Maxim Gorky children's stories. Works of Gorky: complete list

Maksim Gorky

© Karpov A. S., introductory article, comments, 2003

© Durasov L.P., engravings, 2003

© Series design, composition. Publishing house "Children's Literature", 2003

The story “Makar Chudra” appeared in the Tiflis newspaper “Caucasus” on September 12, 1892. The name of its author, M. Gorky, has not previously been encountered by the reader. And no wonder: it appeared new writer, which very soon made the whole reading Russia talk about itself. And not only Russia.

The pseudonym chosen by the aspiring writer was not at all accidental. He will later tell about how he lived the years preceding the appearance of his first work in his wonderful autobiographical trilogy“Childhood”, “In People”, “My Universities”. Fate was unusually unkind to its hero: early orphanhood, life in the house of a grandfather with a stern disposition who soon pushed his grandson “into the people,” unbearably hard work that allowed him to live only from hand to mouth, constant wanderings around Rus' in search of his daily bread, but also the impact not immediately a conscious desire to see the world, to meet new people. And here’s what’s amazing: when talking about the “leaden abominations” of life, the writer is especially attentive to the bright and joyful things he encountered.

About himself, who was taking his first steps in life, he will say this: “There were two people living in me: one, having learned too much abomination and dirt, became somewhat timid from this and, depressed by the knowledge of everyday terrible things, began to treat life, people with distrust, suspicion, with impotent pity for everyone, and also for himself.<…>The other, baptized by the holy spirit of honest and wise books... defended himself tensely, gritting his teeth, clenching his fists, always ready for any argument and battle.” It is noteworthy that the young hero of the trilogy turns to books - in them he finds support for the force of resistance that grows in him. And also - in cordial, kind, interesting people, with whom fate so often brought him together. And how bitter it was that life often treated them too cruelly.

The story “Makar Chudra” was introduced into literature by a writer who had something to tell people. And it is surprising that he, whom life was truly mercilessly tormented, began on such a high romantic note - a love story that turns out to be disastrous for the lovers. This story unfolds - or better yet, a legend - against an almost fabulously beautiful backdrop: the expanse of the steppe, the sound of a sea wave, the music floating across the steppe - it made “the blood ignite in the veins...”. Beautiful people live here strong people who value freedom above all else, despising those who live huddled together in stuffy cities.

At the center of Gorky’s story is the old shepherd Makar Chudra, who convinces his interlocutor that the best fate for a person is to be a vagabond on earth: “Go and see, you’ve seen enough, lie down and die - that’s all!” It is impossible to agree with this, but it is also difficult to object to someone who sees in a person only a slave (“as soon as he is born, a slave all his life, and that’s it!”). It is difficult because, in fact, the life of the people about whom Makar Chudra speaks with such contempt is devoid of meaning, their work is not inspired by a high goal: they are not able to see or feel the beauty of life and nature.

This reveals an essential motive in Gorky’s work - the conviction that life is beautiful is combined with an awareness of the slavish humiliation of a person, most often unaware of it. The old shepherd Makar Chudra is right in his own way, but this is the truth of a man who rejected the life that most people live, and work, and without it, the author of the story is sure, human existence completely loses its meaning. The writer cannot, and does not want to, reconcile these two truths - he prefers poetry to logic. The legend of the beautiful Rudd and the daring Loika Zobar allows you not only to be amazed at the power of passion, unknown to the “huddled” people, but also to feel what a tragedy a person’s absolute inability to submit to anyone can turn into. Even in love! Who will undertake to condemn them? But there is no happiness for them on earth either: proud Radda loves freedom most of all, and this love turns into death for her.

But it was not for nothing that the old soldier Danilo remembered the name of Kossuth, the hero of the Hungarian revolution of 1848, with whom he fought together - a significant episode in the life of one of the representatives of the nomadic gypsy tribe. But Danilo is the father of the proud Radda, who adopted her love of freedom from him.

The author of “Makar Chudra” does not accept slavish humiliation, but he also does not want to follow the advice of the hero of the story: the will that the old gypsy values ​​so highly turns out to be illusory and leads a person to isolation from others. And yet people of this particular breed - free, proud, homeless - find themselves in the spotlight young writer who searches and does not find! - genuine heroes among, so to speak, normal ones, ordinary people. And without heroes, life is tiresomely dreary, like a stagnant swamp. And he carefully peers at those who “break out” of ordinary life, loses their internal balance: in them, in their appearance and behavior, a general unwellness is clearly felt, faults and cracks, which are increasingly revealed in reality itself.

