Julian Tuwim: a life full of contradictions. Tuvim Julian - bibliologist
Julian Tuwim(Polish Julian Tuwim; September 13, 1894, Lodz, Kingdom of Poland - December 27, 1953, Zakopane, Poland) - one of the greatest Polish poets, prose writer.
Born into a Polish Jewish family in the city of Lodz. He graduated from the Russian gymnasium there and in 1916-1918 he studied jurisprudence and philosophy at the University of Warsaw.
He made his debut in 1913 with the poem "Request", published in the "Warsaw Courier" ( Kurjer Warszawski). Tuwim was strongly influenced by such poets as W. Whitman and A. Rimbaud. His poetry often used colloquial everyday language. The optimism reflected in his early poetry was gradually replaced by a bitter and devastated outlook. his poem Bal w Operze("Ball at the Opera"), which satirically portrayed the Polish government, was banned by the censors.
He was one of the founders of the experimental literary group"Scamander" in 1919. From 1924, Tuwim wrote a weekly column in the Literary News newspaper ( Wiadomości Literackie).
In the pre-war 1930s, sharp criticism of fascism sounded in Tuwim's poems. After the outbreak of World War II in 1939, Tuwim fled from Poland to Romania, then moved to France, Portugal, Brazil, and finally to the United States. In 1946 he returned to Poland.
Translated to Polish language various works of Russian and Soviet literature(“The Tale of Igor's Campaign”; “Woe from Wit” by A. S. Griboyedov; poetry by A. S. Pushkin, V. V. Mayakovsky, B. L. Pasternak). A collection of selected Pushkin's poems translated by Tuwim ("Pushkin's Lute") was highly appreciated by Vladislav Khodasevich. Tuvim also acted as a theoretician of translation (the article "Quadrette on a workbench" about the translation of the beginning of "Ruslan and Lyudmila").
Tuwim was a literary scholar and bibliophile who collected unusual and rare literary phenomena; this hobby of his was reflected in the anthology of Polish fraska published by him, the collection of Polish "diaboliads" and the collection of unusual verse forms "Pegasus on end".
Streets named after Tuwim different cities Poland: Lodz, Olsztyn, Gdansk, Chrzanow and others. hometown poet - Lodz - there is a monument to Tuwim and his museum, as well as Memorial plaque at the gymnasium where he studied, with the lines of the poem "Over Caesar".
Buried in Warsaw.
Creation
He is best known to Russian readers for his poems for children translated by Samuil Marshak, Boris Zakhoder, Emma Moshkovskaya and Sergei Mikhalkov and the word-creative fantasy "Green" translated by Leonid Martynov. His lyric collections in Russian were published many times.
He translated Russian poets into Polish, in particular Pushkin, Mayakovsky. He knew Esperanto, Greek, Russian, Yiddish. He also translated from French, German and Latin.
Bibliography
Collections and publications
- Czyhanie na Boga(“Watching God”, 1918).
- Sokrates tanczący(“Dancing Socrates”, 1920).
- Siodma jesien("The Seventh Autumn", 1922).
- Czwarty tom wierszy(“The fourth volume of poetry”, 1923).
- Czary i czarty polskie, Wypisy czarnoksięskie (1923).
- Slowa we krwi(“Words in the Blood”, 1926).
- Rzecz czarnoleska("Chernolesye", 1929).
- Biblja cyganska("Gypsy Bible", 1933).
- Jarmark rymow("Rhyme Fair", 1934).
- Polski słownik pijacki i Antologia bachiczna (1935).
- Tresc gorejaca("Flaming Essence", 1936).
- Lokomotywa("Locomotive", 1938).
- satirical poem Bal w Operze(“Ball at the Opera”, 1936, ed. 1946).
- Cztery wieki fraszki polskiej (1937).
- Polska nowela fantastyczna (1949).
- unfinished poem Kwiaty polskie(“Flowers of Poland”, published in fragments, ed. 1949).
- Pegaz deba, czyli Panopticum poetyckie (1950).
- Cycle "From new poems" (1953).
- Księga wierszy polskich XIX wieku (1954).
- Cicer cum caule, czyli Groch z kapustą (1958-1963).
- W oparach absurdu (1958).
In Russian
- Tuwim, Julian Favorites. M., Goslitizdat, 1946.
- Tuwim, Julian Flowers of Poland. M., " Fiction”, 1971. - 96 p., 30,000 copies.
