Korney Chukovsky. Commandments for children's poets (from 'From Two to Five') ()

K.I. Chukovsky, in his book “From 2 to 5,” very precisely formulated the commandments that aspiring children’s poets must observe.
Here they are (in a very brief summary):

1. Poems must be graphic, since children have imaginative thinking. You need to think in pictures so that the child can see what is happening.
“If, after writing a whole page of poetry, you notice that it only needs one single drawing, cross out this page as clearly unusable.”

2. The fastest change of images. Cinematic - images should replace each other as quickly as frames on a film reel.

3. Verbal painting should be lyrical.
All poetry should be imbued with a variety of feelings and moods: from sadness and despondency to excitement and joy.
It should be melodious and light, so that you can sing and dance to it.
“It is not enough for a child to see this or that episode depicted in poetry; he needs to have a song and a dance in these poems.”

4. Mobility of emotion and mobility of rhythm.
Depending on the mood that permeates the passage, the meter should also change: from trochee to dactyl, from two-foot verses to hexameter.

5. Increased musicality of poetic speech.
Poems should be fluid and smooth. Avoid too many consonants in one line.
“It’s painful to read that fierce line that one poetess wrote in Moscow:
Oh, more often with chocolate...
Sh e b s sh! You have to hate children to offer them such language-breaking rubbish. One has only to compare two poems: one, written by a child, “Half an Iron” (“A-ha-ha! Tu-ha-ha! Half an Iron”) and the other, written by an adult, “Oh, more often with chocolate,” to see the colossal superiority of three-year-old poets."

6. Rhymes should be close to each other(paired rhymes, occasionally cross rhymes). In almost all poems written by small children, rhymes are in close proximity. It is much more difficult for a child to perceive those poems whose rhymes are not adjacent.

7. Rhyming words must carry meaning(to be logically shock). Since, thanks to rhyme, these words attract the child’s special attention, we must give them the greatest semantic load.

8. Each line must live its own life and constitute a separate organism.
Each verse must be a complete whole (syntactic and semantic).
Hyphens and periods in the middle of a line are strictly excluded.

9. Do not load up poems with adjectives and epithets, because a small child is truly concerned in literature only with the action, only with the rapid succession of events.

10. Speech is built on verbs.

11. Poetry should be playful.
All children's activities take the form of play. Through play they explore the world. Children play not only with things, but also with words.

12. Poetry for little ones should also be poetry for adults.
In terms of skill, virtuosity, and technical perfection, poetry for children should stand at the same height as poetry for adults. There cannot be a situation in which bad poetry would be good for children.

There is also a thirteenth commandment. It was written later, but Korney Ivanovich would not be himself if he had not written it: a children's poet should be happy. Happy, like those for whom he creates.
And this, in my opinion, is the most important commandment. Children are by nature happy and optimistic, and a person who is unhappy, gloomy and angry cannot write well for them. Just feeling happy man, you can do miracles. And not just on paper.

If any of you decides to someday become a children's poet, do not shy away from these commandments.
Poems for children need to be written in some special way - differently than other poems are written. And they need to be measured with a special yardstick. Not every talented poet knows how to write for children.
And remember - only a happy poet can return to the world of childhood again and, already being there, in this colorful, completely different world, reach the child’s soul.

Themis | 12/31/2012

We learned that for years Chukovsky conducted observations on the peculiarities of children’s perception of words - prosaic and poetic words. He recorded the rhythmic muttering of the kids, which sometimes resulted - sometimes to the surprise of the creator himself - into a meaningful verse, and sometimes remained a cheerful muttering. Chukovsky studied his notes, compared them with the properties and possibilities of Russian verse, with the works of adult poets and folk art. He counted the verbs in children's speech and watched how the kids danced their poems, he checked how the children heard rhyme, and found that they did not use epithets. It was unexpected that a critic, literary critic, and brilliant journalist suddenly took up such an undignified, by the standards of the time, thing, and not at all characteristic of his profession, as poetry for children.

It turned out that Chukovsky’s work on fairy tales was not only poetic, but also theoretical - with lines of poetry he affirmed the principles he had developed, and with the chapters of the book “From Two to Five” he proved the validity and correctness of these principles.

The book “From Two to Five” was created by a subtle psychologist, a researcher of Russian and English poetry, an expert in folklore, and a writer who turned his passionate interest in children to a close study of their first thoughts, words and emotional movements. In the book, Chukovsky managed to soberly and deeply analyze his observations, without losing even the smallest share of his literary temperament. “From Two to Five” is a serious study of rich material, painstakingly collected over several decades, but a study of a special kind: it was created by an artist of words. This is, in the most precise sense, a work of scientific and artistic literature.

A striking discovery for readers of the first editions of the book was that anyone who undertakes to write poetry for children must subtly understand the peculiarities of children’s perception of the literary word, their ways of mastering the real world; he must have an impeccable command of the technique of verse, understand why seemingly simple works of folk art have lived for centuries, why Pushkin’s fairy tales and Ershov’s “The Little Humpbacked Horse” were not written for children, children took them into their world, and many poems written especially for them were ignored. In short, creating poetry for children from two to five requires - who would have thought at that time! - versatile and considerable talent, honed skill, and even extensive knowledge.

That's how solid and solid foundation buildings from Chukovsky's fairy tales have been erected, so light that it seems that if you breathe, they will fly away. No, they don't fly away! They have been standing for half a century and have not become loose, their coloring has not faded.

The baby is comfortable in them. Everything here is built for him: a rapidly rushing plot, a simple phrase, words that are familiar, and if unfamiliar, then perfectly adapted for the game - Limpopo, Kilimanjaro - a clear rhythm, sonorous rhymes, musical combinations of sounds that are so easy and fun to repeat.

A gorilla came out to them,
The gorilla told them
The gorilla told them,
She was saying...

You can recite these poems or dance to them, you can count them in the game, or you can simply enjoy repeating a tongue twister in which almost all the words rhyme. Observations of the mental skills of children and their literary tastes formed the basis of Chukovsky’s fairy tales, and observations of his own poems, already created and tested in dozens and hundreds of children’s audiences, helped him formulate “commandments” for authors of poems for the little ones

“In those days, I even made up for myself something like mandatory rules, which I tried to strictly follow when writing children's poems. Since these rules were suggested to me by the children themselves, I then considered them immutable and believed that they were universal, that is, obligatory for any author trying to write for children. Neither Marshak, nor Mikhalkov, nor Barto, nor my other comrades in literary service to children had yet started work, and I could not check in their writing practice the correctness of my then guesses. Now I can say, without fear of making a mistake, that although the work of these poets made a number of adjustments to my “commandments,” in the main and fundamentally it confirmed their correctness, since we are talking about poems for preschoolers of primary and middle age.”