Having walked hundreds of kilometers across Rus', Gorky, like perhaps no one else, knew the life of the lower social classes and kept in his memory an innumerable number of episodes, events, and human destinies. He needed to tell the reader about all this. But he did not become a writer of everyday life, meticulously reproducing details, details of life. And when he took on this, from his pen came, for example, “Fair in Goltva,” striking with the dazzling brightness of the colors, the amazingly rich expressiveness of the verbal drawing, and the ability to reproduce a truly playful atmosphere that cheerfully reigns at this marketplace. They don’t just buy and sell here - here each character has his own role, which he plays with visible pleasure, abundantly peppering his speech not with swearing, but with gentle humor, generously decorating the speech. The mixture of Russian and Ukrainian dialects does not interfere either with those who are furiously bargaining at the fair, or with the reader.

A motley, colorful stream flows, each of the characters: a sharp-bearded Yaroslavl with his simple haberdashery goods, a gypsy deftly selling a toothless horse to a confused naive villager, lively “women” selling “some kind of pink drink, cherries and ram” - appearing for a moment on the pages of the story, disappear, leaving a feeling of joyful action that is boiling and raging on the high bank of Pela. And around “the farm, framed by poplars and willows, everywhere you look... the fertile land of Ukraine is densely sown with people!”

But Gorky did not want to limit himself to such painting with words. The writer believed in the high destiny of man and it was for this reason that he took up his pen. It is clear why this desire so often led him to the fact that the writer often preferred the life that was generated by his imagination to the depiction of life that opens up to the reader’s gaze every day. On the pages of his first books he brought out bright people capable of bold and even heroic actions. This is his Chelkash in the story of the same name - a tramp, “an inveterate drunkard and a clever, brave thief.” One of his “operations” served as the plot basis for the story. But here’s what’s curious: the writer openly admires his hero - his resemblance “to a steppe hawk,” his agility, strength, even his love for the sea, his ability to never get fed up with “the contemplation of this dark latitude, boundless, free and powerful.” The element rages in the soul of a person who is capable of being both cruel and recklessly generous, smiling mockingly and laughing “with a fractional caustic laugh, baring his teeth angrily.”

“You are greedy!.. Not good... However, what?.. Peasant...” says Chelkash to the young peasant guy Gavrila, who went with him on an extremely risky “business” for the sake of money. Memories of the “joys of peasant life, in which he himself had long since become disillusioned,” he also once experienced arise when he meets Gavrila in the soul of “a thief, a reveler, cut off from everything dear to him.” These two characters are sharply contrasted: Gavrila, who is capable of kissing the boots of a successful thief for money, and Chelkash, who knows that he “will never be so greedy, low, and not remembering himself.” The breadth of his soul is revealed with particular force when he gives Gavrila, who almost killed him, almost all the money received for what was stolen during the night “feat”.

Maksim Gorky, also known as Alexey Maksimovich Gorky (born Alexey Maksimovich Peshkov (1868-1936) - one of central figures Russian literature of the 20th century. Studying it creative path helps to better understand the main features of the artistic and spiritual development of our lives. A.M. Gorky is the heir and continuer of the best traditions of Russian classical literature. Gorky's influence on children's literature is associated not only with the theoretical innovation of his articles, but also with the artistic innovation of works in which the world of childhood was revealed. A progressive writer, Gorky breathed new, revolutionary content into the depiction of childhood. He is convinced that the “leaden abominations of life” have not killed kindness and honesty in children; love for people and interest in life; protest against the stupidity and stinginess of the rich.

“Tales of Italy,” written for adults, almost immediately during the period of revolutionary upsurge of the beginning of the 20th century. began to be published for children. “Tales of Italy” sang the joy of work, the equality of people, and affirmed the idea of ​​the unity of workers.

One of best fairy tales cycle - the tale of Pepe. The boy loved nature: “Everything occupies him—flowers flowing in thick streams through the good earth, lizards among lilac stones, birds in the chased foliage of olive trees.” The image of Pepe is given in the perspective of the future - poets and leaders grow up from people like him. And at the same time it embodies character traits ordinary people Italy with their kindness, openness, love for the land.

Your creative principles regarding literature for children preschool age, Gorky embodied it in fairy tales specially intended for children. The writer laid the foundations of a new children's fairy tale. In total, he created six fairy tales: “Morning” (1910), “Sparrow” (1912), “The Case of Yevseyka” (1912), “Samovar” (1913), “About Ivanushka the Fool” (1918), “Yashka” ( 1919). They decided genre features and the main paths for the development of fairy tales of a new type were outlined. Gorky's fairy tales reflect authentic life, realistic details of everyday life, modern problems and ideas.

The fairy tales “Sparrow”, “The Case of Evseyka” and “Samovar” were written by Gorky for children from kindergarten“School of naughty people” in Baku.