- Tuwim, Julian A letter to all the children, one very important business. M., Malysh, 1979.
- Tuwim, Julian. Hocus-pocus, or Request for a desert: poetry, theater, prose. - M.: Vakhazar, Ripol Classic, 2008. - S. 944. - 1500 copies.
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Julian Tuwim (Polish Julian Tuwim); September 13, 1894, Lodz, Kingdom of Poland - December 27, 1953, Zakopane, Poland) - one of the greatest Polish poets, prose writer.
Born into a Polish Jewish family in the city of Lodz. He graduated from school there and in 1916-1918 he studied jurisprudence and philosophy at the University of Warsaw.
He made his debut in 1913 with the poem "Request", published in the "Warsaw Courier" (Kurierze Warszawskim). Tuwim was strongly influenced by such poets as W. Whitman and A. Rimbaud. His poetry often used colloquial, everyday language. The optimism reflected in his early poems was gradually replaced by a bitter and devastated outlook. His poem Bal w Operze ("Ball at the Opera"), a satirical depiction of the Polish government, was banned by the censors.
He was one of the founders of the experimental literary group Scamander in 1919. From 1924, Tuwim wrote a weekly column for the newspaper Literary News (Wiadomości Literackie).
In the pre-war 1930s, sharp criticism of fascism sounded in Tuwim's poems. After spending 1939-1945 in exile, he continued to oppose fascism.
He translated various works of Russian and Soviet literature into Polish (“The Tale of Igor’s Campaign”; “Woe from Wit” by A. S. Griboyedov; poetry by A. S. Pushkin, V. V. Mayakovsky, B. L. Pasternak). He is best known to Russian readers for his poems for children translated by S. Marshak and S. Mikhalkov and the word-creative fantasy "Green" translated by L. Martynov.
“A letter to all children on one very important matter”, “ABC”, “Cripple words”, “Birdyard”, “River”, “About Janek”, “Bird Radio”, “Vegetables”, “Where are the glasses” - poems by Y. Tuvin, translated by S. Mikhalkov.
So in the "ABC" it is very fun to talk about letters, which allows children to remember them faster.
And in the poem “Vegetables”, children learn about what vegetables are, that they are all important, and only together they can make vegetable soup delicious:
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The hostess once came from the market, The hostess brought home from the market: potato carrot, Parsley and beets. The hostess, meanwhile, took a knife And with this knife she began to chop: potato carrot, Parsley and beets. |
Here vegetables dispute brought on the table - Who is better, tastier and more necessary on earth: Potatoes? Carrot? Parsley or beets? Covered with a lid, in a stuffy pot Boiled, boiled in boiling water: Potatoes, Carrot, Parsley and beets. And the vegetable soup was not bad! |
At all times, children equally love picture books, and the more interesting pictures they contain, the brighter their fantasies become, the better they understand the meaning of still incomprehensible things, with incredible speed “absorbing” everything new that eyes see and hear ears.
main means aesthetic development child is a children's picture book - a synthesis of literary texts and illustrations. Illustrated book - special world, in which artistic illustration and literary text function in a single complex, help the young reader to perceive the book as a multifaceted work of art. Artistic illustration - essential element books for children, which largely determines its artistic value, the nature of the emotional impact, the possibility of using it in the process of aesthetic education of readers.
The word "illustration" comes from the Latin "illustratia" and means "illumination, visual representation". The illustration complements, clarifies and “illuminates” the text with the help of good examples. On the other hand, illustration is an area visual arts, in which the illustrator also acts as an interpreter literary work, and as the creator of a new work of art, the art of book graphics. Such an illustration can be called artistic.
An illustration is first of all a work of fine art and then of literature. The task of the illustrator in the most general terms is to convey the ideological and figurative-aesthetic content of one type of art (literature) by means and techniques of another (graphics). The role of book illustration is also great in revealing the ideological and artistic originality of a literary work, understanding the literary text. Since the illustrator in the children's book acts as the creator and co-author of the writer, he not only reflects the world of a literary work in his drawings, but also gives interpretation, visual interpretation, his own understanding of events and images.
An interesting means of revealing a literary work that an illustrator uses is fiction. The essence of fiction is in changing, strengthening, developing, through details that do not exist in a literary work, its ideological sense; liberation of the imagination, fantasy of the little reader, his creative abilities.