Learn from the people, learn from children - this is Chukovsky’s first “commandment” to aspiring poets and, of course, to himself. How Chukovsky understands this teaching is shown by his fairy tales. He took from folk art what he found in the work of the children themselves, first of all, play with words and play with concepts.

In the games with words and sounds that Chukovsky starts with the kids, he uses the method of folk comic poems and at the same time the experience of the sound organization of verse, especially richly developed by Russian poets of the early 20th century.

We live in Zanzibar,
In Kalahara and Sahara,
On Mount Fernando Po,
Where does Hippo-popo walk?
Along the wide Limpopo.

Of course, Chukovsky is not giving a geography lesson to kids. The words here are no more significant than in “abstruse” children’s rhymes, like “eneke-benecke-sikilisa”. This is a game similar to those played by children without the participation of adults, unconsciously trying to exercise and develop their speech apparatus by repeating various combinations of sounds - rhythmic repetition, without this the game will not work. But Chukovsky’s play is often enriched with sounds: in the context of “Aibolit”, from which the quotation is given, the intensification of sonorous words, devoid of direct semantic meaning for children, has both an emotional overtones and a certain internal meaning - it seems to anticipate the unusualness and complexity of Aibolit’s upcoming journey . So another playful tension, words already more familiar to the child, conveys the urgency of calling Doctor Aibolit to Africa:

Yes Yes Yes! They have a sore throat
Scarlet fever, cholera,
Diphtheria, appendicitis,
Malaria and bronchitis!
Come quickly
Good Doctor Aibolit!

Chukovsky does not always play such games with whole stanzas of sonorous words connected by internal rhymes. Every now and then, lines of onomatopoeia, interjections, or simply musical sound combinations, rhythmically clear, necessarily repeated two or three times in a row, invade the text of fairy tales. Sometimes they seem to accentuate the emotion, and sometimes they only give the child material for joyful cries, without which he cannot live: “oh-oh-oh, oh-oh-oh!”, “where-where! where-where!”, “ding-la-la! ding-la-la!”, “tara-ra, tara-ra”, “tra-ta-ta and tra-ta-ta”, “chiki-riki-chik-chirik”, “ding-di-lazy, ding -di-laziness, ding-di-laziness”, “kara-baraz, kara-baraz”.

Sound games develop children's speech, provide material either for dancing, or for counting or tongue twisters, and semantic games have an important pedagogical significance, about which Chukovsky speaks a lot and convincingly, defending the right of children's poets to disrupt normal semantic connections and make them the subject of mental play.

When a child is told that a village was driving past a man, he laughs because he knows that in reality it was not like that. The horror that opponents of funny and fantastic poems experienced in the 20s in front of such shapeshifters (Chukovsky’s term, which entered folklore and literary studies) was explained by an elementary logical error: they believed that shapeshifters instill in children a distorted perception of the real world. Meanwhile, it is obvious that a child has nothing to laugh at if he thinks that the village really drove past the peasant.

On the shifters, the baby tests and strengthens his life experience, his idea of real world in the most natural way for his age - with a funny game. “After all, the child - and this is the whole point - is amused by the reverse coordination of things only when the correct coordination has become quite obvious to him.”

Chukovsky is inexhaustible in his inventions in semantic games. Straight shifters are their simplest form. It is most fully used by Chukovsky in the fairy tale “Confusion”, where cats grunt, ducks croak, and sparrows moo like cows. Further - even more. The animals got wild:

Fishes are walking across the field,
Toads fly across the sky
The mice caught the cat
They put me in a mousetrap.

From direct shifters there is a transition to a more complex semantic game: the foxes set the sea on fire, and:

Long, long time crocodile
The blue sea was extinguished
Pies and pancakes,
And dried mushrooms.

Then a butterfly flew in,
She waved her wings,
The sea began to go out -
And it went out.

Actions that are impossible and funny in their absurdity. Actions that make a three- or four-year-old listener proud and enjoy the fact that he solved the problem posed to him by the situation: he understood the humorous, fantastic nature of the poems, the inconsistency of their real relationship with concepts.

The variations of the games of “stupid absurdities” that Chukovsky plays with the kids are endless. Sometimes these are two or three lines that are remembered for a lifetime:

Then there was the concern -
Dive into the swamp for the moon
And nail it to heaven!

The shark got scared
And she drowned out of fear.

Wolves from fright
They ate each other.

And sometimes it’s a whole fairy tale, at least the one that ends with the moon being nailed to the heavens - “The Cockroach.” The kids are very amused that strong, large animals - lions, elephants, crocodiles - were frightened by the cockroach's mustache and “submitted to the mustachioed beast,” living under his authority until the sparrow:

He took and pecked the Cockroach, -
So there is no giant.

The fairy tale both amuses the kid and, again, makes him proud: he wasn’t afraid of the cockroach’s whiskers, which means he’s braver than the biggest animals and, of course, smarter than those gazelles that asked a stupid question on the phone: did all the carousels burn down?

The assertion of the superiority of the listeners of a fairy tale over its heroes is not accidental - it lies in the design of the work. Saying that shapeshifters serve as a “test” for a child’s mental strength, psychologist and teacher Chukovsky concludes:

“Here is the third reason for the joy that these reverse poems invariably evoke in a child: they increase his self-esteem.

And this reason is no small one, because the most important thing for a child is to have a high opinion of himself.”

The more complex the violation of the “coordination of things”, the more fantastic the actions of the heroes of the fairy tale, the greater the joy the child experiences, putting everything in its place in his mind and amusing himself with funny absurdities.

The fiction of many of Chukovsky’s fairy tales is built on semantic shifts. The horror of animals in front of a cockroach, the victory of a mosquito over a spider (“The Tsocking Fly”), the fear of a crocodile easily swallowing a policeman, in front of Vanya Vasilchikov with his toy saber, all sorts of variations of the victory of the weak over the strong, in other words, the moral victory of the brave over cowards - the origins We will find all these motifs in Russian and English folk art. From folklore and from the creativity of children themselves come sound and semantic games, with which Chukovsky’s fairy tales sparkle like a Christmas tree with shiny balls.

Pushkin and Ershov translated motifs, images, and ideas that existed in prosaic folk tales into the language of poetry. Chukovsky focuses on poetic children's folklore, mainly humorous. The difference between Chukovsky’s fairy tales and the classic ones is that at the center of them (except for “Bibigon” and “Aibolit”) is not the image of the hero, but the plot situation.

In most fairy tales, animals or things act, and animals do not have stable characteristics, as in folk tales. The crocodile, for example, in the fairy tale dedicated to him, is at first fierce, then becomes meek, in “Telephone” he is a kind family man, in “Barmaley” he saves children by swallowing an cannibal, and in “The Stolen Sun” he is a villain - he left the world without a daylight. Sveta.