Fairy tale "Sparrow" first appeared in the collection of fairy tales “The Blue Book” in 1912. In 1917, it was published as a separate book by the Parus publishing house. Describing the adventures of little Pudik in an entertaining way, the author raises a serious question about the succession of the elder and younger generations. Focusing on the peculiarities of perception of small children, Gorky shows how the curious yellow-throated sparrow Pudik gets acquainted with life. The writer teaches the child to carefully look at his surroundings, to look for the real reasons for certain events. Gorky's tale is close to the folk fairy tale epic about animals. The writer uses in it the technique of humanizing birds and animals, common in folk tales, while preserving their real features: sparrows fly, live in the foliage, and are afraid of cats. Thus, in Gorky, as in the epic about animals, the real is combined with the fantastic.

The language of the fairy tale is precise and poetic. Onomatopoeia comically reproduces the chirping of sparrows and at the same time serves as a means of depicting the character of the perky dreamer-sparrow:

“Child, child,” the mother worried, “look, you’ll get crazy!”

“With what, with what?” asked Pudik.”

There is no direct moral in the fairy tale; all the movements of the plot and the development of images help the child understand Pudik’s delusions and appreciate the courage and dedication of the sparrow mother. Specifically, the confusion of the sparrow, which almost fell into the paws of the cat, is visibly shown. Pudik gains wisdom and experience, becoming an active participant in life.

“You can’t learn everything at once” - this confession by Pudik proves that he understood the main thing: you should trust the experience of adults, do not judge rashly, and do not consider yourself a know-it-all.

Fairy tale "The Case of Evseyka" was first published in 1912 in the newspaper Den. In 1919, it appeared with some changes in the magazine " Northern lights" It contains extensive educational material, presented poetically, in an entertaining and accessible form for children. Gorky sees nature through the eyes of the boy Evseika. This gives the writer the opportunity to introduce into the fairy tale comparisons that children can understand: sea anemones look like cherries scattered on stones; Evseyka saw a sea cucumber that “looked like a poorly drawn piglet,” a lobster moved “with its eyes on strings,” and sepia looked like a “wet handkerchief.” When Evseyka wanted to whistle, it turned out that this could not be done: “water gets into his mouth like a cork.”

Image " little boy" And " good man Evseyki" reveals itself in many ways. The writer shows both Evseika’s behavior and his thoughts. Evseyka is resourceful and decisive. Finding yourself in an unusual and dangerous situation among predatory inhabitants underwater kingdom, he is looking for an opportunity to return to earth as soon as possible. Gorky draws the reader's attention to the thoughtfulness of every action of Evseika.

He thought the cancer was "serious"; “I realized that I needed to change the conversation”; in response to tricky question, does his father eat fish, said: “No, he doesn’t eat fish, he’s very bony...”

One episode from Evseika’s life was taken, but one in which his best qualities were revealed.

Compositionally, Gorky uses a technique long known in children's literature: an unusual adventure with Yevseyka takes place in a dream. But the line between dreams and reality is nowhere drawn in a straight line. This updates and refreshes the old fairytale technique.

“The Case of Evseyka” is a wonderful example literary fairy tale a special type - scientific and educational.

Fairy tale "Samovar" was first published in 1918 in the collection “Yelka”. The cheerful fairy-tale plot of “Samovar” is based on a real event from the writer’s life, which he mentions in the story “In People.” Initially, Gorky called the tale a little differently: “About a samovar that became arrogant.” But, preparing it for publication, he changed the title, saying: “I don’t want there to be a sermon instead of a fairy tale.” "Samovar" is a satirical tale. Satirical features appear in “humanized” objects: a creamer, a sugar bowl, a teapot, a stewpot. Focusing on children's perception, the writer shows how a sugar bowl feels when a fly has climbed into it, what the cups clink, what the samovar boastfully sings:

“Do you notice, teapot, that the moon

Extremely in love with the samovar?”

The tale alternates between prose and poetic text. Poetic lines are easy to remember. They help create visible pictures of what is being told and enhance the satirical meaning of the tale: “This little samovar really loved to show off, he considered himself handsome, he had long wanted the moon to be taken from the sky and made a tray out of it for him.” .

Dmitry Narkisovich Mamin-Sibiryak(1852-1912) was born in the Visimo-Shaitansky workers' village, in the family of a factory priest. From childhood, he observed the life and everyday life of factory and mine workers, listened to their songs, stories, and legends. He saw the lack of rights and poverty of the mining people, their spontaneous indignation - “a silent struggle”, “an undying spirit of protest.” All this left an indelible mark on spiritual development writer.

Mamin-Sibiryak wrote about 140 works for children. They were published in progressive magazines: “Children’s Reading”, “Sunrises”, “Young Russia”, and published as separate books.

