundiata is one
of the most well-known examples of griot court poetry. In African cultures,
performance poetry is traditionally a part of theatrics, which was present in all
aspects of pre-colonial African life [6] and whose theatrical ceremonies had many
different functions, including political, educative, spiritual and entertainment.
Poetics were an element of theatrical performances of local oral artists, linguists and
historians, accompanied by local instruments of the people such as the kora, the
xalam, the mbira and the djembe drum. Drumming for accompaniment is not to be
15
confused with performances of the talking drum, which is a literature of its own,
since it is a distinct method of communication that depends on conveying meaning
through non-musical grammatical, tonal and rhythmic rules imitating speech. [7.8]
Although, these performances could be included in those of griots.
The oldest surviving speculative fiction poem is the Tale of the Shipwrecked
Sailor,[9] written in Hieratic and ascribed a date around 2500 B.C.E. Other sources
ascribe the earliest written poetry to the Epic of Gilgamesh written in cuneiform;
however, it is most likely that The Tale of the Shipwrecked Sailor predates
Gilgamesh by half a millennium. The oldest epic poetry besides the Epic of
Gilgamesh are the Greek epics Iliad and Odyssey and the Indian Sanskrit epics
Ramayana and Mahabharata. Some scholars believe that either the Mahabharata or
the Tibetan Epic of King Gesar is the longest example of epic poetry in history.
Ancient thinkers sought to determine what makes poetry distinctive as a form
and what distinguishes good poetry from bad, resulting in the development of
"poetics", or the study of the aesthetics of poetry. Several ancient societies, such as
China, through the Classics of History, one of the Five Classics, developed norms
of poetic works that had both ritual and aesthetic significance.
Context can be critical to poetics and to the development of poetic genres and
forms. For example, poetry employed to record historical events in epics, such as
Gilgamesh or Ferdowsi's Shahnameh, will necessarily be lengthy and narrative,
while poetry used for liturgical purposes in hymns, psalms, suras and hadiths is
likely to have an inspirational tone, whereas elegies and tragedy are intended to
invoke deep internal emotional responses. Other contexts include music such as
Gregorian chants, formal or diplomatic speech, political rhetoric and invective, lighthearted nursery and nonsense rhymes, threnodies to the deceased and even medical
texts.
Classical thinkers employed classification as a way to define and assess the
quality of poetry. Notably, Aristotle's Poetics describes the three genres of poetry:
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the epic, comic, and tragic, and develops rules to distinguish the highestquality poetry of each genre, based on the underlying purposes of that genre.[16.13]
Later aestheticians identified three major genres:
epic poetry, lyric poetry and dramatic poetry, treating comedy and tragedy as
subgenres of dramatic poetry. Aristotle's work was influential throughout the Middle
East during the Islamic Golden Age, as well as in Europe during the Renaissance
Later poets and aestheticians often distinguished poetry from, and defined it in
opposition to, prose, which was generally understood as writing with a proclivity to
logical explication and global trade.[citation needed] In addition to a boom in
translation, during the Romantic period numerous ancient works were rediscovered.
The Classic of Poetry, often known by its original name of the Odes or Poetry
is the earliest existing collection of Chinese poems and songs. This poetry collection
contains 305 poems and songs from the 11th century BC to the 7th century BC. The
stylistic development of classical Chinese poetry consists of processes in both
literary and oral culture, and generally refers to specific canonical periods or epochs
corresponding to Chinese dynasties, traditional Chinese historical events. assigned
to a chronological process. Poetry preserved in written form forms poetic literature.
In addition, there existed or existed parallel traditions of oral and traditional poetry,
also known as folk or folk poetry or ballads. Some of these poems seem to have
survived in written form. In general, folk songs are anonymous and may show signs
of editing or refinement when corrected to text. In addition to the Poetry and Stone
Classics, the Song of the South (or Chuchi) is another early text, although some
individual fragments and fragments are found in other sources, such as those
embedded in classical narratives and other literature. It survives in its form.
It is generally believed that the development of modern poetry began in the
20th century and continues into the 21st century. Leading American practitioners
writing in English include T.S. Elliott, Robert Frost, Wallace Stevens, Maya
Angelou, June Jordan, Allen Ginsberg, Nobel laureate Louise Gluck. Modern epics
include Ezra Pound, H.D., Derek Walcott, and Giannina Braschi. Contemporary
17
poets Joy Harjo, Kevin Young (poet), and Natasha Treshew write poetry in lyrical
form.
