Essay on the topic: "The influence of poetry on moral education." Poetry education

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Introduction Children's poetess I. Tokmakova writes: “A children's book, for all its outward rusticity, is an exceptionally subtle and not superficial thing. Only the brilliant eye of a child, only the wise patience of an adult can reach its heights. Amazing art - children's book! Approaches to the process of education and upbringing of preschool children are very diverse, but the main goal of these programs is to educate a kind, intelligent, creative person who is able to be sensitive to people, to the world around them, that is, to lay the foundations of a real person. The modern national educational ideal is a highly moral, creative, competent citizen of Russia. A child of preschool age is most susceptible to emotional and value, spiritual and moral development, and civic education. At the same time, the shortcomings of development and education during this period of life are difficult to make up for in subsequent years. Experienced and assimilated in childhood is characterized by great psychological stability. Family values, assimilated by a child from the first years of life, are of enduring importance for a person at any age. Relationships in the family are projected onto relationships in society and form the basis of a person's civil behavior. This is due to the fact that the family forms the child's initial social experience, introduces the variety of role behavior, and contributes to the development of habits, moral traits and mental properties. The family is one of the first historical forms of social community of people, it has a certain form of relationship between spouses, between parents and children, between them and other relatives. . The basis of moral education, its first and important step is the formation in the child of such a concept as "respect for elders."
1. Development of interest in poetry 2.1 Forms of interaction with children. One of the forms of interaction with children in this direction is reading fiction. Conversations on read works contribute to clarifying ideas about the norms of behavior in communication with elders, develop the ability to act tactfully, delicately, allow the child to feel the mood of a loved one. Poetry becomes a source of knowledge about relationships between people, about good and bad deeds, about the experience of people, about their aspirations, as well as a life-giving source of feelings for a child. Of great importance here is emotional speech, its sensual coloring, affecting the emotional sphere and activating the mental activity of the child. After reading the work, it is necessary to talk about what was read, ask “problem” questions so that the children can express their understanding of the work. Folk songs, nursery rhymes, fairy tales immerse the child in a bright, cozy and lulling world that has a healing effect on the child's soul. The child himself will not become addicted to poetry. An adult should introduce him to this enormous wealth. On any suitable occasion, it is necessary to accompany your speech with the performance of Russian folk songs and nursery rhymes; dance with children, play folk games in which the action is accompanied by text. Look at book illustrations. To attach to the leisurely perception of the drawing, the “reading” of which with the help of an adult causes the child joy and desire today, tomorrow and later to return to examining a familiar illustration.
Unfortunately, in our age of informatization, interest in reading began to fall. And already at preschool age, children prefer watching TV and video films, computer games to a book. Fiction is a powerful, effective means of mental, moral and aesthetic education of children, it has a huge impact on the development and enrichment of children's speech. The ability to correctly perceive a literary work, to recognize, along with the content, the elements of artistic expression does not come to the child by itself: it must be developed and educated from a very early age. In this regard, it is very important to form in children the ability to actively listen to the work, to listen to artistic speech. Thanks to these skills, the child will form his own bright, imaginative, colorful, grammatically correct speech. The full development of the baby is impossible without literature. Good children's literature teaches the child kindness, love, friendship, develops many important human qualities in an easy and accessible form. In poetic images, fiction opens and explains to the child the life of society and nature, the world of human feelings and relationships. It enriches emotions, educates the imagination. Fiction arouses interest in the personality and inner world of the hero. Having learned to empathize with the heroes of the works, children begin to notice the mood of the people around them. Humane feelings are awakened in children - the ability to show participation, kindness, protest against injustice. This is the basis on which adherence to principles, honesty, and citizenship are brought up. According to Sukhomlinsky V.A., reading books is a path along which a skillful, intelligent, thinking educator finds a way to a child's heart.
In order for reading and storytelling to be educational, it is necessary to follow the rules: so that children see the face of the teacher, and not just listen to the voice. The teacher, reading from a book, must learn to look not only at the text, but also from time to time at the faces of the children, meet their eyes, and watch how they react to reading. The ability to look at children while reading is given to the educator as a result of persistent training, but even the most experienced reader cannot read a work new to him "from sight", without preparation. Therefore, before the lesson, the educator performs an intonation analysis of the work ("announcer's readings") and trains in reading aloud. The teacher mostly reads to kids by heart - nursery rhymes, short poems, stories, fairy tales, and tells - only prose works (tales, novels, stories). For many decades, literary works have been an invariable companion of the socialization of the younger generation. Foreign researcher Ann Terry studied the interests of children in the field of poetry and came to the following conclusions: Children themselves determine which poetic works they like and which they do not. Only their own opinion on this issue should be decisive in the choice of poetic works by teachers and parents. Readers, programs, teaching aids very often do not contain favorite children's poetic works. They are compiled based on the opinion of adults on this issue. Children's interest in poetry is influenced by: the form of the work (children like the so-called "curly verses" - poems, the lines of which are arranged in such a way that the entire text has the outline of some geometric figure or object); certain elements of poetry: rhythm, rhyme, sound repetitions, stylistic figures (comparisons,
antitheses); content (especially children love humorous poems and poems related to their direct experience). Poems that are liked by children of one age may not be liked by children of another age. A poem that is popular with children of one age and level of development may be popular with children of another age. Children do not like those poems that they do not understand: philosophical, contemplative nature. In general, girls like poetry more than boys. In addition, there are some preferences in the choice of poetic works related to the gender of the child. Children of senior preschool and primary school age generally like modern poetry more than traditional classical poetry. This feature persists at school age. The quality of a poetic work may not be the decisive factor in children's choices. Many poems that, according to literary critics, art critics are not "real poetry", however, may appeal to children. 1.2 Methods contributing to the formation of interest in children's poetry preschool age. There are certain methods that contribute to the formation and development of literary taste in preschool age. Expressive reading aloud to attentive listening to the text. When choosing this form of working with a book, it is important to follow certain rules: pronounce words clearly, read not very loudly, but not very quietly, observe pauses. Reading should be emotionally charged in order to keep the child's attention.
The use of illustrative commentary when reading aloud to younger preschoolers small works, for example, poems by A. Barto, B. Zakhoder. The method of work is as follows: the teacher reads a literary text aloud, the children show the objects and characters depicted in the illustration for the book. Illustrating children's literature by older preschoolers. An adult can offer children to draw a memorable hero, a plot they like helps to create figurative representations in a child, affects emotions and perception, helps to interest a child, make him want to listen to a familiar work again. Moreover, reading aloud teaches attention. Literary quizzes. Their organization needs to be thoroughly thought out, it is better to break the children into teams and hold them as a competition. Particular importance is attached to the preliminary stage, which includes reading books, discussions on content, creative work, organizing a book exhibition. Puppet dramatizations help the child listen to the literary text more consciously, imagine the characters more vividly, and more actively follow the development of the action. Older preschoolers can show a play for younger children. In order for a child to want to turn to a book, it is necessary to form the motivation for reading activity. This is facilitated by a change in the goals of turning to books depending on age. The book is not equally important for a child of three years and for a child of 6-7 years. A book for a child of three years is not a necessity, you need to draw the attention of the baby to the book. The reading activity of the baby during this period of development is associated with examination, short listening and the first communication with a book from the hands of an adult. The teacher shows an example of attitude to the book: carefully holds it, carefully turns over, points to objects, looks lovingly at the cover and other parts