Many children's books are inspired by his love for his daughter Alyonushka. However, the decisive role in the awakening to children's literature was played by the writer's observations of tragic fate children in autocratic feudal Russia, the influence of progressive ideas of that time on him, thoughts about the fate of the younger generation. Therefore, Mamin-Sibiryak considered children's literature more important than anything else, because children are the future of humanity, and they contain future opportunities.

Mamin-Sibiryak wrote journalistic and artistic essays for children (“Glorious is the city of Veliky Novgorod”, “Conquest of Siberia”, “On the Chusovaya River”), social stories and stories (“Spit”, “Under the Ground”, “Under the Blast Furnace”, “The Breadwinner”), stories about animals (“Medvedko”, landscape sketches (“Green Mountains”), satiristic, sketch and fairy tales(“The Tale of King Pea”, “Postoyko”, “ Forest fairy tale»)

The writer’s works for children opposed the children’s books of reactionary writers of that time, who hid social contradictions from children modern society, instilled in him a naive faith in God’s providence and philanthropy.

The writer often deliberately built his stories around the unexpected meeting of a child exhausted by overwork and hunger with the masters, showing that this meeting not only does not alleviate, but even aggravates the suffering of the little robot.

Mamin-Sibiryak’s stories about small artisans are anti-populist in nature. The writer debunks the illusion of liberal populists about the saving power of village life.

But he does not hide the terrible situation of children in the city. in “The Stone Well” the reader is confronted with a gallery of downtrodden, embittered guys, dull from overwork. Their outlook is amazingly poor. They have not seen and do not know anything except their yard, the street, they cannot even imagine how grain grows, however, the life of peasant children is no better.

The writer always portrays the child hero in the flow folk life, in the environment of production, family and social life of workers.

The work team is depicted by the author as realistically as little hero, whom we see either surrounded by miners or artisans. The child is always at the center of the story, but the reader will long remember many images of adults: the blast furnace master, prospector Rukobitov, etc.

Mamin-Sibiryak was also a great master of literary fairy tales. His scientific tales (collection “Fireflies”, “Forest Tale”, “ Green War", etc.) essentially open up that wonderful tradition of Russian natural history fairy tales, which became so widespread in the works of twentieth-century writers Prishvin, Bianki, Charushin.

The best collection of works for children is “Alenushka’s Tales”.

The writer showed himself here not only as an excellent expert in child psychology, but also as an intelligent teacher, and in allegorical tales the writer preserves their natural qualities in the form of animals, birds and insects.

The hedgehog in the fairy tale “Smarter than All” not only personifies folk virtues. From the dispute of the inhabitants poultry yard the child also receives a complete understanding of their lifestyle and habits.

Tales of Mamin-Sibiryak - classic sample a funny children's book, rich in imaginative plot. With an amazing understanding of the natural impulses that evoke play emotions in a child, he draws the course of the game, its unique impulsive movement.

Best works Mamin-Sibiryak are known far abroad. Deeply, truthfully and comprehensively depicting life, promoting moral principles, the writer’s children’s books even today worthily fulfill the noble mission of educating the younger generation.

Korolenko Vladimir Galaktionovich - prose writer, publicist. Born into the family of a district judge, who came from an old family of Ukrainian Cossacks.

Korolenko began studying at a Polish boarding school, then at the Zhiomir gymnasium, and graduated from the Rivne real gymnasium.

In 1871, he graduated from high school with a silver medal and entered the St. Petersburg Institute of Technology in the hope of moving to university in a year, but poverty, chronic starvation, and during the first year of his student life he had to dine only five times forced Korolenko to leave his studies.

Since January 1873, he has made his living by coloring atlases, drawings and proofreading. In 1874, around the world of his fellow Rovenians, Korolenko moved to Moscow and entered the Peter the Great Agricultural and Forestry Academy. I am fascinated by the lectures of KA Temiryazov.

In 1876, for filing a collective protest written by students against the actions of the administration in connection with the arrest of one of the students, Korolenko was expelled from the academy for one year.

The restoration of the academy was refused after one year, and in August 1877 Korolenko became a student for the third time, this time at the St. Petersburg Mining Institute. However, I only had to study for eight months; Material insecurity and the need to earn money for the family distracted me from studying. During these years, he later wrote, “even my old dream of becoming a writer faded.”

In 1879, following a denunciation by an agent of the Third Section, Korolenko, who had been exposed by him, was arrested. The next 6 years spent in prisons and in exile became his “walk among the people.”

In August 1881, for refusing to sign a special oath of allegiance to Tsar Alexander III (which the government demanded from some of the political exiles after the murder of Alexander P), Korolenko was exiled to Eastern Siberia. He lived for three years in the freedom of Amge, 275 versts from Yakutia.