The task of reflecting the main idea of a literary work, but in the most general view, often solves the frontispiece illustration, located at the very beginning of the book, against title page. In line with this idea, as if taken out by an illustration outside the brackets of the narrative, all further perception of the book by the reader is carried out.
AT close connection with the disclosure of the ideological meaning of a literary work, there is a characterization of the images of heroes - a task that an illustrator solves in almost every book. To the means figurative characteristics relate: graphic image hero, transmission psychological state hero through facial expressions, posture, gesture, as well as with the help of landscape, interior and even color. All these artistic characteristics aimed at revealing the ideological and figurative content of a literary work, in their understanding - a great reserve for the education of a creative reader, the aesthetic development of children.
Thus, book illustration, as a special kind of fine art, has a huge impact on the formation of the sensory perception of the world, develops aesthetic susceptibility in the child, which is expressed primarily in the pursuit of beauty in all its manifestations. The illustration in the book is the first meeting of children with the world of fine arts. Supplementing and deepening the content of the book, awakening in the child those feelings and emotions that truly piece of art, and, finally, enriching and developing it visual perception, book illustration performs an aesthetic function.
An artistically executed illustration affects the child, first of all, aesthetically, gives him the knowledge of life and the knowledge of art, i.e. it helps the child in understanding the world, mastering moral values, aesthetic ideals, deepens the perception of a literary work.
The illustrated book serves as an incentive for the child to master the first reading skills, and then to improve them. Thanks to highly professional illustration, taking into account the peculiarities of children's perception, there is an interest in the book and reading. The illustration begins the process of choosing a book for a child to read. The illustration contributes to the child's understanding of the literary text, forms an idea of its theme, idea, characters, contains an assessment of the events and heroes of the literary action.
The illustration helps kids get in literary world, feel it, get to know and make friends with the characters inhabiting it, fall in love with them. Because life experience a child is small, it is more difficult for him to recreate in his imagination what the writer tells about. He needs to see, to believe. This is where the artist comes into play.
Therefore, in the world of childhood special role assigned to the artist who creates illustrations for books, because he has a huge responsibility not only to ensure that the images he created correspond to the content, but also to ensure that the pictures are liked and loved young readers, because they are the real critics here, even if the smallest among them still cannot read.
Already in the 15th century, adults knew that children love to look at pictures, so they began to publish Bibles and primers with illustrations, because in order to understand what is drawn in the picture, the child was ready to read any, even the most boring, text.
The first illustrated children's book in Russia was Karion Istomin's Primer, published in 1692 and 1694. accompanied by engravings on copper, made by the artist-engraver Leonty Bunin very clearly and clearly.
FROM early XVII in. until almost the beginning of the 20th century. great importance when raising children and teaching them to read, they had Russian folk pictures, the so-called "amusing sheets" or popular prints. At the end of the XVIII century. textbooks with engraved illustrations appear cognitive nature. Later, lifetime editions of the works of A.S. Pushkin, Zhukovsky, Krylov, illustrated with engravings from drawings famous graphics and painter I.A. Ivanova. They are characterized by elegance and simplicity of images, purity of drawing. In the 19th century the history of the picture book is continued by the ABCs: “A gift to Russian children in memory of Patriotic war 1812" with watercolors by M.I. Terebenev, "The Entertaining Alphabet" by K.A. Zelentsov and others. From the second half of XIX in. Large publishing and printing companies are engaged in the production of illustrated books for children, which made it possible to reduce the price of books and print them in large numbers. AT late XIX in. outstanding painters I.E. Repin, V.M. Vasnetsov, V.I. Surikov, V.A. Serov, M.V. Nesterov. But the participation of these masters in the design of children's publications was not constant, the artists relied on the traditions of not book art, but easel art, that is, a drawing not intended specifically for a book. The quality of these publications also left much to be desired: on gray paper with poor printing, the charm of the author's work was lost.
In the second half of the XIX century. in Russian art, a craving for genres that had previously been considered secondary was indicated. In painting, it was primarily the development of various types of non-machine art. Educational tasks lead V.M. Vasnetsova, E.D. Polenev to book illustration. Both of these artists purposefully sought to create a Russian national style based on folk and ancient Russian traditions, to transform the folk-everyday environment in modern art forms.
"Epic-fairytale direction" of V.M. Vasnetsov (1848-1926) began to take shape before his participation in the circle. But Abramtsevo played in the evolution of Vasnetsov the illustrator decisive role. He developed his own decorative planar graphic style based on popular prints and old Russian book miniatures.