books. You should always show the one you are talking about to the children, and then ask the children: show the bear, the fox. So the teacher teaches the first communication with the characters. It’s as if he doesn’t read, but tells the book, communicating closely with the children while reading, looking into their eyes. Children from three to five years old should be offered books in which the plots of literary and folk works will become the plots of children's games: geese, geese, turnip, teremok. The resulting imaginative impressions are fixed in the game. Children perform the movements of heroes, memorize and sing songs, voice roles. It is desirable to play the game with musical accompaniment. Music introduces the atmosphere of literary works. This is how the age regularity is realized, the perception of literature is inseparable from other activities, including games. To develop children's interest in the book, you can introduce the presence of a hero from a literary work into the lesson, who will come to class, introduce children to books, ask questions, respond to statements, arrange games and encourage. This may be a kitten from Marshak's poem "Mustachioed, Striped", Kisonka - Murysonka. It is important that this hero is loved, recognized. Listening is combined with other activities. When reading, you need to convey to the children the beauty of the poetic: in words, melody, rhythm and mood of the verse. Short folklore songs, chants, nursery rhymes, author's quatrains are good material for joint repetitions, memorization. Folk and literary, poetic and prose tales are attention to the plot, the creation of images. Listening alternates with onomatopoeia, movements, impersonations, playing dialogues.
Children, depending on their general development, perceive literature differently: some name the facts and characters, others try to understand what the work is about, raise questions, others show observation, highlight the essential, compare, try to generalize, the fourth express a personal attitude to the work, while seeing not only the features of the content, but also the form of its expression, they empathize, vividly presenting the artistic image, formulate assessments and conclusions. The lesson should be built in such a way as to transfer children from the primary to a higher level. A quality lesson can be called a lesson in which children answer the same question “What is this work about?” respond differently at the beginning and at the end of the lesson. For older preschoolers, a typical exercise when looking at a book is to describe the illustrations in a holistic way. It is built from a general impression - to details, particulars - from them to a new generalization. You should consider the cover, read the information from the introductory sheets, look at it page by page, anticipate the content, sum up the recognition of the book. This is followed by an acquaintance with the text and a conversation on the content, the creative work of children. Conversation becomes the leading activity when working with text, as it contributes to the development of children's interest in a work of art, in the process of reading, in the work of individual authors or a particular genre. It is important because it gives children the opportunity to share their impressions, emotions, and discoveries. After all, during the period of communication with the book, the child becomes a co-author, an accomplice of events, modifies what is happening in the text according to his perception and understanding. And he wants others to know his opinion.
The success of the conversation depends on the accuracy of the wording of questions and the availability of their content to children. The question should stimulate the work of thought, contribute to the search for an answer, and activate children. You can and should teach a preschooler to answer it correctly. The child must get used to listening to the question, understanding its essence and answering in accordance with the meaning of the question, without departing from it, without expanding or narrowing its meaning. Answering the question, he ponders the text, memorizes its content, catches with the help of an adult the features of the form, uses the language of the writer in his speech practice. There are different types of questions for different ages. From one to three years, questions are mainly asked to help the child reproduce the text and follow its logic: who? where? as? These questions are similar in sound and meaning to those questions. Which the baby heard in folk songs and nursery rhymes: - “Kisonka - Murysonka, where have you been? Zainka, where have you been - visited? In such verses, the question is followed by the answer. The dialogical form of folk works contributes to the development of the ability to communicate, hear each other. Then this skill is used and improved in the analysis of literary works. In the fourth year of a child's life, his speech naturally includes the questions "Why?" and why?". The desire to learn about the world around with the help of these questions, the frequency of their use, the activity in an effort to get answers indicates that the child needs to analyze a literary work as another source of knowledge. The time has come for questions of an analytical nature, prompting you to think about what you have read, to compare, to compare. Chief among them is "Why?". Questions should be accessible to children. All words must be clear, precise, justified. The availability of the question implies the clarity of meaning, the specificity of the answer. The better the question is asked, the
more accurate answer. The child should not be asked double questions: where and why? Who and where? , so as not to scatter the attention of the baby, aim at one, but the right and deep answer. Questions should be thought out in advance. The conversation prepares children for the perception of the text, clarifies it, makes it deeper, contributes to the understanding of the text by children, develops their interest in reading, in thinking about what they read, teaches children to speak reasonedly and emotionally about what they read. In the classroom, various types of conversations are used. The preparatory (introductory) conversation prepares children for the perception of the text, sets them up for attentive listening and understanding of the work. The content of the preparatory conversation can be the biography of the writer, the history of the creation of the work, the time reflected in it, someone's reader's impressions. During the conversation, it is necessary to explain those words incomprehensible to children that will affect the depth of perception of what is being read. The introductory conversation should concern only literature. Its content adjusts children to the perception of the author's work as a whole or a separate work - this is its meaning. Introductory conversations are structured in such a way as to arouse sympathy for the creator of the work, arouse interest in the text, and help children understand the main thing in it. A conversation on the perception of a literary text reveals what effect the reading had on children. In this regard, the conversation should not begin immediately after the reading is completed. We need to give the children a minute to return to real life, and only after that ask questions. Known. that a work that is interesting in content, fascinating, well read by an adult, has a strong impression on children. We must give them the opportunity to experience this impression, not to destroy the feelings that arose during the reading. In the process of conversation on the perception of the work, the emotional attitude of children to what they read is clarified:
liked or disliked the text; what in it was especially remembered by young listeners, what caused their negative emotions; what impression did the events described in the work or the actions of the characters make on them. It's not worth asking too many questions. Everything said by the children should be taken into account in further work. A conversation on the content of the work reveals the depth of understanding of the work by children. During the conversation, the teacher tries to influence the feelings of the children, refers to what they have read earlier so that the children can remember and relive those vivid episodes that once stuck in their memory and will contribute to the development of the conversation at the present time. The teacher should gradually lead the children to the intended goal - to clarify the main idea of ​​the work or to solve another problem that was determined by him in advance. Ease of communication, mutual respect, naturalness - this is the value of the conversation. The quality of the conversation depends on which work is chosen for discussion. It should be accessible, interesting to children, it should contain a problem, an ambiguous question, for example: did Vanya do the right thing by eating a plum? (L. Tolstoy "Bone"). Typical questions on the work systematize the perception of content and form. About the topic and problems (objects, phenomena, persons). What is this piece about? Why is it so called? What questions do you have? About the plot (chain of events: plot, development of events, climax, denouement).
Where are the events taking place? When? Where did it start? What happened next? What is the main event? What ended? About images (characters, landscapes, events). What (whom) was presented at the hearing? What heroes do you remember? How were they presented? What did they do (say, think, feel)? Why? About composition. Where are you most worried about? What part did you find the most important? interesting? What to re-read7 About the genre (type of work). What did you listen to: a fairy tale? Story? Poems? How did you guess about it? About the language (special words, direct and figurative meanings of words). Do you understand the meaning of the word...? What made you smile? What words made you sad? What are beautiful words? What are important? About the idea (the attitude of the author and the reader to the depicted). What do you remember about the work? Who liked? (What did you like?) Why? Who didn’t like? (What didn’t you like?) Who are you happy for? Who is sorry? What advice would we give the hero? What advice can we give ourselves? How did you end up reading? These questions cannot be limited, they are heard more often than others in conversations, and therefore are called typical. Children should be involved in the independent formulation of questions on the text, so they learn to compare, analyze, and reflect.