Since 1885 he was allowed to return from exile. The next 11 years spent by Korolenko in the provinces were the heyday of his creativity, active social activities, family happiness.

“Man is created for happiness, like a bird is created for flight” - this aphorism was the slogan of Korolenko’s creative and social activities. He devoted his entire life to the struggle for human happiness. Crystal honesty, incorruptible sincerity and truthfulness in everything: in thoughts, deeds, in relation to people - were his life compass.

The writer paid special attention to disadvantaged, oppressed people and sought to instill in them the conviction of the triumph of justice and freedom.

Korolenko treated children with great sensitivity. From a distant exile, he asked friends and relatives to send books to read to their children - fairy tales by Pushkin, poems by Lermontov, “The Little Humpbacked Horse” by Ershov and others.

In his works, Korolenko often depicted children. His story “In bad society", published in the magazine "Russian Thought" in 1885 and then in a revised form under the title "Children of the Dungeon" - in the magazine "Spring" (1886). In this story he spoke about the plight of children - the poor, the hungry, the sick, the living underground in the city cemetery. Acquaintance and friendship with these children is the first serious lesson of the boy Vasya, the son of a local judge. He begins to understand that the soulless laws of the so-called “decent society” contradict the principles of humanity and love.

Korolenko’s story “The Blind Musician,” which was also published in an abridged version for children, is imbued with a deep knowledge of the psychology of the child. The boy Pyotr Popelsky, blind from birth, overcomes his physical illness at the cost of hard work and, it would seem, achieves happiness in life: he becomes famous musician and marries our beloved childhood friend.

However, this is just an illusion of happiness. A blind musician finds true happiness when he truly connects with the suffering, thoughts, and aspirations of the people, when he begins to feel needed and useful to people.

IN children's reading also included chapters about Korolenko’s childhood, their “Stories of My Contemporary”, the stories “Wonderful”, “Soe Makra”, “Ogonki” and many other works. Writer

Korolenko asserts his understanding of happiness. The story “The Blind Musician” is indicative in this regard. He endowed his hero, Pyotr Popelsky, with what he knew well from his own inner experience. This is an innate desire for light, for the fullness of life, overcoming obstacles on the path to light, the hero’s path, like the author’s path, lay through knowledge of the people, immersion in their life; and the main happiness is affirmed in the story as a feeling of the fullness of life through serving others, “reminding the happy of the unhappy”

Korolenko’s attitude to romanticism is revealed in the story “Frost” (1901). Here his character is Pole Ignatovich, brought up on the poetry of romanticism, a romantic by nature, in his view of life and people, falling either into delight and the deification of man, or into contempt for the human race, for the “vile” human nature. One can only mourn the death of people like Ignatovich.

He is a realist, who is invariably attracted by manifestations of romance in life, reflecting on the fate of the romantic, harsh, by no means romantic reality. Korolenko has many heroes (starting with “Wonderful”), whose spiritual intensity, the very burning irresponsibility lifts them above the dull, sleepy reality, serve as a reminder of the “highest beauty human spirit" But it is no less important for Korolenko to notice, under the thick, rough crust of everyday life, a living movement, sometimes one moment of awakening (like the ferryman Tyulin). “Each of us has our own outstanding period in life,” the writer noted in Marusinaya Zaimka, talking about the eternal plowman Timokha. The hunter Stepan, and Tyburtsy, and the “Falconer” have their heroic hour, even a moment, even in the gendarmerme from “Wonderful”, in the headman from “Moroz”, not everything died.

The writer cherishes these imperceptible and instantaneous lights, they are the support of his humanism, the basis of his historical optimism.

“... to discover the meaning of the individual on the basis of the meaning of the mass” - this is how Korolenko formulated the task of literature back in 1887. This requirement, realized in the work of Korolenko himself, closely connects him with the literature of the subsequent era, which reflected the awakening and activity of the masses.

24. Poets of the late 19th and early 20th centuries. NOT COMPLETELY!

Poetry of the late 19th and early 20th centuries is rich in movements and schools. This is the period of modernism (from French: modern - modern). Among the most noticeable silver currents. century allocated. acmeism, futurism, POETRY OF SYMBOLISM. She is characterized by increased ext. to the music of words, an appeal to the mystic. f-fii, k sounding music. form. Many of the Symbolist poets created works for children. Returning to the theme of childhood forces them to return from the other world to Earth.