The use of poetry to convey cultural information continues to this day. Many
Americans know that Columbus sailed the blue sea in 1492. Alphabet Song teaches
alphabet names and letter order. Another jingle indicates the length and name of the
months in the Gregorian calendar. Some authors believe that the origin of poetry lies
in song. [citation needed] Most of the features that distinguish it from other speech
forms, such as rhythm, rhyme, compression, emotional intensity, and the use of
refrains, seem to have arisen from efforts to adapt words to musical forms. In the
European tradition, the oldest surviving poetry, the Homer and Hesiod epics,
identifies more as poetry read or sung to musical accompaniment than as pure song.
Another interpretation is that rhythms, refrains, and kennings are essentially
paratactic devices that allow the reciter to reconstruct the verse from memory.
In developed societies, these forms of poetry were composed for, and
sometimes during, performances. The exact wording of the poem was somewhat
fluid. The introduction of letters anchored the content of the poem to the version that
happened to be written down and survived. Written compositions meant that poets
began to compose for absent readers. The invention of the printing press accelerated
these trends. Poets now write more with their eyes than with their ears.
The development of literacy gave rise to more personal and shorter poems
meant to be sung. These are called lyric, derived from the Greek lulla or harp, which
has been in use since about the 7th century BC. It was used as accompaniment to the
performance of Greek poetry. The practice of Greeks singing hymns in large choirs
began in the 6th century BC. To practice writing dramatic poems and poetic plays
for theater performances. More recently, the introduction of electronic media and
the rise of poetry reading has seen a resurgence of performance poetry in the poetry
genre, including open mic poetry monologues and poetry slam competitions.
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Conclusion on the chapter I
The glorious term Golden Age refers to the first half of the 19th century, or
more precisely the first four decades. This period is notable for an unprecedented
surge of creativity, illuminated by the genius of Alexander Pushkin. The poetry of
the early 19th century is still the driving force behind Russian literature.
The works of the brilliant poet of this period are to this day an incomparable
masterpiece of classical literature, an example of the highest poetic ability and an
outstanding example of the greatness of the Russian language.
Then, in the late 19th century, Russian fiction thrived on a large scale from
political and social fermentations and subsequent changes. It gave us the eternal lines
of the great pillars of Russian fiction: Ivan Turgenev and Ivan Goncharov, Fyodor
Dostoevsky and Leo Tolstoy. Thus, while the 19th century was clearly recognized
as the golden age of Russian literature, it naturally spawned an equally remarkable
and equally talented Silver Age.
Returning to Golden Age poetry, it should be noted that in parallel with
Pushkin, the wealth of Russian poetry was replenished by almost all friends and
associates of the so-called "second part" poet Alexander Pushkin. I have. Studied
with him at the prestigious Imperial University in Tsarskoye Selo near St.
Petersburg. Their names are fairly well known, but Pushkin is unique in the power,
emotional content and significance of his work. This is probably why literary critics
and subsequent ordinary readers group these brilliant young poets into a galaxy, the
so-called "Pushkin's Pleiades". Later, this circle of like-minded allies was separated
and divided by different ideas and this future that each of these talented people
envisioned as the best for their beloved Russia.
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CHAPTER II. THE IMPORTANCE OF RUSSIAN POETRY IN
UPBRINGING CHILDREN
2.1 The main educational role of Russian poetry children’s life
The title of the article repeats the title of two of the denunciations, which
today, without exaggeration, together mark a true event in the history of Russian
children's poetry and children's literature, more broadly - in the history of Russian
literature, and even more widely - in the history of Russian culture. It is appropriate
to recall the statement of D. S. Likhachev: “In philological science, facts are the
most durable. The publication of monuments, textual and logical work that clarifies
the history of the text of certain works is undoubtedly a work necessary for
centuries”. These words fully refer to the published three-volume anthology “Four
Centuries of Russian Poetry for Children”, which is the final unique work of the
well-known St. Few people, like Putilova, have such knowledge of it, such erudition,
who so represents its origins and history, its creators, its main routes and completely
forgotten lanes. Putilova is the author of articles and a monograph on the work of
A.P. Gaidar, L. Panteleev, two books on the history of criticism of children's
literature, numerous works on forgotten and bypassed poets and prose writers,
among the latter - the "phenomenon" of Lydia Charskaya, the textbook "Children's
reading for the heart and mind. She united in one person a researcher, critic,
textologist, commentator, publisher and educator.