Memorizing poetry contributes to the development of emotionality and expressiveness of speech, memory, and interest in reading. Educators should know which verses to choose for memorization. The first requirement here will be the distinctness and clarity of the meaning and each word in the verse. The content of the poem should be interesting to the child in terms of subject matter, in terms of attitude. It should be real poetry, opening the world to the child, containing unusual images that stop the attention of the child, striking him with beauty, emotional fullness. Before learning a poem by heart with the children, the teacher must read it expressively, let the children feel the beauty of the verse, the accuracy of the rhyme, the melodiousness and lyricism of the melody, the play of sounds. Children quickly remember those verses that are used in their children's lives: these are poetic counting rhymes, teasers, chants, chants and other genres. They are equally interesting for children of all ages. Among the techniques that can be used to instill in children an interest in reading is verbal drawing. It comes down to an oral depiction of what is missing in the work and contributes to the development of the child's imagination and creativity. For example, we read the Russian folk tale "The Fox and the Hare" to children under four years of age. By the age of five, they already know the content of this tale well and do not want to listen to the reading. But if you inspire children that even in a well-known text you can find something new and interesting that was not noticed before. To do this, children can be offered to describe the interior of the bast hut, especially since there is no description of the interior decoration in the fairy tale. Children with great pleasure will tell you about the decoration of the hut
hare. This technique teaches to read the text, remember the details, organically complement his idea of ​​what could be. One of the effective methods can be a "letter from the author" or a literary hero. With the help of a "letter from the author" you can tell the biography of a writer or a poet, and a "letter from a literary hero" will help to acquaint you with the history of the creation of the work, develop interest in reading the text, and tune in to listening. (Letter from Leo Tolstoy about the opening of the first school for peasant children and Filippok's admission there.) Acquaintance of children with the biography of the writer plays an educational role: this is an example of creative service to art. The biography of the writer is necessary for both an adult and a child. The child tunes in to the perception of the text, and the adult has the opportunity to understand it deeper, read it correctly to the baby, and give the necessary emotional coloring. A biography can be told both in a lesson specially dedicated to it, and before reading a work. The biography is reported at the stage of preparation for the perception of the work. In order to set the child up for a long and attentive listening to the text, in order to awaken his emotions, interest in the work, we tell a short but vivid episode from the writer's biography. It may be related to the history of creation, the content of the work, or it may simply be a memory of childhood, the formation of the writer's personality. The story should be bright, accessible, but not simplified, expressive. It is useful to introduce children to the portrait of the writer. The writer's portrait is placed in a book corner, where children look at it for several days, remembering the author's facial features. The teacher, seizing the moment, repeats himself
or asks the child to repeat his first and last name. This must be done unobtrusively. Looking at a portrait or photograph of a writer at different moments of his life, you can draw the attention of children to whether the author is similar to his heroes. you can think with the children about the attitude to this - either. (Photo of Tolstoy on a walk and mowing grass and his perception of nature). Talking about the author, you can use autobiographical works. (“Childhood” by Leo Tolstoy.) or the memories of those who knew him well. When talking about a writer, one should draw a verbal portrait of him (what he looked like, what he liked to dress in, what kind of stop surrounded him), talk about his passions, favorite activities, environment. An exhibition in the book corner should be dedicated to the writer's work. A thematic exhibition can be dedicated to a specific work that is not only read to children, but also illustrated by them. With the help of a teacher, children can make home-made books according to all the rules: with a cover on which the author's name and the title of his work are written, as well as the genre. On the spread are placed drawings to the work and the text, printed or written by hand. On the last page of the cover, you should put the name and surname of the compiler and designer of the book, indicate the city, place of issue and year of publication. The book corner is a necessary element of the developing subject environment. Its presence is mandatory in all age groups, and the content and placement depend on the age and height of the children. It should be placed so that even the smallest child can reach out and take the book he likes without outside help when he wants to. Different books should be displayed in the book corner: both new, beautiful, and read out, but neatly glued. The corner must
to be not ceremonial, but working. Its purpose is to enable the child to communicate with the book. In the book corners of groups with young children there should be books: picture books, screens, toys, books with sound and visual games, theater, gift books with children's folklore, books made of durable or, conversely, soft materials. According to the structure, it can be both books - works, and collections. In all, one pattern should be manifested: there is more visual material than text. Children between the ages of three and five still love picture books. books - toys, 10-20 activity-type books (coloring books, homemade books), books - works and collections with a classical repertoire are added. A library for older preschoolers should include art classics and fiction, scientific and educational books (encyclopedias and reference books for preschool children), periodicals - children's magazines, newspapers, literacy books - artistic alphabets, game and educational books. 1.3 Working with parents Without the help of parents, educators cannot collect the required number of books for the library. Many parents do not understand the role of books and poetry in a child's life, the value of communication and empathy with an adult through a book, the role of the "family reading tradition". You can start your work with parents on instilling interest in the book with a survey of children and parents in order to identify the child's interest in communicating with the book.
After analyzing the results of the questionnaires, a plan of work with parents is drawn up, which can include the following activities: - holding a parent meeting on the topic "The influence of fiction on the development of the child's personality"; consultation "What and how to read to a child"; visiting classes by parents; creative work of parents - “We loved these books in childhood”; creative work of children and parents "Journey through the pages of your favorite books" - making books - homemade; participation of parents in staging a puppet show; participation of parents in literary holidays; literary quizzes with the participation of children and parents; exhibition of methodological literature on introducing children to reading.
Conclusion The purposeful work of educators and parents in the near future will show the result of the work: children will have an interest in books, an inclination to constantly communicate with them, and a desire to get acquainted with new works. Children will strive to share with others their impressions of what they have read, to talk about their experiences, to retell the story they like. Constant communication with the book will actively develop the creative abilities of children. Initiation to poetry, as it were, expands the horizons of vision of the environment, creates new needs, improves taste. The formation of the ability to fully perceive, deeply feel and understand beauty in art, in nature, in people's actions, in everyday life is the most important task of education. One of the driving forces behind a child's development is the power of example. The book consciously and purposefully directs the course of his thoughts, encourages imitation. Kindness and justice, love for people come to children from life and from books, but they come imperceptibly. We simply read books to children, and as a result we improve and ennoble their MINDS and HEARTS.
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Contents 1. Introduction 2. Development of interest in poetry in preschool children 2.1 Forms of interaction with children 2.2 Methods that contribute to the formation of interest in poetry in preschool children. 2.3 Working with parents 3 Conclusion 4 References
GBOU secondary school Petra Dubrava Structural subdivision "Kindergarten "Constellation" Volzhsky municipal district of the Samara region "Development of interest in poetry in preschool children" Completed by: Tsuprik Natalya Nikolaevna Educator SBEI secondary school urban area Petra Dubrava municipal district Volzhsky structural unit "Kindergarten "Constellation" Samara, 2015