Balmont saw beauty as the goal of life. He was an impressionable, vulnerable, artistic person. I tried to capture every moment. moment of life, live it. Balmont continued Fet's line in our poetry. The music of speech fascinated Balmont. He was called Pagonini Russian. verse. The magic of sounds was his element. The semantic function was often impaired. The basis of his poems is sweetness. (150 of his poems were set to music by such composers as Rokhmaninov, Myasnikov). In his poetry for children, Balmont rarely resorted to a cumbersome series of epithets and simplifications. When creating poetry, he was much more strict in his choice of means. For my 4-year-old daughter, I wrote a series of children's fairy tales, “The Bright World” (full of gnomes, fairies, monsters and mermaids). Fairy tales are joyful morning songs filled with Scandinavians. and South Slavic folklore. The frivolity of the plots and the absence of serious problems is reflected in the names (fairy outfits, fairy walk). Evil does not exist in this fairy-tale world. The fairy flies away from the thunderstorm on the back of a dragonfly, the wolf serves the fairies and eats grass. In the fairy-tale world of Balmont, the same idyll reigns as in early childhood. Balmont asserted the natural right of children to joy, beauty and immortality. In his poems, words and music give birth poetic image. In the collections of poems for adults “only love”, the poem “goldfish” was included in children’s reading, which personifies the miracle of music on fabulous holiday. Balmont's poems can be offered to children at an early age - they are musical.

A. Blok (1880-21) He wrote many reviews on the production of children's fairy tales on stage. His notebook was scattered with thoughts about education and children's books. He was a regular contributor to the magazines “Tropinka” and “Ogonki”. Created 2 books for children “Round year - poems for children, “Fairy Tales. Poems for children." For him there is a high poetic culture. Blok’s verse “Velobochka”, intended for the senate primer, was very popular. The plot is connected with the tradition of coming on Palm Saturday. These transparent poems convey the harmony and tranquility that reigns in the souls of adults and children on the eve of the holiday. Blok could convey amazing images and the atmosphere of the holiday. In children The reading included poems “Bunny”, “in the meadow”, “teacher”, lullabies. They show his characteristic techniques - the clash of black and white, warm and cold, old age and childhood.

Acmeism. Hood. The discovery of the Acmeists was the understanding of the subtlest half-tones of a person’s mood, expressed through real objects of existence.

Mandelstam. "Bookcase with early childhood“a person’s companion for life.” 4 books out of 10 episodes. det. In 1925 - Primus and 2 trams, 26- Balls, Kitchen. Mandelstam wrote poetry as a joke, he rejoiced at every moment. find.

Futurism. They denied the heritage of previous literary eras. A syllable and a sound could appear in previously unheard of combinations, striving to create their own language. V. Mayakovsk - His poem “The Exhausted Picture of Spring” Leaflets is famous. After the lines of foxes there are dots.

This is word painting. The author divides words into syllables, breaks a line, refuses punctuation, amuses himself with the play of sounds without thinking at all about the meaning or grammar - this is a formalistic experiment on words and verse, devoid of an aesthetic goal.

Sergei Alexandrovich Yesenin born October 3, 1895 (died 1925) in the village of Konstantinov Ryazan region. His father is the peasant Alexander Nikitich Yesenin, his mother is Tatyana Fedorovna. The poet spent his childhood with his mother's parents.

Yesenin began writing poetry early, at the age of nine, but he himself attributes his conscious creativity to the age of 16-17, the period of study in a church teacher’s school. During these years, Yesenin read a lot of Pushkin, Lermontov, Koltsov. A particularly strong feeling remained for Pushkin, a feeling that lasted for the rest of his life.

In the fall of 1912, Sergei Yesenin arrived in Moscow and from the spring of 1913 he worked in the printing house of the I.D. Partnership. Sytin first as an assistant proofreader, and then as a proofreader. In the winter of 1914, he quits work and devotes himself entirely to poetry. Yesenin’s first poems appear in the magazines “Parus”, “Zarya”, “Mirok” and in the newspaper “Nov”: ​​“The scarlet light of dawn is woven on the lake”, “The bird cherry is pouring snow”, “Kaliki”, “Mother’s Prayer”.

His early poems reflected his search for life position and your own creative style. Sometimes he imitates songs common in the bourgeois and peasant environment with their characteristic motifs of love, sometimes happy, sometimes unrequited (“Tanyusha was good”, “Under the wreath of forest daisies”, “It’s a dark night, I can’t sleep”).

Yesenin often and fruitfully turns to the historical past of his Motherland. In such works as “Song of Evpatiy Kolovrat”, “Us”, “Rus”.

The main motive of the early Yesenin was the poetry of Russian nature, reflecting his love for the Motherland. It was during this period that many poems were written that are still known and loved by children. It is noteworthy that Yesenin’s first published poem was “Birch,” which appeared in the children’s crane “Mirok” in 1914. Since then, the poet’s attention to poems for children has been constant. He published children's poems in the magazines Mirok, Protalinka, Good Morning, Sincere Word, and Parus.

Yesenin’s early poetry for children, perhaps more clearly than in “adult” poems of the same period, reflected his love for native land(“Swamps and swamps”, “With Good morning"), to Russian nature ("Birch", "Birch Bird"), to rural life ("Grandma's Tales").