One can imagine that the bear and the crocodile in The Stolen Sun switched roles - the bear swallows the sun, and the crocodile rescues it. What is important for the storyteller here is not who stole the sun, not the characteristics of the thief, but the situation itself, the commotion among the animals, their struggle to return the sun.

Usually in Chukovsky’s fairy tales, some action is performed by one animal and not another, not because it is connected with its habits or the “character” attributed to it in folk art, but for the sake of a comic effect or a memorable sonorous rhyme.

There is, of course, nothing wrong with this - the poet is not at all obliged to follow folklore in the characteristics of animals, especially since Chukovsky often uses animals that are not the same as those familiar to Russians folk tales. The very structure of his fairy tales, emphasizing the sharp plot, and not the personality of the hero (although there is a brave hero-savior in many of his fairy tales), does not require stability, certainty of characteristics.

And Chukovsky’s construction of fairy tales is quite stable and, just like semantic and sound games, is based on numerous observations of what children love and perceive well.

The semantic orientation of fairy tales is also stable. Chukovsky very clearly defined it in the introductory article to the collection of his poems: “In my opinion, the goal of storytellers is to cultivate humanity in a child at any cost - this marvelous ability of a person to be worried about other people’s misfortunes, to rejoice at the joys of another, to experience someone else’s fate, as my. Storytellers are trying to ensure that a child from an early age learns to mentally participate in the lives of imaginary people and animals and in this way breaks out of the boundaries of egocentric interests and feelings. And since, when listening to a fairy tale, it is common for a child to take the side of the kind, courageous, and unjustly offended, whether it be Ivan Tsarevich, or a runaway bunny, or a clattering fly, or just a “piece of wood in a little hole,” our whole task is to to awaken in a receptive child’s soul this precious ability to empathize, sympathize, and rejoice, without which a person is not a person.”

Usually a fairy tale begins with an adventure or conflict that leads to a dramatic situation, although dangerous at times, but told cheerfully enough so as not to frighten the child. Suddenly, deliverance from danger or reconciliation of rebellious things with their owner comes, if this is the conflict (“Fedorino’s grief”, “Moidodyr”), and everything ends in a merry dance. This structure has something in common with the usual operetta structure: exposition, lyrical-dramatic, usually with comic adventures, conflict and a dance conclusion. This coincidence is the result of the similarity of the aesthetic task: both the operetta and Chukovsky’s fairy tales are characterized by lively, fast action - major, brightly emotional, not devoid of some drama, but allowing one to include comic situations and bring everything to a cheerful dance ending.

What “commandments” of Chukovsky determined this construction of his fairy tales?

“... the plot of a poem for small children should be so varied, moving, and changeable that every five or six lines require a new picture...”

“... this verbal liveliness must be at the same time lyrical. A poet-draftsman must be a poet-singer. It is not enough for a child to see this or that episode depicted in poetry: he needs that these poems contain song and dance... It is not for nothing that mainly song and dance poems have survived in the children's folklore of all countries for centuries.”

“It seems to me that all sorts of fairy tales, poems and generally large plot works in verse can reach small children only in the form chains of lyrical songs- each with its own rhythm, with its own emotional coloring.” (Italics are mine. - A.I.)

Much in these “commandments” is confirmed by all the now rich experience of Soviet poetry for little ones. In particular, there is no doubt that “one who writes for children should think in drawings.” Only what has been said about the chain of lyrical songs raises some doubts.

I'm not sure that Chukovsky's fairy tales can be classified as lyric poetry. They are vividly emotional, but you can’t equate emotionality with lyricism. Episodes approaching lyricism are found in fairy tales, but these are only episodes, by no means a chain of lyrical songs. And in “Moidodyr”, for example, with its magnificent dynamics of temperamental narration, energy, clarity and sonority of the verse, not a single lyrical line can be found.

The rhythmic clarity of every tale, every stanza of Chukovsky is excellent, but rarely is it the rhythm of a song. Euphony, an abundance of vowels, which Chukovsky is very concerned about, rightly believing that the exaggeration of consonants makes poetry unsuitable for children, are characteristic of: songs. But short phrases, and adjacent rhymes, and the tread of rhythm, which seems too clear and shocking for a song, but very convenient for chanting, which kids love so much - all this makes Chukovsky’s fairy tales distinctly declamatory. And in this, and not in the songfulness, I think, their originality, their great value.

In fact, it is precisely the fact that the syntactic and rhythmic structure, the nature of the rhyme, vocabulary, sound writing fit perfectly into the child’s memory, persistently demand to be spoken out loud, that led to this miracle: at two and a half years old children speak all 125 lines without hesitation “ Flies-Tsokotukhi”, and at three years old and 170 lines of “Cockroaches”. They pronounce, recite, chant, but do they feel the need to chant them? Probably only to the extent that they are ready, when the hunt comes, to sing any rhythmic phrase. And marching, walking, running, dancing, waving your arms to Chukovsky’s poems is really very convenient - the rapid and cheerful movement of the fairy tale is conducive to this.

The lyrical-song (or, rather, recitative) character is mainly of episodes that express the drama of the situation. They are emphasized because they are at the center of the narrative, coincide with the climax of the plot, and, in addition, are usually rhythmically isolated from the surrounding text. I talk about the recitative nature of these episodes, since they are often close to folk lamentations:

“Dear guests, help!
Kill the villain spider
And I fed you
And I gave you something to drink
Don't leave me
In my last hour!

("Fly Tsokotukha")

The gray sparrow cries:
“Come out, honey, quickly!
We feel sad without the sun -
You can’t see a grain in the field!”

("Stolen Sun")

“Oh, where did you thick-fingered people disappear to?
Who did you throw me, old man, at?”

("Stolen Sun")

Poor, poor animals!
Howling, crying, roaring!

("Cockroach")

"Oh, if I don't get there,
If I get lost on the way,
What will happen to them, to the sick,
With my forest animals?

("Aibolit")

But Chukovsky’s dramatic episodes are not always songlike or recitative. They can be epically solemn, in other words, emphatically declamatory:

And the mountains stand in front of him on the way,
And he begins to crawl through the mountains.
And the mountains are getting higher, and the mountains are getting steeper,
And the mountains go under the very clouds!

("Aibolit")

They can be expressed in an expressive, not at all lyrical, monologue:

"If I stamp my foot,
I'll call my soldiers
There's a crowd in this room
The washbasins will fly in,
And they will bark and howl,
And their feet will knock,
And a headache for you,
To the unwashed, they will give -
Straight to the Moika
Straight to Moika
They'll be immersed in their heads."

(“Moidodyr”)

What is the discovery that gave the poet the basis to say that it was necessary to “find a special lyrical-epic style suitable for storytelling, for skaz and at the same time almost freed from narrative-skaz diction”?