Opreva Irina Nikolaevna, teacher of Russian language and literature,

secondary school No. 104 im. E. Yusupova, Republic of Kazakhstan, South Kazakhstan region, Shymkent city, 04/08/2017

Essay

on the topic: "The influence of poetry on moral education."

Poetry, like prose, is perhaps one of the main sources of art, influencing the moral education of the adult and the younger generation.

Poetry is not only beautiful, it is also diverse. This is both the coverage and reflection of global problems in the history of the state (“The Tale of Igor's Campaign”), these are the themes of the Motherland, nature, love and loneliness

(poem by M.Yu. Lermontov "Sail").

I want to focus on one of them.

The artistic heritage of M.Yu. Lermontov is unique. His work is an example of national self-knowledge of Russian spiritual culture.

Self-knowledge is understood as the awareness of one's own strengths and weaknesses, which determine the value of a person (“my genius will fly by”). Lermontov, as an extraordinary personality, has a highly developed consciousness of responsibility - a special state of mind, when both creative activity and direct behavior in society often became the subject of critical introspection.

Very often M. Lermontov is called the most mysterious figure in Russian poetry. The themes of his lyrics are varied: the loneliness of a person in an imperfect world, the rejection of the immoral laws of secular society, the purpose of poetry, the search for harmony with the world.

Modern education faces a complex and responsible task - the education of a multifaceted personality, a personality capable of focusing on spiritually significant norms and values. Literature is the only academic subject of the aesthetic cycle, systematically studied from the first to the eleventh grade.

Therefore, the influence of literature in general, and reading, in particular, on the formation of a student's personality is an indisputable fact. The importance of reading was also emphasized by V.A. Sukhomlinsky: “Reading is a window through which children see and learn about the world and themselves.”

Reading culture is an essential indicator of the spiritual potential of society.

Society is currently experiencing a spiritual and moral crisis.

The spiritual and moral teaching and educational functions of the education system turned out to be reduced to a minimum.

The issue of moral education is so relevant that it is reflected in the Law of the Republic of Kazakhstan "On Education".