Elena Dmitrievna Polenova, who considered herself a student of Vasnetsov, created illustrations for Russian folk tales. She regularly made trips to the villages of Moscow, Yaroslavl, Kostroma, Vladimir provinces, where she collected originals folk art, utensils, folk costumes, wrote down fairy tales. Illustrating for children the texts of Russian fairy tales "Sonko Filipko" (1886), "Mushroom War", "The Beast" (1880), the artist combined two areas of folk art close to her: applied art and folklore. She sought to convey that poetic view of the world, which is characteristic of all the creations of the people. The festive, elevated feeling that animated E. Polenova, giving elegance to her illustrations, and some fabulous mystery created a special mood for the little spectator and reader. The experience of Vasnetsov and Polenova opened the way for further searches for methods of artistic rethinking of the forms of ancient Russian and folk art.
Artist's works S.V. Malyutina(1859-1937), who worked in the village of Talashkino on the creation of household items (furniture, household utensils), were the first to approach graphic patterns that combined simplicity, even naivety with liveliness of rhythm, simplified lines and forms of drawing, reminiscent of a popular print. The artist published a picture book "Ay-doo-doo!" (1899), and also designed "The Tale of Tsar Saltan", the poem "Ruslan and Lyudmila" by A.S. Pushkin and other books.
In the end XIX- early XX centuries the emerging society "World of Art" included magnificent Russian graphic artists: A.N. Benois, G.I. Narbut, I.Ya. Bililin, D.Ya. Mitrokhin. The refined taste of illustrations, elegance and luxury of external design, excellent paper, excellent printing - all this made their books exquisite “things” accessible to few. Among their creations is ABC in Pictures by A.N. Benois (1870-1960), published in 1904. The book is quite complex in terms of material, but it is presented lively and captivatingly. Illustrations by G.I. Narbut to the fables of I.A. Krylov, to the book "Toys" is distinguished by monochrome, a finely honed black silhouette image on a white field of the sheet, enclosed in a strict frame of the classical style.
Most of all he was engaged in the design of fairy tales B.I. Bilibin(1876-1942). His works are decorative, ornamental, multicolored. They are distinguished by a clear linear contour, performed with a pen. They resemble an amazingly beautiful carpet, which seems to create excessive fragmentation of the image and makes it difficult to perceive. Meanwhile, Bilibin's works are really illustrations, that is, they cannot exist in isolation from the book, like easel works. They are very fabulous, with an abundance of beautiful vignettes, initial letters, with hand-drawn fonts. This, as it were, introduces the reader into the atmosphere of elegant epics and legends. In the design of the artist were published folk tales"Sister Alyonushka and brother Ivanushka", " white duck”, “Marya Morev-na”, “Vasilisa the Beautiful”, “Feather of Finist Yasna-Falcon”, epics about Dobryn Nikitich and Ilya Muromets, as well as “The Tale of Tsar Saltan” and “The Tale of the Golden Cockerel” A.S. Pushkin.
In the 1920s, the children's book undergoes changes, begins to acquire the features of a genre: the book as a kind of artistically concentrated reflection of new social phenomena. In 1924, the children's department of the Leningrad branch of the State Publishing House was created, the artistic editorial office of which was headed by an excellent graphic artist V.V. Lebedev. In this creative laboratory, later called the Lebedev school of graphics, artists worked ON THE. Tyrsa, N.F. Lapshin, V.M. Konashevich, A.F. Pakhomov, V.I. Kurdov, E.I. Charushin, Yu.A. Vasnetsov. They relied not only on their creative interpretation of literary images, but also sought to take into account the psychology childhood, putting yourself in the place of a child, remembering your own childhood impressions.
V.V. Lebedev For 40 years he collaborated with S.Ya. Marshak. Marshak considered him the rightful author of the books they created together. For example, the book "Circus" was originally conceived and drawn by Lebedev, and then Marshak composed poems for it. The visual images drawn by Lebedev merge into one whole with literary characters. His drawings are concise, bright, expressive, but not devoid of cognition, which he considered one of the main qualities of an illustration in a children's book. He worked on such books by S.Ya. Marshak, like "Yesterday and Today", "Baggage", "Mr. Twister",
Konashevich V.M. for many years he collaborated with K.I. Chukovsky. He designed the books “The Stolen Sun”, “The Fly-Sokotuha”, etc. He illustrated many books of the classics of Russian literature: “The Little Humpbacked Horse” by Ershov, fairy tales by A.S. Pushkin, books by I.S. Turgenev, L.N. Tolstoy.