In his early poems, the poet followed the traditions of folk song lyrics. His images are reliable due to the warmth and liveliness of feeling. Lyrical hero sees the picture of the world not with external, but with internal vision, passing what is visible through the heart. Hence the special vocabulary that “humanizes” nature:

Winter sings and echoes,

The shaggy forest lulls

With the ringing of pine trees.

All around with deep melancholy

Sailing to a distant land

Gray clouds.

And there's a snowstorm in the yard

Spreads a silk carpet,

But it's painfully cold.

Sparrows are playful,

Like lonely children,

Huddled by the window.

The little birds are cold,

Hungry, tired,

And they huddle tighter.

And the blizzard roars madly

Knocks on the hanging shutters

And he gets angrier.

And the tender birds are dozing

Under these snowy whirlwinds

At the frozen window.

And they dream of a beautiful

In the smiles of the sun is clear

Beautiful spring.

Let others drink you,

But I have left, I have left

Your hair is glassy smoke

And the eyes are tired in autumn.

O age of autumn! He told me

More precious than youth and summer.

I started to like you twice as much

The poet's imagination.

I never lie with my heart,

I can confidently say

That I say goodbye to hooliganism.

It's time to part with the mischievous

And rebellious courage.

My heart is already drunk,

Blood is a sobering mash.

And he knocked on my window

September with a crimson willow branch,

So that I am ready and meet

His arrival is unpretentious.

Now I put up with a lot

Without coercion, without loss.

Rus' seems different to me,

Others are cemeteries and huts.

Transparently I look around

And I see whether there, here, somewhere,

That you are alone, sister and friend,

Could have been the poet's companion.

What could I do for you alone?

Brought up in constancy,

Sing about the twilight of the roads

And the disappearing hooliganism.

The reading of modern children includes such early poems by Yesenin as “Winter Sings”, “Powder”, “The fields are compressed, the groves are bare...”, “Bird cherry”. The first of them (“Winter sings - it calls...”) was published in 1914 in the magazine “Mirok” under the subtitle “Sparrows”. In its lullaby rhythm one can hear either the voice of the winter forest, or the knock of a blizzard on the shutters, or the howl of a blizzard in the yard. Against the backdrop of cold and snowy winter“Lonely children” - little sparrows - are depicted in contrast. The poet sympathetically emphasizes their helplessness and insecurity:

The little birds are cold, hungry, tired, and huddle closer...

Yesenin also refers to the description of winter in the poem “Porosha”, published in the same year and in the same magazine “Mirok”. The winter there is different, alluring, magical:

Bewitched by the invisible, The forest slumbers under the fairy tale of sleep...

The source of Yesenin’s images is folk speech, poetic at its very core. For example, folk riddle expanded by the poet into a whole picture:

Related information.

Alexey Peshkovborn in Nizhny Novgorod into the family of a carpenter (according to another version, the manager of the Astrakhan office of the shipping company I. S. Kolchin) - Maxim Savvatyevich Peshkov (1839-1871). Mother - Varvara Vasilievna, nee Kashirina. Having been orphaned early, he spent his childhood years in the house of his grandfather Kashirin (see Kashirin's House). From the age of 11 he was forced to go “to the people”; worked as a “boy” in a store, as a pantry cook on a steamship, as an apprentice in an icon-painting workshop, as a baker, etc.