The Law of the Republic of Kazakhstan “On Education” sets the task for the school to protect and develop national cultures, traditions and characteristics.

National traditions have a pedagogical potential and can serve as an effective means of spiritual and moral education of the younger generation.

Spirituality is the desire for the sublime, the beautiful.

The purpose of spiritual and moral education is the creation of a system for the formation of spiritual and moral guidelines for life choices, the development of the ability to make the right choice at the beginning of the life path.

Creativity M. Lermontov, his works are an excellent tool that forms the moral ideals of the modern student. It continues to develop students' ideas about beauty, to form their moral ideals.

In the poem "Prayer", the poet gives a definite answer to the question: when a person turns to prayer - "in a difficult moment of life."

The main characteristic of the prayer word is "this is a holy charm."

This phrase also reflects the state of a person who says prayers at the moment when the soul approaches God,

From the soul as a burden rolls down,

Doubt is far...

V. G. Belinsky saw in Lermontov a people's poet, who brought to the fore “moral questions about the fate and rights of the human person” in his work, and considered his talent powerful.

Creativity M.Yu.Lermontov - the basis of morality of the modern generation.

The genius of Lermontov flew through the centuries to remind us of the moral lessons that you learn every time you read the poet's works.

To a person who has touched poetry, in the words of the philosopher Ivan Ilyin, “the heart trembles and the spirit rejoices; and gradually a new feeling is formed, a new confidence that he has touched another world.

The problem of educating love for poetry. Composition of the exam

Yevgeny Alexandrovich Yevtushenko - Soviet and Russian poet. One of the most amazing masters of the artistic word. In his works, the poet touches on a variety of topics, including political ones. “A poet in Russia is more than a poet” - perhaps everyone knows this famous line from his manifesto.

In this text, the author focuses on the problem of spiritual perfection of man. E.A. Yevtushenko invites his readers to think about the problem of poetry, its value and significance in the life of every person. Poetry is more than poetry. This term refers to everything beautiful that inspires and gives us wisdom and life experience.

With the opinion of E.A. Yevtushenko is hard to disagree. Thanks to poetry, we can express, understand and accept many things that haunt us in life. But not everyone who can write poetry is a poet. I agree with the author that it is not enough to have a conscience, intelligence, courage, to love not only your own poems, but also those of others. "There is no poet outside the people, just as there is no son without a father's shadow."

Reflecting on this topic, I would like to recall a quote from Frederico Garcia Lorca, a Spanish poet and playwright: “The poet has one mission: to animate in the literal sense - to give a soul.” Joseph Brodsky dedicated a poem to the memory of the poet, which begins with words about a legend, when, before being shot, Lorca saw the sun rise and said: "But the sun still rises ...", which may have been the beginning of the poem.

The theme of the poet and his work is firmly entrenched in the space of Russian classical literature. It is multifaceted and presented in various aspects. This is the problem of the purpose of creativity, and the problem of the relationship between the poet and the crowd, the poet and the authorities, the problem of immortality and the greatness of the Word.

One way or another, many poets at least once, but touched on this topic in their work. For example, the theme of the poet and poetry is reflected in the work of A.S. Pushkin. The poem "The Prophet" is named so for a reason, because in it Pushkin writes about the poet as a prophet, who is led by the Lord himself, he fulfills the will of the Creator, this is his destiny. From above, the poet was given the power to “burn the hearts of people with a verb,” in other words, to boldly tell people the bitter truth. In the work “The Poet”, Alexander Sergeyevich affirms the idea of ​​the insignificance of the poet’s life in the absence of inspiration (“Among the children of the insignificant world, perhaps he is the most insignificant of all ...”), but as soon as “the divine verb touches the sensitive ear”, the poet rises above the crowd , over black.

In conclusion, I would like to say that no matter how a person is enriched with an “external” biography, as E.A. Yevtushenko in this text, only books can help to better understand the world, your country, other people and yourself, thereby enriching the “internal” biography.