Yu.A. Vasnetsov illustrated and designed books by V. Bianchi, S. Marshak, K. Chukovsky, Russian folk tales, etc. Books designed by Yu. A. Vasnetsov are easily recognized. The illustrations in them are of paramount importance, the text obeys them.
Yu. Vasnetsov's picture books introduce the child to life through art (L. Tolstoy "Three Bears", P. Ershov "The Little Humpbacked Horse", S. Marshak "Teremok", etc.). Best works artist - illustrations for the collections "Ladushki" and "Rainbow-arc". Y. Vasnetsov is rightly called the artist of the Russian fairy tale. One of the main features of its artistic method is inseparable organic bond with folk art. His characters (animals, children, dolls) are toys from the fair, dressed up in elegant dresses, boots, caftans; toy horses are harnessed to painted carts. But they are not exactly copied folk toys. They are closer to the real appearance of the depicted. The artist strives for stylization - refraction of images of folk art in the imagination.
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Illustrations by V.M. Konashevich, A.F. Pakhomova, E.I. Charushin, A. Favorsky and others entered the golden fund of Russian art.
The development of illustration did not go in a straight line. There were shifts and deviations. The heyday of a beautiful book in the 1920s is replaced by a period of decline in the art of children's books.
In the 1930-50s, the introduction of easel techniques led to the loss of specific features of a children's book. The development of the picture book genre slowed down. In the late 50s, the children's book acquires the same features of the genre as in the 20s. Young artists M. Miturich, N. Ustinov and others adopted the traditions of the old masters.
In the 1960s, a toy book and a special game book were being developed. A. Eliseev, M. Skobelev made such books in 1964-65: “That's how absent-minded” S. Marshak, “Whatever the village, That is an elephant, then a lioness” by V. Mayakovsky. Clippings on pages, cardboard discs, windows made the reading process more interesting.
In our time, with the advent of computer design, the possibilities of artists have significantly expanded. But, unfortunately, one can see a lot of abuse of this pictorial technique. Many monotonous colorful books are being published, difficult for children's perception, and despite good quality polygraphs do not withstand criticism from the point of view of artistic taste, pedagogical and educational tasks, cognitive and aesthetic tasks that a good book is designed to solve.
Julian Tuwim died (1953), before reaching fifty. The great Polish poet, satirist, humorist, writer and screenwriter is familiar to the Russian reader, first of all, by children's poems, although he was a rather tragic poet, with a difficult fate, who felt himself ownerless in his own country. He loved Poland very much, he was born (1894) in Lodz, into a Jewish family that was completely assimilated: he adopted Catholicism, spoke only Polish, the boy did not hear any other language. Grandfather published the first Polish-language newspaper for the Jews of Lodz and regularly attended the church. In a word, he was a Jewish Pole, not a Polish Jew.
But the purebred Poles did not consider him their own, for them Julian Tuwim remained a Jew who learned to speak and write in Polish, illegally appropriated the title of a Polish writer. The Jews also did not recognize him as their own: he did not know the Hebrew language, did not perform Jewish rituals and did not attend the synagogue. In their eyes he was a traitor to the Jewish national traditions. Never cheated on him and never betrayed only his favorite language.
Here everything is not in reality:
And those flowers that I call alive
And the things that I call mine
And the rooms in which I live;
Here everything is not in reality,
And I walk with steps not mine, -
I do not step, but I swim through a dream.
( Flat )
Julian Tuwim felt the word, the whole universe was filled with it, it was impossible to say where the word began and where Tuwim ended: he had a "philological outlook." It came to him by misfortune, turning into a gift - a sense of the word and rhythm.
The word for the poet had a mystical and even sensual-erotic meaning. In one of his essays, he wrote: “The Word became flesh and lives among us, it feeds hungry bodies. The word is like a fruit, for example, a peach: very soft, round, with a gentle fluff, it attracts to itself, awakens a desire in me; I want to caress it with my lips, squeeze it lightly with my fingers, gently stroke it and blow on its velvety skin.”
As a little boy, he liked to delve into the words of different languages similar in sound. This linguistic passion continued throughout his life. Later, the poet began to save exotic words and phrases on cards. It was for him some kind of document certifying that the word has its own biology.