In 1884 he tried to enter Kazan University. I became acquainted with Marxist literature and propaganda work.
In 1888 - arrested for connections with N. E. Fedoseev's circle. He was under constant police surveillance. In October 1888 he became a watchman at the Dobrinka station in Gryaze-Tsaritsynskaya railway. Impressions from his stay in Dobrinka will serve as the basis for the autobiographical story “The Watchman” and the story “Boredom for the Sake.”
In January 1889, at a personal request (a complaint in verse), he was transferred to the Borisoglebsk station, then as a weighmaster to the Krutaya station.
In the spring of 1891, he set out to wander around the country and reached the Caucasus.
In 1892 he first appeared in print with the story “Makar Chudra”. Returning to Nizhny Novgorod, he publishes reviews and feuilletons in Volzhsky Vestnik, Samara Gazeta, Nizhny Novgorod Listok, etc.
1895 - “Chelkash”, “Old Woman Izergil”.
1897 - " Former people", "The Orlov Spouses", "Malva", "Konovalov".
From October 1897 to mid-January 1898, he lived in the village of Kamenka (now the city of Kuvshinovo, Tver Region) in the apartment of his friend Nikolai Zakharovich Vasiliev, who worked at the Kamensk paper factory and led an illegal workers' Marxist circle. Subsequently, the life impressions of this period served the writer as material for the novel “The Life of Klim Samgin.”
1899 - novel “Foma Gordeev”, prose poem “Song of the Falcon”.
1900-1901 - novel “Three”, personal acquaintance with Chekhov, Tolstoy.
1901 - “Song about the Petrel.” Participation in Marxist workers' circles in Nizhny Novgorod, Sormovo, St. Petersburg, wrote a proclamation calling for the fight against autocracy. Arrested and expelled from Nizhny Novgorod.
In 1902 - A. M. Gorky turned to drama. Creates the plays “Bourgeois”, “At the Bottom”.
1904-1905 - writes the plays “Summer Residents”, “Children of the Sun”, “Barbarians”. Meets Lenin. He was arrested for the revolutionary proclamation and in connection with the execution on January 9, but then released under public pressure. Participant in the revolution of 1905-1907. In the fall of 1905 he joined the Russian Social Democratic Labor Party.
1906 - A. M. Gorky travels abroad, creates satirical pamphlets about the “bourgeois” culture of France and the USA (“My Interviews”, “In America”). He writes the play “Enemies” and creates the novel “Mother”. Due to illness (tuberculosis), Gorky settled in Italy on the island of Capri, where he lived for 7 years. Here he writes “Confession” (1908), where his differences with the Bolsheviks were clearly outlined (see “The Capri School”).
1908 - play “The Last”, story “The Life of an Useless Person”.
1909 - stories “The Town of Okurov”, “The Life of Matvey Kozhemyakin”.
1913 - A.M. Gorky edits the Bolshevik newspapers Zvezda and Pravda, the art department of the Bolshevik magazine Prosveshchenie, and published the first collection of proletarian writers. Writes "Tales of Italy".

1900 Yasnaya Polyana
Leo Tolstoy and Maxim Gorky1912-1916 - A. M. Gorky creates a series of stories and essays that made up the collection “Across Rus'”, autobiographical stories “Childhood”, “In People”. The last part of the trilogy, “My Universities,” was written in 1923.
1917-1919 - A. M. Gorky does a lot of social and political work, criticizes the “methods” of the Bolsheviks, condemns their attitude towards the old intelligentsia, saves many of its representatives from Bolshevik repression and famine. In 1917, having disagreed with the Bolsheviks on the issue of the timeliness of the socialist revolution in Russia, he did not undergo re-registration of party members and formally dropped out of it. [source not specified 85 days]
1921 - A. M. Gorky’s departure abroad. In Soviet literature, there was a myth that the reason for his departure was the resumption of his illness and the need, at Lenin’s insistence, for treatment abroad. In fact, A. M. Gorky was forced to leave due to worsening ideological differences with the established government.
From 1924 he lived in Italy, in Sorrento. Published memoirs about Lenin.
1925 - novel “The Artamonov Case”.
1928 - at the invitation of the Soviet government and Stalin personally, he tours the country, during which Gorky is shown the achievements of the USSR, which are reflected in the series of essays “Around the Soviet Union.”
1932 - Gorky returns to Soviet Union. Here he receives Stalin’s order - to prepare the ground for the 1st Congress Soviet writers, and to do this, carry out preparatory work among them. Gorky created many newspapers and magazines: the publishing house “Academia”, the book series “History of factories and factories”, “History civil war", the magazine "Literary Studies", he writes the plays "Yegor Bulychev and others" (1932), "Dostigaev and others" (1933).

Maxim Gorky and Genrikh Yagoda. Not earlier than November 1935, 1934 - Gorky “conducts” the 1st Congress of Soviet Writers, giving the main report at it.
In 1925-1936 he wrote the novel “The Life of Klim Samgin,” which was never finished.
On May 11, 1934, Gorky’s son, Maxim Peshkov, unexpectedly dies. A.M. Gorky died on June 18, 1936 in Moscow, having outlived his son by a little more than two years. After his death, he was cremated and his ashes were placed in an urn in the Kremlin wall on Red Square in Moscow. Before cremation, A. M. Gorky's brain was removed and taken to the Moscow Brain Institute for further study.

[edit] Death
The circumstances of the death of Gorky and his son are considered “suspicious” by many; there were rumors of poisoning, which, however, were not confirmed. At the funeral, among others, Molotov and Stalin carried Gorky’s coffin. It is interesting that among other accusations against Genrikh Yagoda at the so-called Third Moscow Trial of 1938 was the accusation of poisoning Gorky’s son. Some publications blame Stalin for Gorky's death [source not specified 85 days]. An important precedent for the medical side of the accusations in the “Doctors’ Case” was the Third Moscow Trial (1938), where among the defendants were three doctors (Kazakov, Levin and Pletnev), accused of the murders of Gorky and others.