It seems to me that the secret here is in the plot and emotional pressure of the narrative, in the combination of this pressure with the smoothness and euphony of the poems. They flow in a fast and energetic stream, like a mountain stream - often too fast and energetic for a lyrical song. This stream meanders whimsically thanks to the frequent change of emotions, which is always accompanied by a change of rhythm, but it does not meet any thresholds along the way, it never stumbles. “Children’s poems do not allow any internal pauses...”

The energy of narration and rhythm, the continuity of the flow of poetic speech, the euphony of verse, obviously, give birth to a tale, “freed from narrative-tale diction” - a tale that is very convenient for pronouncing or reciting, but not necessarily melodious.

The energy of the rhythm, combined with the rapid movement of the plot, organically leads to a dance finale - not just major, but wildly cheerful:

And the dandy elephant
So he dances dashingly,
What a ruddy moon
Trembling in the sky
And on the poor elephant
She fell head over heels.

("Cockroach")

Bom! boom! boom! boom!
Fly and Mosquito dance.
And behind her is Bedbug, Bedbug
Boots top, top!

("Fly Tsokotukha")

And the broom, and the broom is cheerful -
She danced, played, swept...

(“Fedorino’s grief”)

Bunnies have become
On the lawn
Tumble and jump.

("Stolen Sun")

And they went to laugh
Limpopo!
And dance and play around,
Limpopo!

("Aibolit")

Everyone is rejoicing
And they dance
They kiss dear Vanya, -
And from every yard
A loud “hurray” is heard...

("Crocodile")

The poet seems to be inviting the listeners to immediately start dancing, jumping, running, starting a noisy game, and, of course, in this game there will be some elements of the rhythm of the fairy tale and shouts of the lines just heard. The emotional and rhythmic charge that the fairy tale gave will be discharged in the most important manifestation of the child’s life activity - in play. The rhythms and sound design of a fairy tale transform into the movement and speech of the child. This contributes to the fulfillment of the aesthetic and educational task of the fairy tale: to accustom children to the perception of poetry, to enjoy them, to create a foundation that will help children feel the impact of classical poetry earlier and more fully.

Of course, the direct transition from poetry to the game associated with it is not at all required condition their emotional and rhythmic assimilation, memorization of the text, but such clear evidence of the intelligibility and effectiveness of the poems was often observed by those who had to read Chukovsky’s fairy tales to children.

This effectiveness is the result of many components. After all, there are thirteen “commandments” in which Chukovsky formulated his poetics. And of course, it is necessary to add to them the fourteenth - versatile talent. Now there is no longer any need to prove that creating poems for the little ones requires not only poetic talent, but also talented penetration into the psyche of children, vigilant observation of their spiritual and mental needs.

Is it necessary for a talented poet working on poems for children to follow Chukovsky’s “commandments”? It seems to me beyond doubt that all of them must be kept in mind, many of them are indisputable, and some of them comprehend the creative experience of Chukovsky himself, but are not obligatory for other poets. And of course, we must remember that all sorts of canons in art exist and seem indisputable until they are abolished by an artist who has discovered previously unknown paths.

Chukovsky himself, with his fairy tales, abolished a number of old canons. Was mobility and changeability of rhythm in poetry for the little ones previously considered obligatory? It was rare, just like the change of emotions in the poem. One is connected to the other. “...I tried in every possible way to diversify the texture of the verse,” writes Chukovsky, “in accordance with the emotions that this verse expresses: from trochee I moved to dactyl, from two-foot verses to hexameter.”

Obviously, emotional movement and the associated rhythmic mobility are as necessary for children in poetry as the rapid movement of the plot. Children generally do not perceive monotony well, both in poetry and in drawings. Still, a reservation must be made: emotional and rhythmic mobility are required for large works, such as Chukovsky’s fairy tales. In short poems it is not always necessary. It is only important that the rhythm is absolutely clear, not wrinkled, not blurred.

The rhythmic gait of almost all fairy tales is based on the trochee. According to Chukovsky, this is the rhythm of all children's impromptu performances. It predominates in both folk and original poems for little ones. Russian trochee, even without interruption by other meters, can be quite flexible, depending on the use of pyrrhichs, on the syntactic structure, sound composition (the number of consonants in the foot).

Chukovsky's trochee, in addition to epically slow dramatic episodes, is swift and has a dance or marching character. This is also connected with the syntactic structure of his poems: “... each line of children's poems should live its own life and constitute a separate organism. In other words, each verse must be a complete syntactic whole, because in a child the thought pulsates along with the verse... In older children, each sentence can be closed not in one, but in two lines..."

This structure predetermines a fast pace of pronunciation of the line with a distinct pause at the end of it. For example:

Darkness has fallen
Don't go beyond the gate:
Who got on the street -
Got lost and disappeared.

("Stolen Sun")

I want to drink tea
I run to the samovar,
But pot-bellied from me
He ran away as if from fire.

(“Moidodyr”)

As can be seen from these same examples, the most significant word in a verse is rhyme; the whole line seems to run towards the last word. This further increases the rhythmic swiftness of the verse: “... the words that serve as rhymes in children's poems should be the main carriers of the meaning of the entire phrase. They should bear the greatest burden of semantics... Since, thanks to rhyme, these words attract the child’s special attention, we must give them the greatest semantic load.”

It is interesting to compare this “commandment” with Mayakovsky’s poetic principle: “... I always put the most characteristic word at the end of the line... Rhyme connects the lines, so its material must be even stronger than the material that goes into the rest of the lines” (“How to Make Poems”) .

This comparison once again shows that Chukovsky relies in his work not only on folklore, on the creativity of the children themselves, but also on the advanced achievements of Russian poetry.

One more “commandment” needs to be addressed: “... do not clutter your poems with adjectives. Poems that are rich in epithets are poems not for small, but for older children. There are almost never epithets in poems written by children.”

The observation is important. This “commandment” should be kept in mind by everyone who undertakes to write for children. But still, in my opinion, it requires reservations. We can agree with the wording given in the above lines: clutter poems for little ones with adjectives, except in some cases, which will be discussed later, are not necessary, it is impossible - this is confirmed by folklore poems, and the experience of Soviet children's poetry, and observations of the speech of children.

But then we read: “... a child in the first years of his life is so deeply indifferent to the properties and forms of objects that the adjective has long been the most alien category of speech to him... Therefore, I filled “Moidodyr” from top to bottom with verbs, and declared a merciless boycott on adjectives...”

Here the polemical sharpness of the statement leads to exaggeration, and it is not saved from it by the disclaimer that we are talking only about literature for young people preschool age.

First of all, “detailing” of age is necessary. If this is true for two-year-old children (Chukovsky gives statistics on the use of different parts of speech by children from 1 year 3 months to 1 year 11 months), then it is no longer entirely true for three-year-olds and especially four-year-olds.

But younger age consumers of poetry (except for the most primitive ones - “ladushka” or “magpie-crow”), perhaps, should be considered somewhat later than two years.