All these qualities manifested themselves in the main thing in Putilova's
scientific predilection - poetry for children. For half a century, E. O. Putilova
tirelessly, purposefully and consistently recreated the history of children's poetry.
The beginning was the volume “Russian Poetry for Children”, published in 1989 in
the large series “Poet's Libraries”. These are 797 texts selected by Putilova from folk
poetry, from V. F. Burtsev's "Primer" up to 1917, to V. Bryusov and Sasha Cherny's
"Children's Island", commented on and preceded by an introductory article. The
work continued, and in 1997 the publishing house "Academic Project" published a
two-volume edition "Russian Poetry for Children", supplementing and continuing
the first and covering the period from 1917 to 1941. And, finally, in 2013 - the
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already named three-volume book “Four Centuries of Russian Poetry for Children”,
the third volume of which covers 1941-2000, 60 post-war years. The impressive
amount of work done on the selection of texts in hundreds of old and new journals,
numerous publications of various kinds, archival sources, even personal contacts
broadcast such figures: in the first volume - 822 texts belonging to 92 poets; in the
second volume - 431 texts by 78 poets; in the third - 802 texts by 44 poets, in total
214 poets, 2055 texts. In all three editions (1989, 1997 and 2013), the author's poetry
is preceded by a large section "Folk Poetry", represented by texts of folklore and
children's folklore in all its genres, mainly.
Thus, E. O. Putilova outlined her concept of the development of children's
poetry, which became the subject of a special study by the author of these lines .
Most of the works of the XVII-XIX centuries of the anthology are not actually
children's poems, they belong mainly to "adult" authors, among whom there are
many noble people, public figures and famous writers. Their writings for children
are of a one-time, episodic nature and are most often caused by the need to turn to
children (primarily their own “lads”) with “instruction”, “praise” or “message” in
poetic form - to teach them a certain moral lesson. As a rule, these poems bear the
stamp of puritanism, flat positivism or dull edification. Play, child. Play in the eyes
of a certain mother; Twist your kubaryk, put card locks ... (M. M. Kheraskov. To the
child). You jump, frolic and run, Petrusha, with care, thoughts do not disturb peace;
You don’t know boredom, you don’t know vanity And you think that there is no
happier person in the world.
(P. I. Golenishchev-Kutuzov. To a five-year-old boy). The frequency of the
same type of names attracts attention: “To the child” (M. M. Kheraskov), “To the
baby” (I. I. Dmitriev), “Five-year-old boy” (P. I. Golenishchev-Kutuzov), “ To an
Eight-Year-Old Boy” (unknown author), “Abandoned Child” (N. S. Smirnov),
“Childhood” (A. I. Pleshcheev, S. G. Frug, I. Z. Surikov, I. A. Bunin ), "Childhood"
(S. D. Drozhzhin), "Children's World" (A. A. Korinfsky, K. D. Balmont), "In the
children's circle" (D. D. Minaev), "Children of the poor" (A. Mikhailov), “The
Orphan” (K. A. Peterson), “To the Child” (D. N. Sadovnikov). This series could be
21
continued with examples of other titles reflecting recurring themes. It is interesting
that V. F. Odoevsky, the author of the classic fairy tale in prose “The Town in a
Snuffbox”, in which V. G. Belinsky saw a model of how to write for children, in his
poetic opuses, which aroused the just wrath of the same critic, turned out to be a
reasoner and a moralist:
Get up in the morning, don't be lazy!
Wash with soap, wipe off.
Who is disheveled, not washed,
He makes people laugh with himself ... (Morning song).
Let's work together and help each other!
You have to learn a lot,
To know something ... (Handmade song).
Nevertheless, the mentioned verses are irrefutable evidence of how attractive
(“How charming this nonsense is, / The babble of children's words. / There is no
premeditation, / There are no fetters in the words” K. Balmont), how important the
world of the child is for their authors, how concerned they are with his spiritual and
moral health. Undoubtedly, children's poetry of this period had its achievements.
And among them is the wonderful experience of V. A. Zhukovsky, who created four
beautiful poems and a fairy tale addressed to his own children; “Poems dedicated to
Russian children” by N. A. Nekrasov; poems by poets of the late 19th - early 20th
century (R. A. Kudasheva, P. S. Solovieva (Allegro), M. A. Pozharova, etc.). Often
such verses were included in educational books for reading or anthologies, were
interesting to children and were memorized with pleasure by many generations of
schoolchildren.