Each word of Julian Tuwim has its own unique flavor, like that with which every flower in the forest is fragrant. The poet wanted to go beyond the meaning of the word through sound, as Velimir Khlebnikov wanted it. He tried to make the language and the word self-sufficient, regardless of their meaning.
Philosophy in a coffee shop
towers of babel,
behind the scenes tricks,
painted chambers,
Hymns, thrones and battles,
Even a poem
Not a human calling.Not crosses and logs
For redemption,
For Barrabas to be saved,
Not land grabs
To feed offspring
And posthumous glory.
.....Heat is the essence of man,
Who is hoping to meet
Waiting, languishing in silence.
And on a white bench
Writes with a burnt match
Someone's name is funny.
The boy was born with a huge birthmark on his left cheek, and therefore most of his pictures were taken in profile. Mother, considering this mark a curse, tried to remove the stain, perform an operation, took him to doctors and healers, but nothing came of it.
The boy was very shy of his "ugliness". Fearing ridicule, he ceased to be on the street, go to school, play with peers, became a homebody, a recluse and a bookworm. Then this seclusion grew into a fear of open space - agoraphobia: he never sat facing the window, always with his back, and moved around the city only in a taxi or with his wife and friends.
Over the years, his love for the book turned into a passion: he could not calmly pass by a rare book, becoming just some kind of pest for other bibliophiles. To show Tuvim a valuable book meant to part with it forever. He doesn’t care, not by washing it like that, he will acquire it: he will buy, barter, beg, force him to donate ...
In a word, it was better not to show him such books. In addition to real books, he also collected graphomaniac literature: it lay on his separate shelf which he proudly showed to his friends. Staying at home, little Julian found his own occupation: he learned to count in two hundred languages up to ten, collected stamps, then became interested in chemistry, organizing his own laboratory, almost blew up the house and took up alchemy.
Not foliage, not even pubescent,
A transparent, slightly green
Scrap of Celestial Yarn
Melts in the astonished grove.If there is somewhere in the world
The sky is secret, forest,
Clouds of this color
They come to us in the spring.
( April birch )
As a child, he was not at all provocative and cheerful, as he appears in youthful humorous frocks, cabaret poems and songs. The atmosphere in the family was unhappy. The mother was very fond of her not very “successful” son, the father, much older than her, was a bank employee, a very gloomy and joyless person who did not spoil his wife or children with attention.
Łódź was part Russian Empire and the boy was sent to a Russian gymnasium, but he studied very poorly, his diary is full of deuces and failures, and in the sixth grade he was generally left for the second year. How can you not believe the words that in order to become a poet, you must have loving mother, study poorly at school and blow up your own house.
Biographical information
Jewish theme
pre-war period
Never denying his Jewishness, Tuwim was very far from Jewish culture. Infrequent biblical references in his poetry (for example, "The Rose of Sharon" or "The Stars Holy Bible” in the poem “Flowers of Poland”, see below) are only signs of a universal civilization.
The only poem before the Second World War devoted to the Jewish theme - "The Jewess" (1927) - with sympathy and pain depicts the city's madman, but Tuvim is just as sensitive to the poor Christians.
However, throughout literary life the poet was subjected to vicious (overt and disguised) anti-Semitic attacks by Polish chauvinists.
After the war
The catastrophe of European Jewry, the death of loved ones shocked Tuwim. He continued to consider himself a Pole, but he acutely felt his undivided belonging to the exterminated Jewish people.
Evidence of a new sense of self was the poem "Mother" and especially the publicist manifesto "We Polish Jews" (both - 1944). The manifesto asserted the poet's relationship with the victims of the Holocaust "by Jewish blood - not the one that flows in the veins, but the one that flows from the veins." Tuwim's passionate anti-Nazi journalism was translated into many languages and had a great resonance.
Julian Tuwim
Julian Tuwim was originally not a children's poet at all, and he wrote for children only in the thirties. For initial period his work is characterized by elegiac and even intimate motifs, but gradually, over time, the poet pays more and more attention to the life of simple, most ordinary people, sympathizes with their hard life, as, for example, in the poems “Need”, “Summer of the Poor”, “Poems about lost hope", at the same time, the poet's indignation is caused by petty-bourgeois moods of people, such as "Petty bourgeois", "July 14". Tuwim wrote a lot about the tasks of art and poetry - "Poetry", "Blood with a Word", "It is better to crush the cobblestones". In the 1930s, the poet, along with other Polish writers, protested against the impending war, as, for example, in the poem " To the common man". So why did Julian Tuwim, a civilian poet, start writing for children? One day in 1927, Vladimir Mayakovsky, during his visit to Warsaw, dropped in on Tuwim and, in a casual conversation, suggested that he try to write for children, Mayakovsky himself in literally words persuaded the poet, drawing him tempting prospects children's writer. And a few years later pan Trulyalinsky, pan Malyutkin, the elephant Hobotovsky, and other characters were born. In just a short period of time, the poet wrote more than fifty poems for little children. And after the war, when Tuwim returned to Poland after long wanderings, all Soviet children repeated in unison:
What happened? What happened?