Then, are two or three year old children really deeply indifferent to the properties and shapes of objects? To all properties? And to the color? And to such properties as “good”, “bad”, “smart”, “sweet”, “fragrant”, “pot-bellied”? By the way, the last two epithets are from “Moidodyr”. There is no need to take “merciless boycott” literally - there are 17 adjectives in “Moidodyr”.

It seems to me beyond doubt that poetic speech without adjectives and epithets will be somewhat artificial, unnecessarily impoverished. “This boy is very nice”, “if a crappy fighter beats a weak boy”, “a bad boy”, “argues with a formidable bird”, “the joyful boy has gone” - all these epithets are completely appropriate, necessary in the poem “What is good and what is bad” by Mayakovsky, just like the “stupid little mouse” or the “shaggy ears and cropped nose” of the poodle by Marshak.

And how many expressive, completely accessible to three-year-old epithets and adjectives Chukovsky himself has! Let us recall at least a few: “bug-eyed crayfish”, “crazy dogs”, “your furry little ones” - in “The Stolen Sun”, “like a black iron leg” (the definition of a poker), and “filthy cockroaches”, “and on a white stool, and on an embroidered napkin" ("Fedorino Mountain"), "scented soap, and a fluffy towel, and tooth powder, and a thick comb" ("Moidodyr") - this is the case in all fairy tales.

This means that the point is to refuse epithets, not to boycott adjectives, but to skillfully select them. Of course, Chukovsky is right when he calls such words as unsteady, white-streaming, and thin-sounding, used by one poetess in poems for little ones, dead for children and boring. But the trouble is not that these are epithets, but that they are poorly chosen.

Two-year-olds almost never use epithets in their speech. It's right. But does this mean that it is not necessary to gradually accustom them to epithets before they themselves begin to use them? After all, we help kids master the entire range of speech sounds, then expand their vocabulary, then build phrases. They cope with these tasks without our direct assistance, but we, within reasonable limits, help them speed up the process of language acquisition.

The pedagogical significance of Chukovsky's fairy tales lies in the fact that they teach children to enjoy poetry and perceive the poetic word at a very early age. Playing with sounds develops children's speech, while meaningful games strengthen children's understanding of the “coordination of things.” Chukovsky's fairy tales as a whole and their individual elements, including clear rhythm and rich rhyme, perform not only an aesthetic, but also an educational function. Why not include an epithet - one of the most important elements of poetic speech - in this excellently conceived and perfectly executed program for developing language skills and poetic hearing? Indeed, for the early development of a taste for adjectives and epithets, as a very important means of understanding the world and its diversity, the properties and forms of things, you can also use a game!

And there is a hint of playing with adjectives in Chukovsky’s poems:

Suddenly it flies from somewhere
Little Mosquito,
And it burns in his hand
Small flashlight.

("Fly Tsokotukha")

The word “small” is used here; it is what organizes the stanza. There is an approach to such a game in the given lines of “Moidodyr” - “scented soap, and a fluffy towel, and tooth powder, and a thick comb.” The adjectives here are also highlighted and emphasized, since their first pair is placed on the strongest point of the lines - rhyme, and in the second pair there is a hint of internal rhyme. And I’m sorry that there are few such games with epithets and adjectives in Chukovsky’s fairy tales.

The poet A. Vvedensky tried to build a stanza based on a game with adjectives:

So hello, Black Sea,
And black, and black,
You're not black at all,
Not stormy, but blue,
And warm and clear,
And kind to us.

Everything here seems to contradict the “commandments.” A poem for little ones is based on a verb, on fast movement, says Chukovsky - there is not a single verb here. The merciless expulsion of epithets - there are only epithets here.

Meanwhile, the goal for which it is necessary to avoid adjectives and intensify verbs - the rapid pace of the verse, its energy - has been achieved. Only this energy and impetuosity are organized not by verbs, but by pressure - game pressure! - adjectives. They may say that these poems are intended for older children. Their lyrical content may not be accepted by younger preschoolers, but the playful play with adjectives is accessible to the child and makes him happy.

We will find this kind of games with adjectives in poems for little ones in other poets. Let's remember:

My
Funny
Voiced
Ball,
You
Where
rushed
Jump?
Yellow,
Red,
Blue,
Can't keep up
Behind you!

(“Ball” by S. Marshak)

The categorical nature of Chukovsky’s judgments is understandable. “Commandments” was created in the 20s, when children's poetry was still at a level completely incomparable with the level of poetry for adults. The “commandments” are constructive, they outlined the conditions for fruitful work on poetry for children, outlined the difficulties that the poet needs to overcome, but they were also polemical, directed against poor-quality children’s poetry and therefore sharpened.

Based on a subtle analysis of children's folklore and children's poems, the “commandments” formed the basis of Chukovsky’s fairy tales. The effectiveness of his works has been tested for decades and with multimillion-dollar circulations. This gives special weight to the “commandments” and seems to confirm their indisputability.

Of course, all “commandments” are valuable, but not every one must be taken literally, as we saw in the example of “boycott by adjectives.” This needs to be reminded because the “commandments” are addressed to beginning poets.

Chukovsky emphasizes that many of the rules he established must little by little be broken, but, it seems to me, not only in connection with the age of the readers, as Chukovsky believes, but also depending on the nature of the work, the characteristics of the poet’s talent.

In fact, many “commandments” are obligatory precisely for the form of poetic communication with children that Chukovsky chose: for large story-based fairy tales of a playful nature. It is undeniable that this is a very necessary form and an excellent form in Chukovsky’s execution. But, of course, it is not the only necessary and possible one. Poems for little ones do not necessarily have to be playful; short works do not necessarily have a variety of rhythm and emotions; we have already talked about songfulness and epithet.

In children's poems, says Chukovsky, each verse is a complete syntactic whole, and never, even in older children, does a sentence go beyond two lines. Chukovsky’s conclusion is that this is how it should be written for little ones. Indeed, children cannot compose rhythmically shaped sentences in three or four lines, and indeed they do not use hyphenation (enjam-bement). Does this mean that they perceive poetry only if the phrase is closed in a couplet and there is no hyphenation in it? Chukovsky gives an example of “twins” from “The Tale of Tsar Saltan.” But won't kids perceive phrases of the same fairy tale that go beyond the couplet?

As the king-father heard,
What did the messenger tell him?
In anger he began to perform miracles
And he wanted to hang the messenger;
………………………………………
Tsar Saltan said goodbye to his wife,
Sitting on a good horse,
She punished herself
Take care of him, loving him.

There are quatrain phrases, and in the second there is a hyphenation (to take care of yourself), but it’s rather the vocabulary that is difficult for a child here - syntactically the phrase is completely clear.