During a folklore expedition in the 1980s, I happened to hear from a deep old
informant in response to traditional questions a poem read from beginning to end:
“Here is my village, / Here is my home” - (“I remember in my childhood they
taught”; of course, he did not know either the name "Childhood" or the name of the
author I. Z. Surikov). Another popular poem-narration among children by A. N.
Pleshcheev “The Old Man”, which in K. Ushinsky’s “Native Word” was presented
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in one part and began with the words “Grandfather, my dear, make me a whistle”,
returned by E. O. Pu Tilova in its entirety (as well as A. Mikhailov's poem "School"),
is now printed in its entirety, allowing one to comprehend its depth and lyricism.
Refuting the point of view of those who believe that the poetry of this period has
outlived its usefulness, that this is a world that is fading into the past, E. O. Putilova
ends the introductory article of the first volume with such fair words: “... these poems
will remain the property of history; a constant and stable circle of children's reading
(“evidence of childhood”).
These poems are our cultural heritage, without which the idea of Russian
poetry would be incomplete, insufficient, one-sided”. Russian children's poetry as a
specific area of art and poetry, and this is proved by the texts of the anthology,
belongs to the twentieth century. And to no small extent this is explained by the fact
that it was in the 20th century that the main “discoveries” in the field of Russian
children’s folklore took place and, which is especially important, its penetration into
the book, and more broadly, into culture. And this is proved by both domestic and
world experience, in particular the English experience of children's literature, for
which children's folklore is the beginning, a kind of prologue.
It is from the 20th century that Russian children's literature has become a
space for rooting, resurrection and renewal of children's folklore in individual
creativity. It can be said that since that time, professional children's poetry has found
its own voice, its repertoire, its key existential themes, its subject representation, its
graphics and rhythm, its "formal image of verse", its own language, which has been
spoken by several generations of children's poetry. poets. The idea of the continuity
of children's literature from children's folklore was repeatedly expressed by the
classic of national folklore of childhood G.S. Vinogradov, first in the book
"Children's Game Preludes", later in other works: "... but the latest children's
literature (in its best part) is an excerpt from children's folklore ".
When Vinogradov wrote/said "the newest" and "the best part", he had in mind
K. Chukovsky and S. Marshak, whose children's books were already known. These
authors themselves repeatedly demonstrated their dependence on children's folklore,
23
the reliance on which gave them almost all the signs of style. In the book "From Two
to Five" and "Confessions of an Old Storyteller", K. Chukovsky emphasized that his
path to children's literature began with "going to the kids", with the conscious use of
patterns and techniques of children's folklore, "the poetics of childhood", parent
speech, parent language.
How and in what forms does children's poetry, as a special area of art, root
and preserve the energy of children's folklore, its poetic imagery and figurativeness
at the genre, structural, lexical, intonational, rhythmic-syntactic levels reflects a
large layer of texts of the second and third volumes of the anthology. The second
volume of the poem by K. I. Chukovsky opens, which, along with the poems of S.
Ya. Marshak, asserted themselves in an atmosphere of sharp and harsh criticism and
controversy, about which E. O. Putilova writes in detail and deeply in her
introductory article. At the same time, we must not forget that the existence of
children's poetry, as well as all of our literature and art in general, took place under
the conditions of a totalitarian system, cruel ideological dictate and incredible
dependence on the political situation. Nevertheless, paradoxically, first the 1920s
and 1930s and then the 1970s and 1980s were the heyday of Russian children's
poetry in its own form.
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2.2. The practical methods of using Russian poetry to teach children
Modern requirements for the study of the Russian language at school imply
an increase in the importance of the functional-semantic, communicative-activity
aspects, and a focus on the development of students' speech culture. In this regard,
the text is recognized as the main didactic unit of the lesson. Of no small
importance is the literary text, the analysis of which helps the student to feel the
originality of the aesthetic function of the language.
Particular attention should be paid to the expressiveness of Russian speech,
since it is important not only to acquaint students with the language system, to help
them master the norms of the Russian language, but also to teach them how to
adequately use language means in the communication process to express the
intention of their speech, as well as accurately and adequately understand other
people's words. statements based on the analysis of speech means of expression.