- The alphabet fell off the stove! ..
- What happened to Aunt Valya?
She lost her glasses!
It was in poetry for children that the poet tried to embody all his thoughts and aspirations, love for the motherland, for man, the desire to make life bright and beautiful. Poetry charges with optimism and cheerfulness. It's in the highest degree moral poetry, educating in children a love for everything around - people and nature. Tuwim helps the child to "see" the world, to highlight in it what previously went unnoticed for the baby. For example, his amazing, wonderful ABC, where each letter is a separate image, with its own unique form: What happened? What happened? Broke the ponytail!
But, probably, the poem “Steam Engine” (translated by M. Zhivov) can be called the most popular, where the main character is a steam engine, alive, huge, extraordinary “It stands, and it sniffs, and breathes steam.” The locomotive, like a hero, great, strong, who can do what only "one hundred strong men" could do. Tuwim's poetry is always not only fantasy and figurative, but also educational and cognitive. The kid will probably ask you why the locomotive is moving, and you will find the answer just in the poem:
This steam drives him and pushes him.
This steam passes through the pipes to the pistons,
And the pistons set the wheels in motion -
Unfortunately, now it is almost impossible to find a separate translation of Tuwim's book for children, all his poems are dispersed throughout the books. famous poets, whose names we mentioned above. So, in the book of poems by S. Marshak, you will surely come across an amazing poetic poem "The Table", where the author sings of the beauty of labor, love of labor. Close to this topic poetic work- "Everything for everyone" translated by E. Blaginina:
So, this is how it turns out:
Everything we do is necessary.
So let's work
Honest, diligent and friendly.
Of course, the poet did not ignore the theme of nature. Nature is given through the prism of a child's perception. So, impressions, emotions, fears are combined into wonderful poetic images:
The wind was angry, it grew
He whistles and jumps.
(“Frost”, translated by E. Blaginina.)
Paintings native nature Y. Tuvim also draws in the poems “The Four Seasons” (translated by E. Tarakhovskaya), “Trees” (translated by E. Tarakhovskaya), “Rain” (translated by E. Blaginina), etc.
In his poetry, one can feel boundless love and tenderness for children, the poet carefully, without malice and sarcastic hints, so as not to hurt the painful children's pride and fragile psyche, teases children's vices, gently points out shortcomings. His poetry really educates, guides children in this world, unobtrusively, somewhere with humor tells what is good and what is bad. There are countless examples, but, probably, “Zosya-Samosya” (translated by V. Ilyina) has already become a textbook - a symbol of children's arrogance: And Zosya's mother asked:
“Who is the fool, my daughter?
Zosia doesn't care what they ask
Answers importantly: — Me!
And the poem “About Grishka the Liar and His Aunt” (translated by E. Blaginina), where the boy tells his aunt in detail about how he went to throw away a letter that his aunt supposedly asked him to throw in the mailbox, and in the finale the aunt says:
Nice, nephew, nice!
I didn't give you a letter.
Oh, and you are a liar, Grishka,
Well, liar!
Try to find his poems at least among second-hand books. Your baby will certainly appreciate and love them, because more than one generation has grown up on the poetry of Julian Tuwim.
About Pan Trulyalinsky
Who has not heard of the artist
Tralislava Trulyalinsky!
And he lives in Pripevaisk,
In Veselinsky Lane.
With him and aunt - Tweedledee,
And daughter - Trulyalyurka,
And the little son - Tweedledee,
And the dog is Tweedledee.
They also have a kitten
Nicknamed Trulyalyonok,
And besides, a parrot
Cheerful Tweedledee!
At dawn they rise
Drink tea quickly
And meets the whole company
Ringing song early morning.
Trolley stick
Raise the conductor -
And immediately on command
A friendly choir will fill up:
"Tru-la-la yes labor-la-la!
Tra-la-la yes tra-la-la!