Chukovsky is absolutely right when he talks about the preference of “twos” in poems for children, but still this rule is not necessary. In addition, long phrases, like epithets, can become the content of a poetic game. Let us recall “The House That Jack Built” by Marshak with a gradual lengthening of phrases reaching eleven lines with nine subordinate clauses, and at the same time syntactically very clear.

Learning from works of folk art, listening to the speech and poetry of children, not forgetting that poetry for little ones should also be poetry for adults (Belinsky also demanded this) are mandatory, indisputable “commandments.” The rest are very important. There is probably not a single poet writing for children who, even violating other commandments, focusing on other aspects of folk art than Chukovsky in his fairy tales, would not feel living gratitude to the author of the “commandments” for what is important, instructive - and the only thing! - study.

The optionality of some “commandments” was revealed as a result of the widespread development of our children's poetry, constant searches and discoveries of poetic forms that allow us to expand the range of themes and genres of poetry. L. Kvitko created wonderful lyrical works for children. The soft, subdued tonality and slow pace of his poems often require different visual means than those recommended by Chukovsky. The landscapes of Marshak’s “The Many-Colored Book” completely satisfy Chukovsky’s demands for figurativeness and rapid changes of visions, but Marshak widely uses epithets in these poems. The epithet and slow pace also organize one of Marshak’s best poems for children - “A Quiet Fairy Tale”.

You can give many examples of poems beloved by children in which certain “commandments” are violated. And yet, everyone who writes poetry for preschoolers should study and think through them, because you can refuse any “commandment” only by finding visual arts, justifying and compensating for this refusal.

We must not forget that even now in our already very rich children's poetry the smallest quantitative section is poetry for younger preschoolers. And books of very weak poetry are still often published, inexpressive, static, with unclear rhythm and sluggish rhyme - children listen to them indifferently and, of course, do not remember them.

And if the recitation repertoire of five- to seven-year-olds contains many poems by Marshak, Mayakovsky, Mikhalkov, Kvitko, Barto, and there are also works by classics, then two- to four-year-old children remember little except Chukovsky’s fairy tales. In any case, they do not know any other poems up to two hundred lines by heart.

This is a victory of very great pedagogical and aesthetic significance. Chukovsky achieved the most difficult goal he set for himself - to accustom children to the perception of poems of significant size, a year and a half earlier than was previously possible.

His work not only brought a lot of joy to the children. She opened up rich possibilities for our poetry for kids. By learning from Chukovsky the ability to organize a flow of rhythmic speech well suited for pronouncing aloud, learning euphony, richness of rhyme, and clarity of phrase structure, poets receive a solid basis in working on poetry for the little ones.

On this basis, they can create not only playful, fast-paced fairy tales, which Chukovsky gave to children, not only songs, lyrical and landscape poems - perhaps at a slow pace, but still filled with movement, vividly graphic. They might work on fairy tales or realistic poems that center around a lovable character rather than a funny or dramatic situation.

It is very necessary that poets, relying on the high technique of children's verse developed by our masters of the older generation, boldly introduce into the everyday life of children the motifs of not only comic folklore, but also folk tales, epics, songs, and introduce modern motifs, the appearance of the hero of our time, like this was done, unfortunately in a few works, by Mayakovsky, Marshak, Mikhalkov, Barto. Most of their poems are still addressed to children over five years old.

It is joyful that young poets who came to children's literature for last years, continued the work of Chukovsky, and took on the most difficult and urgently necessary work - poetry for the little ones. Children fell in love with the books of V. Berestov, B. Zakhoder, Y. Korinets, Y. Akim, and, perhaps, their poems promise a new flowering of poetry for preschoolers.

Notes:

However, to some extent it was an improvisation. In an article preceding K. Chukovsky’s collection “Poems,” released in 1961, the author recalls that the beginning of “Crocodile” spoke itself “under the rhythmic rumble of a running train,” when his sick son demanded a fairy tale. But, of course, this sudden burst of inspiration was caused not only by the desire to please the boy and the rhythmic rumble of the train - it was prepared by already accumulated observations and reflections on the poetic needs of children, on their own creativity. Some fairy tales came out of Chukovsky right away, when the author unexpectedly found himself at the mercy of musical rhythms, others were the fruit of “painstaking work.” But even an experienced reader could not say which fairy tales were difficult for the author if Chukovsky himself had not named them in the mentioned article.

K.I. Chukovsky, in his book “From 2 to 5,” very precisely formulated the commandments that aspiring children’s poets must observe.
Here they are (in a very brief summary):

2. The fastest change of images. Cinematic - images should replace each other as quickly as frames on a film reel.

4. Mobility of emotion and mobility of rhythm.
Depending on the mood that permeates the passage, the meter should also change: from trochee to dactyl, from two-foot verses to hexameter.

7. Rhyming words must carry meaning(to be logically shock). Since, thanks to rhyme, these words attract the child’s special attention, we must give them the greatest semantic load.

9. Do not load up poems with adjectives and epithets, because a small child is truly concerned in literature only with the action, only with the rapid succession of events.

10. Speech is built on verbs.

11. Poetry should be playful.
All children's activities take the form of play. Through play they explore the world. Children play not only with things, but also with words.

There is also a thirteenth commandment. It was written later, but Korney Ivanovich would not be himself if he had not written it: a children's poet should be happy. Happy, like those for whom he creates.
And this, in my opinion, is the most important commandment. Children are by nature happy and optimistic, and a person who is unhappy, gloomy and angry cannot write well for them. Only by feeling like a happy person can you work miracles. And not just on paper.

K.I. Chukovsky, in his book “From 2 to 5,” very precisely formulated the commandments that aspiring children’s poets must observe.
Here they are (in a very brief summary):

2. The fastest change of images. Cinematic - images should replace each other as quickly as frames on a film reel.

4. Mobility of emotion and mobility of rhythm.
Depending on the mood that permeates the passage, the meter should also change: from trochee to dactyl, from two-foot verses to hexameter.

7. Rhyming words must carry meaning(to be logically shock). Since, thanks to rhyme, these words attract the child’s special attention, we must give them the greatest semantic load.

9. Do not load up poems with adjectives and epithets, because a small child is truly concerned in literature only with the action, only with the rapid succession of events.

Tales of K.I. Chukovsky;

their embodiment of the “Commandments for Children’s Writers”

I Introduction. 3 II Main part: fairy tales by K.I. Chukovsky; their embodiment of the “Commandments for Children’s Poets” 1bibliographic data; 4 2s Cossacks by K.I. Chukovsky; 4 3commandments for children's writers; 5 4embodiment of the “Commandments for Children’s Poets”" 6 III Conclusion. 14 IV List of references 15

Introduction

Children's reading is one of the the most important stages getting to know the world around you, and choosing literature for your child needs to be very careful and attentive. For such reasons, the study of children's literature will never lose its relevance.