In a broad sense, any language units can be called expressive if they
contribute to a more vivid expression of the author's intention in a speech work.
This approach is reflected in the latest "Stylistic Encyclopedic Dictionary of the
Russian Language" (M.: Flinta - Nauka, 2003):
“From the point of view of a systematic approach to stylistic terms,
expressive means are such linguistic means that contribute to accuracy,
consistency, clarity, expressiveness (emotionality, evaluativeness, intensity and
imagery) and provide a full-fledged (as close as possible to understanding the
information contained in the text) perception of speech by the addressee. .
The choice and use of expressive means depend on the situation of
communication, the chosen genre and style of speech, as well as on the author's
individuality. So, in official business speech, accuracy that does not allow for
different interpretations is achieved through the use of special terminology,
unambiguous and ugly non-terminological vocabulary, repetitions of words
(mainly terms), clarifying phrases, and other means of language. In newspaperjournalistic speech, however, accuracy has an emphatically documentary-factual
character and, consequently, is created through the widespread use of
25
professionalisms, evaluative metaphors, and other expressive means of language”
(p. 38).
When studying various topics of the school course of the Russian language,
it is necessary to talk about the role of certain units in speech, although not all
current textbooks have enough material for this work. In the process of linguistic
analysis of literary texts, priority attention is usually paid to tropes and stylistic
figures, and the means of expression traditionally allocated in accordance with
different tiers of the language are considered somewhat less frequently. At the
same time, the expressive possibilities of units of different language subsystems
are practically unlimited. Here is a list of some of the most common language tools
that are characteristic of different levels.
Phonetic means of expression include sound repetitions, onomatopoeia,
sound writing (alliteration, assonance), sound symbolism, euphony (and
dissonance), paronymic attraction, stress, intonation, rhythm (and others, less
common, such as: anagram, lipogram).
Lexical expressive means include polysemantic words, homonyms,
synonyms (including contextual ones), antonyms (including contextual ones),
paronyms, stylistically colored vocabulary (words characteristic of certain styles of
speech: colloquial and colloquial vocabulary, newspaper and journalistic
vocabulary, clericalisms, terms, words that have a connotation - an additional
emotional, expressive meaning: approval, disapproval, affection, joke, irony,
familiarity, condemnation, contempt, etc.), phraseological units, vocabulary of
limited use (dialectisms, colloquial words, jargon, professionalisms, archaisms,
historicisms, neologisms, foreign words, etc.), as well as tropes (words and turns of
speech used in a figurative sense): epithet, comparison, allegory, paraphrase
(periphrase), euphemism, metaphor (expanded metaphor), metonymy ,
synecdoche, litote, hyperbole, personification, irony, etc.
Word-building means of expressiveness include expressive affixes, wordbuilding archaisms, occasionalisms (individual-author's neologisms), false
etymology, etc.
26
The grammatical means of expressiveness include the synonymy of parts of
speech, the expressive possibilities of various parts of speech (nouns, pronouns,
verbs, etc., various grammatical forms: short or full adjectives, verbs in one of the
forms of mood or tense, participle, gerund, etc.), synonymy of syntactic
constructions, the use of "ordinary" syntactic constructions in the figurativeexpressive function (series of homogeneous members, the special role of one-part,
incomplete sentences, union-free sentences, introductory and plug-in constructions,
direct speech, colloquial or book syntactic constructions, etc.), parceling, etc., as
well as figures of speech (special syntactic constructions that enhance the
expressiveness of speech): anaphora, epiphora, inversion, antithesis, gradation,
oxymoron, parallelism, ellipsis, default, repetition, rhetorical question, rhetorical
exclamation, rhetorical appeal, non-union (asyndeton), multi-union (
polysyndeton), zeugma, chiasm, etc.
Works and fragments of works of Russian classical literature are most often
offered as observation and analysis in the lessons. At the same time, modern
literature can also be the most fertile material, and in grades 5-7 - modern
children's literature, especially poetry (although good-quality works intended for
children are no less interesting for older students and even adults).
The verses offered below, found by us on the pages of books and periodicals
for children (for example, the almanacs "Kukumber", "Kolobok and two giraffes"),
contain surprisingly interesting material for Russian language lessons, since,
firstly, they, these verses , cheerful, perky, lively (and it is easier to work with
boring material); secondly, the humor in these poems is based on a verbal game, on
playing off a variety of linguistic phenomena - from the phonetic level to the style
and culture of speech; and therefore, thirdly, these verses will unobtrusively help to
form in children the habit of thinking about the meaning of words and expressions,
developing linguistic instinct and taste, and comprehending the laws of language.