According to the text of E. A. Evtushenko

(1) The main educator of any person is his life experience. (2) But in this concept we must include not only the "external" biography, but also the "internal" biography, inseparable from our assimilation of the experience of mankind through books.
(3) An event in Gorky's life was not only what happened in the Kashirins' dye house, but also every book he read. (4) A person who does not love a book is unhappy, although he does not always think about it. (5) His life can be filled with the most interesting events, but he will be deprived of no less important - empathy with what he read and understanding it.
(6) There are people who say: "I like to read ... but not poetry." (7) This is not true: a person who does not love poetry cannot truly love prose either, education in poetry is the education of a taste for literature in general. (8) The charm of poetry, more than prose, is hidden not only in thought and plot construction, but also in the music of the word itself, in intonation modulations, in metaphors, in the subtlety of epithets. (9) A genuine reading of a literary word (in poetry and prose) does not imply a cursory gleaning of information, but the enjoyment of the word, its absorption by all nerve cells, the ability to feel this word with the skin.
(10) Once I was lucky enough to read the poem "Citizens, listen to me ..." to the composer Stravinsky. (11) Stravinsky listened, it seemed, half aloud, and suddenly on the line “with fingers confusedly wise” he exclaimed, even closing his eyes with pleasure: “What a delicious line!” (12) I was amazed, because not every professional poet could note such a discreet line. (13) I am not sure that there is an innate poetic ear, but I am convinced that such an ear can be cultivated.
(14) And I would like, albeit belatedly and not comprehensively, to express my deep gratitude to all the people in my life who raised me in love with poetry. (15) If I had not become a professional poet, I would still remain a devoted reader of poetry until the end of my days. (16) My father, a geologist, wrote poetry, it seems to me, talented. (17) He loved poetry and conveyed his love for it to me. (18) I read beautifully by heart and, if I didn’t understand something, explained, but not rationally, namely the beauty of reading, emphasizing the rhythmic, figurative power of the lines, and not only Pushkin and Lermontov, but also modern poets, reveling in verse, especially liked by him.
(19) In 1949, I was lucky when I met the journalist and poet Nikolai Tarasov at the editorial office of the Sovetsky Sport newspaper. (20) He not only printed my first poems, but also sat with me for long hours, patiently explaining which line is good, which is bad and why.
(21) I managed to get acquainted with the work of Akhmatova, Tsvetaeva, Mandelstam. (22) However, my expanding “poetic education” did not affect the poems that I created at that time. (23) As a reader, I got ahead of myself, the poet.
(24) The turning point in the life of a poet comes when, brought up on the poetry of others, he already begins to educate readers with his poetry. (25) The “powerful echo”, returning, can, by the force of the return wave, knock the poet off his feet if he is not strong enough, or so shell-shock that he loses his hearing to poetry and to time. (26) But such an echo can also bring up. (27) Thus, the poet will be brought up by the return wave of his own poetry.
(28) I sharply separate readers from admirers. (29) The reader, with all his love for the poet, is kind, but exacting. (ZO) I found such readers both in my professional environment and among people of various professions in different parts of the country. (31) It was they who were always the secret co-authors of my poems.
(32) I still try to educate myself with poetry and now I often repeat the lines of Tyutchev, whom I have fallen in love with in recent years:
We can't predict
As our word will respond, -
And sympathy is given to us,
How do we get grace...
(33) I feel happy because I was not deprived of this sympathy, but sometimes I feel sad because I don’t know if I can fully thank for it.
(34) Beginning poets often write letters to me and ask: “What qualities do you need to have in order to become a real poet?” (35) I never answered this, as I thought, naive question, but now I will try, although this may also be naive.
36) There are perhaps five such qualities.
37 First, you need to have a conscience, but that's not enough to become a poet.
38 Second: you need to have a mind, but this is not enough to become a poet.
39 Third: you need to have courage, but this is not enough to become a poet.
40 Fourth: one must love not only one's own poems, but also those of others, but even this is not enough to become a poet.
41 Fifth: you must write poetry well, but if you do not have all the previous qualities, this is also not enough to become a poet, because
There is no poet outside the people,
There is no son without a father's shadow.
42 Poetry, according to a well-known expression, is the self-consciousness of the people. (43) "In order to understand themselves, the people create their own poets."

(According to E. A. Evtushenko*)

The problem of the power of the poetic word in his text is considered by Viktor Petrovich Astafiev, an outstanding Russian writer.

The author, reflecting on the problem in the first person, asks the question: "why did Yesenin sing and sing so little?" He notes that the poet suffers for all people with the supreme torment inaccessible to them. In addition, the narrator will be inspired by listening to the lines of the great poet's poem coming from the receiver: poetry makes him cry, repent, confess.

The problem of the power of the poetic word can be traced on the example of the work of great Russian poets. A. A. Akhmatova's poem "Courage" is a cry from the poet's soul, an instruction to citizens not to give up and be moral.

The "great Russian word" is what united the Soviet people during such a difficult period as the Great Patriotic War. The poetess notes the importance of Russian speech. By defending Russian speech, we are defending the Motherland. Delving into the lines of the poem, the reader is proud of his country, his native language, he has the strength to go further, realizing the importance of protecting his native land in case of danger.

As a second argument, I would like to cite A.S. Pushkin's poem "The Prophet" as an example. Pushkin wants to convey to the reader that a poet, like a prophet, must "burn the hearts of people with a verb." This is his true calling.

In conclusion, I would like to note: the power of poetry is great, it is easily able to make us feel the "supreme torment" and the "sadness of the poet." I believe that every person should have their favorite poem, which allows you to open your soul and find peace.

The main educator of any person is his life experience. But in this concept we must include not only "external" biography, but also "internal" biography, inseparable from our assimilation of the experience of mankind through books.

The events in Gorky's life were not only what happened in the Kashirins' dye house, but also every book he read. A person who does not love a book is unhappy, although he does not always think about it. His life may be filled with interesting events, but he will be deprived of an equally important event - empathy and comprehension of what he read.

The poet Selvinsky once rightly said: "The reader of verse is an artist." Of course, the reader of prose must also have the artistry of perception. But the charm of poetry, more than prose, is hidden not only in thought and plot construction, but also in the music of the word itself, in intonation modulations, in metaphors, in the subtlety of epithets. Pushkin's line "we look at the pale snow with diligent eyes" will be felt in all its freshness only by a highly qualified reader. Genuine reading of a literary word (in poetry and prose) does not imply a glimpse of information, but the enjoyment of the word, its absorption by all nerve cells, the ability to feel this word with the skin...

Once I had the good fortune to read a poem to the composer Stravinsky. Stravinsky seemed to be listening half aloud, and suddenly, on the line "with his fingers perplexedly wise," he exclaimed, even closing his eyes with pleasure: "What a delicious line!" I was amazed, because not every professional poet could note such a low-key line. I am not sure that there is an innate poetic ear, but I am convinced that such an ear can be educated.

And I would like, however belatedly and not comprehensively, to express my deep gratitude to all the people in my life who raised me in love with poetry. If I had not become a professional poet, I would still remain a devoted reader of poetry until the end of my days.

My father, a geologist, wrote poetry, it seems to me that they are talented:

Shooting back from longing,
I wanted to run somewhere
But the stars are too high
And the pay for the stars is high ...

He loved poetry and passed on his love for it to me. I read perfectly from memory and, if I didn’t understand something, explained it, but not rationally, namely, the beauty of reading, emphasizing the rhythmic, figurative power of the lines, and not only Pushkin and Lermontov, but also modern poets, reveling in the verse that he especially liked :

The stallion under him sparkles with white refined sugar.
(E.Bagritsky)

Spins the wedding with a silver hem,
And in her ears are not earrings - horseshoes.
(P. Vasiliev)

From Makhachkala to Baku
The moons float on their side.
(B. Kornilov)

Eyebrows from under the shako threaten the palaces.
(N. Aseev)

Nails would be made of these people,
Stronger would not be in the world of nails.
(N. Tikhonov)

Teguantepec, Teguantepec, foreign country,
Three thousand rivers, three thousand rivers surround you.
(S.Kirsanov)

Of foreign poets, my father often read Burns and Kipling to me.