Literature for children and youth is a field of artistic creativity. Includes artistic, scientific-artistic and popular science works written specifically for children and meeting the spiritual and aesthetic needs of the child and the possibilities of his perception.

Among the arts addressed directly to children, literature plays a leading role. It is associated with great opportunities for the development of the emotional sphere of the child’s personality, imaginative thinking, formation in children of the foundations of worldview and moral ideas, expanding their horizons.

Tales of K.I. Chukovsky;

their embodiment of the “Commandments for Children’s Poets”

Bibliographic data

Korney Ivanovich Chukovsky (birth name - Nikolai Emmanuilovich Korneychukov, March 31, 1882, St. Petersburg - October 28, 1969, Moscow) - children's poet, writer, memoirist, critic, linguist, translator and literary critic.

Chukovsky gained greatest fame as a children's poet.In 1962, Oxford University awarded Korney Chukovsky the degree of Doctor of Literature Honoris causa, and in the same year he was awarded the Lenin Prize.

Fairy tales by K.I. Chukovsky

First literary works, with which children get acquainted, along with small folklore genres are the funny fairy tales of K. I. Chukovsky: “Fly-Tsokotukha”, “Cockroach”, “Moidodyr”, “Doctor Aibolit”, “Fedorino’s grief”, “Telephone”, “Confusion” "etc. It is difficult to imagine a child who does not know these fairy tales. For almost nine decades, Chukovsky’s funny fairy tales have been equally attractive to modern children and have become a model for several generations of children’s writers.

The birth of Chukovsky’s fairy-tale world occurred in 1915, when the first stanzas of the poem “Crocodile” were composed. Chukovsky’s poetic fairy tale “Crocodile” marked the beginning of the author’s energetic, concentrated and purposeful work in the field of children’s literature. Fairy tales of the 20-30s are a struggle between good and evil, light and dark.

“The Cluttering Fly”, “The Cockroach” and “The Stolen Sun”. These tales are similar conflict situations. Chukovsky did not spare bright colors and loud music so that the little reader, without harm to himself, could plunge from a festive mood into a gaming nightmare, and then quickly wash away the fear from his soul and be convinced of the happy structure of the world.

A little fairy tale“Moidodyr” (1923) is perhaps the most popular among children.

“Fedorino's Grief” (1926) also begins with surprise at the unprecedented:

“The sieve gallops across the fields, and the trough sweeps the meadows” “Moidodyr” and “Fedorino’s grief” can be considered a duology on the topic of hygiene.

The small fairy tale “Moidodyr” (1923) almost takes precedence in

popularity among kids

“Aibolit” (under the name “Limpopo” the fairy tale was published in 1935), “Aibolit and

Sparrow" (1955), "Barmaley" (1925) - another poetic trilogy. It is accompanied by two parts of the prose fairy tale “Doctor Aibolit”

“Miracle Tree”, “Confusion”, “Telephone” (1926) form their own triad of scenes

zok, united by the motives of fables and confusion. Their sequential arrangement follows the changing attitude towards the sky or confusion.

Commandments for Children's Writers

1) graphic; 2) the fastest change of images; 3) lyricism; 4) increased musicality; 6) rhymes as close to each other as possible; 7) rhymes - mobility and changeability of rhythm; 5) the main carriers of the meaning of the entire phrase; 8) each line lives its own life; 9) do not clutter up poetry with adjectives; 10) the predominant rhythm is trochee; 11) children's poems - playful; 12) poetry for kids and adults; 13) poetry education.

The embodiment of the "Commandments for Children's Poets"

First commandment– children’s poems “must be graphic”, that is, in every stanza, and sometimes in every couplet, there must be material for the artist, because The thinking of younger children is characterized by absolute imagery. Those poems with which the artist has nothing to do are completely unsuitable for these children. The person writing for them must think in drawings.
Poems printed without drawings lose almost half of their effectiveness.

Chukovsky talks about the fact that each stanza, or even couplet, requires an illustration: for “Cockroach,” Chukovsky claims, twenty-eight drawings are required, for “Moidodyr” - twenty-three. The author lists these drawings:

The bears were driving

On a bicycle (first picture),

And behind them is a cat

Back to front (second picture),

And behind him are mosquitoes

On a balloon (third picture), etc.

In the fairy tale poem by K. I. Chukovsky “Aibolit”, graphics and imagery are observed:

But here is the sea in front of him -

It rages and makes noise in the open space...

Second Commandment speaks of the fastest change of images. Chukovsky explains the importance of these commandments by the fact that “the thinking of younger children is characterized by absolute imagery.

"Miracle Tree"

Like our Miron

A crow sits on the nose

The highest change of images.

"Aibolit" We live in Zanzibar,

In the Kalahari and Sahara...

In the third commandment Chukovsky talks about the lyricism of verbal painting. Verbal painting must be lyrical at the same time.
It is not enough for a child to see this or that episode depicted in poetry: he needs these poems to contain a song and a dance. Chukovsky I meant the song and dance beginning of children's poems.

"Fedorino grief":

And the saucers rejoiced:

Ding-la-la! Ding-la-la!

And they dance and laugh:

Ding-la-la! Ding-la-la...

"Christmas tree"

If only we were at the Christmas tree

legs,

She would run

Along the path.

The painting is lyrical; many verbs and prepositions give a feeling of constant movement.

And the fox came to Aibolit...

And the watchdog came to Aibolit...

And the bunny came running...

Fourth:"mobility and changeability of rhythm."

Many verbs and prepositions give the feeling of constant movement.

And the fox came to Aibolit...

And the watchdog came to Aibolit...

And the bunny came running...

Together with his heroes, you also want to do something, act somehow, help in some way.

Young children, as we know, have unstable attention - and when it comes to large works of poetry, it is almost impossible to hold their attention using a single melodic pattern, a single poetic meter.

Mobility and changeability of rhythm.

"Aibolit"

But look, some kind of bird

It rushes closer and closer through the air.

Look, Aibolit is sitting on a bird

And he waves his hat and shouts loudly...

“The Fly-Tsokotukha”, a holiday in honor of the purchase of a samovar turns into a tragedy: the fly fell into the clutches of the villain Spider.

But the villain is not joking,

He twists Mukha’s arms and legs with ropes... These lines are literally stuffed with whistling sounds, a trembling [P], what else

further enhances the tragedy of the episode.

But a moment later, the Fly was freed by the dashing fellow Komar, and again

the motive of joy and fun sounded - the rhythm of carefree happiness:

The musicians came running

The drums are beating...

"Barmaley"

But because of the Nile

The gorilla is coming

Gorilla…

Fifth Commandment: increased musicality of poetic speech. Chukovsky’s fairy tale poems “Moidodyr”, “Barmaley”, “Fly-Tsokotukha” are perceived by children as songs

The musicians came running

Bom Bom Bom beats on the drums...

Musicality of poetic speech.