These texts can be organically included in the lessons of the Russian
language in accordance with different language topics (therefore, for convenience,
we have grouped the material into several thematic blocks, although sometimes
27
more than one linguistic phenomenon can be played in a poem), a general question
for analyzing the proposed material can be formulated as follows way: "What
linguistic means do children's poets use to create a comic effect?".
Phonetics. Graphic arts. Orthoepy
At the phonetic level, onomatopoeia is actively used, sometimes with the
replacement of some sounds. Here is a poem by G. Kruzhkov with the appropriate
title "RRRA!".
Children's poets also replace sounds for the purpose of onomatopoeia to
"buzzing", "lisping" or "lisping" characters. I said goodbye to the past and became
terribly old !!! - said the hero of M. Yasnov's poem "I'm growing up" when his
milk tooth fell out. And one of the poems by A. Usachev is called “Buzzing
Poems”.
But none of the poets was able to “replay” T. Sobakin in onomatopoeia,
which this technique brings to absurdity in the experimental poem “Like a clever
hippopotamus chasing an impudent fly in a cramped room where there were a lot
of glassware”.
Children's poets do not shy away from questions of orthoepy. Here is a
laconic, well-remembered poem by P. Sinyavsky "Beet Suffering".
beet misery
Beets began to cry
Wet to the roots:
- I, guys, are not beets,
I, guys, are not beets,
Guys, I'm hot.
28
Quite often you can find graphical means of text design: highlighting any
words in capital letters, different font sizes, etc. For example, the text of G.
Kruzhkov’s poem “The Theory of Relativity” is located “figuratively”: from the
repeatedly repeated line Rain is coming, coming, going. .. a picture of oblique rain
jets over the house is formed, which is the phrase A house is standing, standing,
standing.
But thanks to similar (diminutive and magnifying) suffixes, V. Leikin
creates completely unexpected heroes in the poem “Meeting” - Giant and
Liliputische (how do you imagine them?). Such a combination of roots and
suffixes, opposite in semantics, can be called a kind of derivational oxymoron.
29
Conclusion on the chapter II
Poetry emotionally enriches a person, educates the spiritual world, influences
the choice of moral guidelines. Poems and songs are a unique opportunity to develop
imagination and abstract thinking, to learn about what children have never seen, and
sometimes about what it is impossible to see at all - except to imagine.
Reading aloud plays an important role in the development of the child, his
intellectual abilities and sense of language. A child from a very tender age is able to
determine intonation, feels the rhythm of speech well. And here a huge role in the
development of the baby is acquired by children's poems. The very first books and
texts that we adults read to children are precisely funny funny poems for kids.
Poetic speech is rhythmically clearly organized, and this is especially
important in poetry for a children's audience. Poetry, in general, is rich in vivid
images, colorful, spectacular and phonetically very rich. A large number of
alliterations enrich it. The child feels this feature, and intuitively reaches out to such
works. In children's poetry, as a rule, there are clear and sonorous, easily guessed
rhymes that are perfectly remembered. This helps memorize them by heart.
Poetic speech is better remembered. Poetic images open and explain to the
child the life of society and nature, the world of human feelings and relationships,
broaden his horizons, enrich emotions, educate the imagination and provide
excellent examples of the Russian literary language. In them, children learn the
conciseness and accuracy of the word, capture the musicality, melodiousness of
poetic speech, notice its rhythmic and metrical organization, the consonance of
poetic lines.
The process of memorizing poems for preschoolers is of great benefit: the
horizons expand, rhyme makes it possible to find inner harmony, memory develops,
and a cultural level is formed. Each verbal work, assimilated by the child's memory,
enriches the vocabulary fund that forms his own speech. The expressiveness of the
performance develops the technique of speech: diction, breathing.
Memorizing poetry is a great exercise for the brain. If during lessons with
logical toys, the left hemisphere of the brain works hard, then in the case of
30
memorizing poetry, not only the right hemisphere, but the entire brain is active.
Scientists have long proved that a child who knows a lot of poetry in early childhood
and in later life demonstrates better than peers - indicators of intellectual
development.