During the war years at the Zima station, I was placed in the care of my grandmother, who did not know poetry as well as my father, but she loved Shevchenko and often recalled his poems, reading them in Ukrainian. When I was in taiga villages, I listened to and even wrote down ditties, folk songs, and sometimes I added something. Probably, education in poetry is generally inseparable from education in folklore, and can a person who does not feel the beauty of folk songs be able to feel the beauty of poetry?

My stepfather, an accordionist, turned out to be a person who loves both folk songs and poems by modern poets. From his lips, I first heard Mayakovsky's "Sergey Yesenin". I was especially struck by: "You are rocking a bag of your own bones." I remember I asked: "And who is Yesenin?" - and for the first time I heard Yesenin's poems, which were then almost impossible to get. Yesenin's poems were for me both a folk song and modern poetry.

Returning to Moscow, I greedily pounced on poetry. The pages of poetry collections published at that time seemed to be strewn with the ashes of the conflagrations of the Great Patriotic War. "Son" Antokolsky, "Zoya" Aliger, "Do you remember, Alyosha, the roads of the Smolensk region ..." Simonova, "Woe to you, mothers of the Oder, Elbe and Rhine ..." Surkov, "It was not in vain that we cherished friendship, as infantrymen cherish a meter of bloodied earth, when they take him in battles ... " Gudzenko, "Hospital. All in white. The walls smell of damp chalk ..." Lukonina, "The boy lived on the outskirts of the city of Kolpino ..." Mezhirova, "To become a man, it is not enough for them to be born..." Lvova, "Guys, tell Pole - nightingales sang today..." Dudina; all this entered into me, filled me with the joy of empathy, although I was still a boy. But during the war, even the boys felt they were part of a great fighting nation.

I liked Shefner's book "Suburbs" with its alienated images: "And, slowly turning the emeralds of green eyes, thoughtless as always, the frogs, like little Buddhas, sat on logs by the pond." Tvardovsky seemed to me then too rustic, Pasternak too fat. I hardly read such poets as Tyutchev and Baratynsky - they looked boring in my eyes, far from the life that we all lived during the war.

One day, I read to my father my poems about a Soviet parliamentarian killed by the Nazis in Budapest:

The great city was darkened
The enemy is hiding there.
White by accident
Flag of truce.

Auteuil suddenly said: "There is poetry in this word" unexpected ".

In the forty-seventh, I studied at the poetry studio of the House of Pioneers of the Dzerzhinsky District. Our leader L. Popova was a peculiar person - she not only did not condemn the passion of some students for formal experimentation, but even supported it in every possible way, believing that at a certain age the poet must be ill with formalism. The line of my friend "and now autumn is running away, flickering with yellow spots of leaves" was cited as an example. I wrote then:

Hosts - Kipling's heroes -
A bottle of whiskey meets the day.
And it seems that the blood lay down among the piles
Printed on tea bags.

Once, poets came to visit us - students of the Lenin Institute Vinokurov, Vanshenkin, Soloukhin, Ganabin, Kafanov, still very young, but already past the front-line school. Needless to say, how proud I was to perform with my poems along with real poets.

The second military generation, which they represented, brought a lot of new things to our poetry and defended the lyricism, from which the older poets began to move towards rhetoric. The low-profile lyrical poems "The Boy" by Vanshenkin and "Hamlet" by Vinokurov, written subsequently, made me feel like a bombshell.

"Do you love Bagritsky?" - he asked me after the speech at the House of Pioneers Vinokourov. I immediately began to read to him: "We are rusty leaves on rusty oaks ...". The left eyebrow of the young master went up in surprise. We became friends, despite the then noticeable difference in age and experience.

I am forever grateful to the poet Andrei Dostal. For more than three years, he worked with me almost daily at the literary consultation of the Molodaya Gvardiya publishing house. Andrey Dostal opened for me Leonid Martynov, in whose unique intonation - "Did you spend the night in flower beds?" - I immediately fell in love.

In 1949, I was lucky again when I met the journalist and poet Nikolai Tarasov in the newspaper Sovetsky Sport. He not only printed my first poems, but also sat with me for long hours, patiently explaining which line was good, which was bad, and why. His friends - then a geophysicist, now literary critic V. Barlas and journalist L. Filatov, now editor of the weekly "Football-Hockey" - also taught me a lot in poetry, giving me rare collections to read from their libraries. Now Tvardoasky did not seem simple to me, and Pasternak did not seem overly complicated.

I managed to get acquainted with the work of Akhmatova, Tsvetaeva, Mandelstam. However, the poems that I was printing at that time, my expanding "poetic education" did not affect at all. As a reader, I was ahead of myself, the poet. I basically imitated Kirsanov and, when I met him, expected his praise, but Kirsanov rightly condemned my imitation.

An invaluable influence on me was my friendship with Vladimir Sokolov, who, by the way, helped me enter the Literary Institute, despite the lack of a matriculation certificate. Sokolov was, of course, the first poet of the post-war generation who found a lyrical expression of his talent. It was clear to me that Sokolov knew poetry brilliantly and his taste did not suffer from group limitations - he never divided poets into "traditionalists" and "innovators", but only into good and bad. This is what he taught me forever.

At the Literary Institute, my student life also gave me much to understand poetry. In seminars and in the corridors, judgments about each other's poetry were sometimes ruthless, but always sincere. It was this ruthless sincerity of my comrades that helped me jump off the stilts. I wrote poetry, and obviously this was the beginning of my serious work.

I met a wonderful, unfortunately still underestimated poet Nikolai Glazkov, who then wrote like this:

I make my own life
I'm playing the fool.
From a sea of ​​lies to a field of rye
the road is far.