Here comes the Hippopotamus.

It comes from Zanzibar,

He's going to Kilimanjaro...

The song of the hippopotamus sounds like an anthem for doctors.

Africa is terrible

Yes Yes Yes!

Africa is dangerous

Yes Yes Yes…

Sixth Commandment– rhymes in poems for children should be set

at the closest distance from each other. Children have difficulty understanding non-adjacent rhymes

"Fly Tsokotukha":

Fly, Fly-Tsokotuha,

Gilded belly!

A fly walked across the field,

The fly found the money...

"Aibolit"

The rhymes are in close proximity.

And the shark Karakula

Winked with her right eye

And he laughs, and he laughs...

Seventh Commandment: Rhyming words should be the main carriers of meaning.

“Pattering... Belly... Went... Found... To the market... Samovar...”

Chukovsky’s rhymes are not only adjacent, but also internal:

The candle is in the stove!

Both in the bath and in the bathhouse...

Chukovsky often places internal rhyming words in different lines:

Blanket

Ran away...

And the insects -

Three cups...

And the shark

She dodged...

And here is the aerobatics, when four words rhyme in a row:

Hop, hop, hop, hop!

Behind the bush,

Under the bridge

And keep quiet!

Eighth Commandment: “Each line of children’s poems should live its own life.” In a child, according to Chukovsky, the thought pulsates along with the poems and each verse is an independent phrase; number of lines equals number of sentences

"Moidodyr"

I want to drink tea

I run up to the samovar

Each line lives its own life.

Good Doctor Aibolit!

He is sitting under a tree...

What's happened?

Are your children sick?

 "Yes Yes Yes! They have a sore throat...

Rhymes of words are the main carriers of the meaning of a phrase.

Therefore, most often the poet writes in couplets.

"Telephone"

And then the bunnies called

Can you send me some gloves?

And then the monkeys called:

Please send me books!

Ninth Commandment- “do not clutter up ... poetry with adjectives”: a small child is really worried about only action in literature, only the rapid succession of events. The poems are not cluttered with adjectives. For children, the percentage ratio of verbs to adjectives is one of the best and completely objective criteria for the adaptability of a given rhyme to the psyche of small children.

"Miracle Tree"

Mom will go through the garden

Shoes, boots,

New shoes...

"Aibolit"

Okay, okay, I'll run,

I will help your children.

But where are you more alive?

"Moidodyr"

Blanket

Ran away

The sheet flew away

And a pillow..

"Barmale"

Turned around and smiled...

In the tenth commandment Chukovsky claims that “the predominant rhythm of children’s poems must certainly be trochee.” He justifies this by the fact that children, when creating any poetic impromptu, use precisely this rhythm.

"Aibolit"

And Aibolit stood up, Aibolit ran,

He runs through fields, through forests, through meadows.

And Aibolit repeats only one word:

“Limpopo, Limpopo, Limpopo!

In the fairy tale "Tsokotukha Fly" main character organized a celebration in honor of the purchase of a samovar. This episode of carefree fun is written in trochee tetrameter.

Come, cockroaches,

I’ll treat you to tea!”

The cockroaches came running

All the glasses were drunk,

And the insects -

Three cups each

Eleventh Commandment for children's poets - poems should be playful.

"Cockroach":

But when I saw the barbel,

(Ah ah ah!)

The animals gave chase,

(Ah ah ah!)

In Chukovsky's fairy tales there is

Role-playing games: on the train (“Cockroach”), telephone (“Telephone”), hospital (“Doctor Aibolit”):

And pats them on the tummies,

And Aibolit runs to the hippos,

And everyone in order

Gives me chocolate

And sets and sets thermometers for them!

Verbal and didactic games - imitation of animal voices

“Telephone” But it’s only “mu” and “mu”

“Pigs” Oink-oink-oink-oink!

Games with words and sounds.

We live in Zanzibar,

In the Kalahari and Sahara,…

Twelfth Commandment requires High Quality children's poems.

Poetry for children - poetry for adults.

"Aibolit"

Ten nights Aibolit

Doesn't eat, doesn't drink and doesn't sleep,

Ten nights in a row...

Thirteenth Commandment sounds like this: authors of works for children “should not so much adapt to the child as adapt him to himself, to his “adult” feelings and thoughts”

And to do this, break many of the commandments in order to, by gradually complicating the poetic form, bring the child close to the perception of great poets. This will be true verse education. The zone of proximal development must be taken into account. Frequent repetitions add greater emotionality to the tale.

Conclusion

Poems for children need to be written in some special way - differently than other poems are written. And they need to be measured with a special yardstick. Not every talented poet knows how to write for children. But we can say with confidence that Korney Ivanovich Chukovsky is one of those few poets who managed to capture the hearts of children forever. Korney Chukovsky developed “commandments” not only for other poets, but he himself wrote, guided by them. Perhaps it is precisely thanks to the commandments for young poets Chukovsky's poems turned out to be so popular and beloved.

But these are not an indisputable dogma, as their author himself warned about. Having studied and mastered them, children's poet you should start breaking them one by one.

The state of happiness is the most important commandment for children's writers.

The goal of the storyteller is to cultivate humanity.

List of used literature

1. Arzamastseva I.N. Children's literature. [Text]: textbook / I. N. Arzamastseva. Moscow 2005, p. 329. 2.Berman D. A Bbibliographic index,K.I. Chukovsky. [Text]: index, / Comp. D. A. Berman. M.: Russian Bibliographic Society “Oriental Literature” RAS, 1999.

.[Electronic resource]: Children's Literature of the New Century, 2012 Certificate of publication No. 112071906525https :// www / google . com/

4 . “Commandments for children’s poets.” [Electronic resource]: creative workshop for children’s room/Commandments for children’s poets//http://. www poezia.ru/childmast php 5. Hut on the Seventh Heaven. [Electronic resource]: Hut on the Seventh Heaven 2012 Certificate of publication No. 112041906511// http://www.stihi.ru/ 6.Zubareva E.E., Sigov V.K., D38 Skripkina V.A. and others. Children's literature. [Text]: textbook / E.E. Zubareva, V.K. Sigov, V.A. D38 Skripnik and others. Edited by E.E. Zubareva. - M.: Higher school. 2004. - p. 551 6. Kuriy S. One of the Roots of Children's Poetry. [Text]: About Chukovsky’s fairy tales / S. Kuriy, “Time z” No. 1/2012 7. "[Electronic resource]: site about K.I. and L.K. Chukovskikh// https://www.google.com/webhp 8. Chukovsky K., Kaverin V.. Chukovsky K.I. Diary. [Text]: diary, K. Chukovsky, V. Kaverin. 1901-1969 T 2 9. Chukovsky K., I. From two to five. [Text]: stories / K.I. Chukovsky; K. Vasela, 1988.-365 p.