31
CONCLUSION
Russian poetry emotionally enriches a person, educates the spiritual world,
influences the choice of moral guidelines. Russian poems and songs are a unique
opportunity to develop imagination and abstract thinking, to learn about what
children have never seen, and sometimes about what it is impossible to see at all except to imagine.
The first verses for the smallest are descriptive and have an element of play,
fun. The main thing in them is the ability to capture emotions and mood thanks to
the rhythm.
“The sense of rhythm is very important,” notes Victoria Shimanskaya, a
psychologist and author of the Monsikov Academy methodology for developing the
emotional intelligence of children. Rhythm is the basis of all life processes of man
and the world. Palpitation. Breath. Time. Minutes, hours, day, night. Lunar cycles.
By developing a sense of rhythm in a child, we help develop his awareness,
cognition, sense of self and sense of the world.”
Even without understanding the meaning of the verses, the baby is aware of
their mood and emotional coloring depending on the rhythm. Therefore, active and
playful children prefer more rhythmic rhymes, while calm and shy children prefer
more melodic ones.
The process of recognizing rhythms begins at birth, and sometimes even
earlier. Knowing which poems the child listens with pleasure, you can even correct
his behavior and smooth out whims. It is enough to calmly start reading familiar
verses, and the baby will return to the state that he usually has when listening.
Almost every children's poet has several “educator Russian poems”, whose
heroes children want to be equal to or, conversely, do not want to be like at all. For
example, when reading or listening to a Russian poem by Djukovskiy, a child will
be surprised how a large animal can be so well-mannered and neat, even if it is
difficult for him, the baby:
“A horse came to our apartment.
Trained Horse
32
Took off at the door
Coat and galoshes.
She didn't hit the table along the way,
Didn't knock over a chair.
She cautiously approached me.
And stretched out her hoof"
After reading the instructive verses, discuss with the baby whether the hero is
doing well or badly, and why does he do it? Do people like his behavior? How to do
it right? Children empathize with the heroes of poems and, talking about them,
subconsciously talk about themselves, remember the model of behavior.
As for "Bad Advice" by Grigory Oster and similar Russian poems, ironically
praising unseemly acts, then, contrary to the opinion of many parents, they also have
an educational function. It’s just that they need to be read not by kids, but by older
children who are already familiar with the concept of jokes and irony.
After reading, laugh together merrily: after all, even hooligans don’t behave
so ridiculously and stupidly in life, and therefore it’s just funny!
The daughter of the famous children's writer and author of the idea of poetic
education Korney Chukovsky, Lydia, in her memoirs, recalled boat trips, during
which her father read absolutely incomprehensible poems to her and her brothers,
the meaning of which they guessed only approximately. At that time he was reading
Baratynsky, and did not even try to explain to the children the meaning of the poetic
material.
"I am six years old. In two years I will go to the gymnasium and there, over
the years, in geography lessons, I will find out where the city of Livorno is, and in
history lessons - what Elysium is, - Lydia Chukovskaya shares her impressions. “But
now, from this voice, from these verses, I learn something that cannot be learned
from any geography textbook, or from any encyclopedia - the power of waves, the
power of will, the vastness of the world, the temptation of a foreign land and travel.
This knowledge, except from works of art, cannot be extracted from anywhere.
33
Incomprehensible words and meanings in "adult" verses make children listen
more attentively to the speaker, ask questions, engage in dialogue and move from
passive listening to active cognition. In addition, the child unmistakably recognizes
when parents read what they love themselves, so such experiments with “adult”
poems will only work if this love is the same. The same Lydia Chukovskaya writes:
“Perhaps if then, in a boat, he was alone with the sea, without listeners, alone, he
would read the same verses as with us.”
Poems are the most accurate way to convey feelings: the power of emotions
experienced by the poet is acutely felt. Poetry is created by personal experiences and
reflects the best that is in a person.
Russian poetry teaches to love and helps to see the beautiful and unusual in a
simple life, to look with different eyes at what surrounds us.
Many poets dedicated their creations to their homeland, mother, beloved
woman. They help us to be kinder, more determined, more gentle, more courageous.