I learned from Glazkov the freedom of intonation. The discovery of Slutsky's poems made a dumbfounding impression on me. They seemed to be anti-poetic, and at the same time they sounded the poetry of a mercilessly naked life. If earlier I tried to fight in my poems with "prosaisms", then after Slutsky's poems I tried to avoid excessively sublime "poeticisms".

Studying at the Literary Institute, we, young poets, were not free from mutual influences either. Some of Robert Rozhdestvensky's poems and mine, written in 1953-55, were like two peas in a pod. Now, I hope you will not confuse them: we have chosen different paths, and this is natural, like life itself.

A whole galaxy of female poets appeared, among which, perhaps, the most interesting were Akhmadulina, Moritz, Matveeva. Returning from the North, Smelyakov brought with him the poem "Strict Love" full of chaste romanticism. With the return of Smelyakov, poetry became somehow stronger, more reliable. Samoilov began to publish. His poems about Tsar Ivan, "Tea House" immediately created him a stable reputation as a highly cultured master. "The Cologne Pit", "Horses in the Ocean", "Let's wave our fists after the fight..." by Boris Slutsky, poems innovative in form and content, were published. Okudzhava's songs, breathed out by time, were sung all over the country. Coming out of a long crisis, Lugovsky wrote: "After all, the one I knew does not exist ...", Svetlov again broke through his charming pure intonation. There was such a large-scale work as "Beyond the distance - distance" by Tvardovsky. Everyone was reading Martynov's new book, "The Ugly Girl" by Zabolotsky. How fireworks arose Voznesensky. Circulations of poetry books began to grow, poetry appeared on the square. This was the heyday of interest in poetry, hitherto unknown either in our country or anywhere else in the world. I am proud that I had to witness the time when poetry became a national event. It was rightly said: "An amazingly powerful echo - obviously, such an era!"

A powerful echo, however, not only gives the poet great rights, but also imposes great duties on him. The education of a poet begins with the education of poetry. But later, if the poet does not rise to self-education by his own duties and responsibilities, he slides down, even despite his professional sophistication. There is such a seemingly beautiful phrase: "No one owes anything to anyone." Everyone owes everyone, but the poet especially.

To become a poet is the courage to declare oneself in debt.

The poet is indebted to those who taught him to love poetry, for they gave him a sense of the meaning of life.

The poet is indebted to those poets who came before him, for they gave him the power of the word.

The poet is indebted to today's poets, his comrades in the shop, because their breath is the air that he breathes, and his breath is a particle of the air that they breathe.

The poet is indebted to his readers, his contemporaries, for they hope to speak in his voice about the time and about themselves.

The poet is indebted to his descendants, for through his eyes they will someday see us.

The feeling of this heavy and at the same time happy debt has never left me and, I hope, will not leave.

After Pushkin, a poet without citizenship is impossible. But in the 19th century, the so-called "common people" were far from poetry, if only because of their illiteracy. Now, when poetry is read not only by intellectuals, but also by workers and peasants, the concept of citizenship has expanded - it more than ever implies the poet's spiritual ties with the people. When I write lyrical poems, I always want, I want them to be close to many people, as if they wrote them themselves. When I work on things of an epic nature, I try to find myself in the people I write about. Flaubert once said, "Madame Bovary is me." Could he say that about a French factory worker? Of course not. And I hope that I can say the same, for example, about mine and about many of the heroes of my poems and poems: "Nyushka is me." Citizenship in the nineteenth century could not be as internationalistic as it is now, when the destinies of all countries are so closely connected with each other. Therefore, I tried to find people close to me in spirit, not only among the builders of Bratsk or the fishermen of the North, but also wherever there is a struggle for the future of mankind - in the USA, in Latin America and in many other countries. Without love for the motherland, there is no poet. But today there is no poet without participation in the struggle taking place all over the globe.

To be the poet of the world's first socialist country, which, through its own historical experience, tests the reliability of the ideals suffered by mankind, this imposes a special responsibility. The historical experience of our country is and will be studied in our literature, in our poetry, because no document in itself possesses a psychological insight into the essence of a fact. Thus, the best in Soviet literature acquires the lofty significance of a moral document, capturing not only the external, but also the internal features of the formation of a new, socialist society. Our poetry, if it does not stray either towards cheerful embellishment or skeptical distortion, but has a harmony of realistic reflection of reality in its development, can be a living, breathing, sounding history textbook. And if this textbook is true, then it will rightfully become a worthy tribute to our respect for the people who nurtured us.

The turning point in the life of a poet comes when, brought up on the poetry of others, he already begins to educate his readers with his poetry. The "powerful echo", returning, can knock the poet down with the force of the return wave if he is not strong enough, or so shell-shock that he will lose his hearing for poetry, and by the time. But such an echo can also bring up. Thus, the poet will be educated by the return wave of his own poetry.

I sharply separate readers from admirers. The reader, with all his love for the poet, is kind, but exacting. I found such readers both in my professional environment and among people of various professions in different parts of the country. It was they who were always the secret co-authors of my poems. I still try to educate myself with poetry and now I often repeat the lines of Tyutchev, whom I have come to love in recent years:

We can't predict
How our word will respond, -
And sympathy is given to us,
How do we get grace...

I feel happy because I was not deprived of this sympathy, but sometimes I feel sad because I do not know if I will be able to fully thank him.

Beginning poets often write letters to me and ask: "What qualities do you need to have in order to become a real poet?" I have never answered this, as I thought, naive question, but now I will try, although this may also be naive.

There are five such qualities.

First: you need to have a conscience, but this is not enough to become a poet.

Second: you need to have a mind, but this is not enough to become a poet.

Third: you need to have courage, but this is not enough to become a poet.

Fourth: you must love not only your own poems, but also those of others, but even this is not enough to become a poet.

Fifth: you need to write poetry well, but if you do not have all the previous qualities, this is also not enough to become a poet, because

There is no poet outside the people,
There is no son without a father's shadow.

Poetry, according to a well-known expression, is the self-consciousness of the people. "In order to understand themselves, the people create their own poets."