Russian poetic works are often turned to in adolescence, when the fullness of
feelings cannot be expressed better than in rhymed lines. Usually poetic culture lags
far behind the desire to express themselves: teenagers choose simple forms and
rhythms, familiar themes of love, loneliness and misunderstanding. And the biggest
mistake of parents is to make fun of primitive but emotional teenage poems, to try
to point out shortcomings, to help with the selection of rhymes. But just as harmful
is the desire of parents to flaunt their young talent. After all, if a teenager wants to
be heard, he will publish his poems on the Internet or send them to a publisher. They
should be treated more like therapy - verse therapy, which allows you to more fully
realize new, adult feelings and emotions.
34
THE LIST OF USED LITERATURE
1.
African Traditional Drama and Issues in Theater and Performance
Criticism, John Conteh-Morgan, Comparative Drama, 1994
2.
Arsu, Sebnem (14 February 2006). "The Oldest Line in the World".
The New York Times.
3.
Drum and Whistle Languages: An Analysis of Speech Surrogates,
Theodore Stern, University of Oregon
4.
For one recent summary discussion, see Frederick Ahl, The Odyssey
Re-Formed (1996). Others suggest that poetry did not necessarily predate writing.
See, for example, Jack Goody, The Interface Between the Written and the Oral
(1987).
5.
Francis, Norbert (2017). Bilingual and mutlicultural perspectives on
poetry, music and narrative Archived 2020-08-10 at the Wayback Machine: The
science of art. Lanham MD: Rowman and Littlefield.
6.
James G. Lochtefeld (2002). The Illustrated Encyclopedia of
Hinduism: A-M. The Rosen Publishing Group. p. 399. ISBN 978-0-8239-3179-8.
7.
Lang, D.M. “Boileau and Sumarokov: The Manifesto of Russian
Classicism.” The Modern Language Review, Vol. 43, No. 4, 1948, p. 502
8.
Lang, D.M. “Boileau and Sumarokov: The Manifesto of Russian
Classicism.” The Modern Language Review, Vol. 43, No. 4, 1948, p. 500
9.
Letopisi: Literature of Old Rus'. Biographical and Bibliographical
Dictionary. ed. by Oleg Tvorogov. Moscow: Prosvescheniye ("Enlightenment"),
1996.
10.
Offord, Derek (2005). "Denis Fonvizin and the Concept of Nobility: An
Eighteenth-century Russian Echo of a Western Debate". European History
Quarterly. 35 (1): 10. doi:10.1177/0265691405049200. S2CID 145305528.
11.
Oral Literature in Africa, p467-484, Ruth Finnegan, Open Book
Publishers, 2012
12.
Oral Literature in Africa, Ruth Finnegan, Open Book Publishers, 2012
35
13.
Rivkin-Fish, Michele R.; Trubina, Elena (2010). Dilemmas of
Diversity After the Cold War: Analyses of "Cultural Difference" by U.S. and RussiaBased Scholars. Woodrow Wilson Center.
14.
Rosenholm, Arja; Savkina, Irina (2012). "'How Women Should Write':
Russian Women's Writing in the Nineteenth Century". Women in NineteenthCentury Russia (1 ed.). Open Book Publishers. pp. 162–163. ISBN 978-1-90692466-9. JSTOR j.ctt5vjszk.12. Retrieved 11 October 2022.
15.
Terras, pp. 221–223
16.
UCSC Daniel Seldon Professor of AfroAsiatic studies
17.
Beissinger, M.H. (2012). "Oral poetry". Princeton: The Princeton
encyclopedia of poetry and poetics, pages 978–81.
18.
Brunson, M. (2016). Russian Realisms: Literature and Painting, 1840–
1890 (NIU Series in Slavic, East European, and Eurasian Studies). DeKalb:
Northern Illinois University Press.
19.
Gorlin, Mikhail (November 1946). "The interrelation of painting and
literature in Russia". The Slavonic and East European Review. 25 (64).
20.
Grigoryan, B. (2018). Noble Subjects: The Russian Novel and the
Gentry, 1762–1861 (NIU Series in Slavic, East European, and Eurasian Studies).
DeKalb: Northern Illinois University Press.
21.
Terras, Victor (1985). Handbook of Russian Literature. New Haven,
CT: Yale University Press ISBN 0300048688
22.
The Moscow Times The most reading country in the world? Archived
2013-05-10 at the Wayback Machine
36
INTERNET SOURCES
1.
https://articlekz.com/
2.
https://cyberleninka.ru/
3.
https://moluch.ru/
4.
https://wikipedia.com/
5.
https://www.e3s-conferences.org/
6.
https://www.referat911.ru/
37