Honor and glory to Tralislav!
Praise to Trulyalinsky!"
Trulyalinsky almost dances
Waving the conductor's baton
And, moving his mustache, he sings:
"Tru-la-la!"
"Tru-la-la!" - sounds already
In the yard and in the garage
And a passing pedestrian
Sings the same song
All drivers are Tweedlers,
Postmen - Trullions,
Football players - Tweedledees,
Saleswomen - Trulyalitsy,
Musicians - Tweedlers,
And the students are trolls,
The teacher himself is a Tweedler,
And the guys - Trolls!
Even mice, even flies
They sing: "Trollies!"
All the people in Pripevaisk
Lives happily.
ABC
What happened? What happened?
The alphabet fell off the stove!
Painfully sprained leg
capital letter M,
G hit a little,
Well crumbled completely!
Lost the letter U
Your crossbar!
Feeling on the floor
Broke the tail of W.
F, poor thing, so bloated -
Don't read it!
The letter P turned upside down -
Turned into a soft sign!
The letter C is completely closed -
Turned into an O.
Letter A when I woke up
Didn't recognize anyone!
Where are the glasses?
What happened to Aunt Valya?
- Her glasses are gone!
Looking for a poor old lady
Behind the pillow, under the pillow
Climbed with my head
Under the mattress, under the blanket
I looked into the buckets, into the jars,
In boots, boots, boots,
Turned everything upside down
I sat down and rested
Sighed, grumbled
And went to look first.
Fumbles under the pillow again
Again looking for a tub.
Lit a candle in the kitchen
With a candle climbed into the stove,
Searched the pantry -
All in vain! All wasted!
Aunt Valya has no points -
Obviously they were stolen!
The old woman sat on the chest.
There was a mirror next to it.
And the old woman saw
That I was looking for glasses in the wrong place,
What are they really
They sat on her forehead.
So wonderful glass
Aunt Valya helped.
Confusing song about ducklings
Three ducklings on the way
Barefoot walk a little light:
The first one is thick
The third one is thin
The second one just doesn't exist.
And towards three ducklings
The other two hurry in a crowd:
Gray is the first
In spots - the fifth,
And the thirteenth is pockmarked.
Here they converged at the grove,
And the seventh said:
"Hi!
Hello fat!
Hello skinny!
Does anyone seem to be missing?"
The third grunted:
“What jokes?
Which of us disappeared again?
Nothing without mother duck
Can't we count ourselves?
Here the ninth with the first became
Crying and wailing loudly
"We first
The three of us fled
And now there are only five of us.”
And then the fifth whimpered:
"I don't know what's wrong with me.
Came out third
Went thirtieth
And now the eighth?
“How, brothers, to count,
To count yourself?
"It's so easy
Get lost."
"Will you be found again?"
Ducklings wandered to their mother
Through the grove, straight
And although they weren't
geese,
Friend after friend
walked
Goose.
About Janek
Janek lived in the world,
He was stupid.
If you want to know -
That's what he did.
The sieve drew water,
Birds taught to fly
He asked the blacksmith
Shoe a cat.
Seeing a mosquito
Grabbed an ax
He carried firewood into the forest,
And in the apartment - rubbish.
He built in the winter
Ice house:
"Something will be a summer residence
I have in the spring!
On a hot summer afternoon
He blew into the sun.
Tired horses
He took out a chair.
Somehow he's a fifty
Gave it away for a penny.
It's easier to explain to you:
Janek was a fool!
Vegetables
The hostess once came from the market,
The hostess brought home from the market:
potato
cabbage,
carrot,
Peas,
Parsley and beets.
Oh! .. Here the vegetables started a dispute on the table -
Who is better, tastier and more necessary on earth:
Potatoes?
Cabbage?
Carrot?
Peas?
Parsley or beets?
Oh! .. Meanwhile, the hostess took a knife
And with this knife she began to chop:
potato
cabbage,
carrot,
Peas,
Parsley and beets.
Oh! .. Covered with a lid, in a stuffy pot
Boiled, boiled in boiling water:
Potatoes,
Cabbage,
Carrot,
Peas,
Parsley and beets.
Oh!..
And the vegetable soup was not bad!
bird radio
Attention! Attention!
Today at five o'clock
Today in our studio
(Attention attention!)
Different birds will fly to the radio meeting!
First, on the subject:
When, at what time
Is it more convenient and profitable to use dew?
The second question is long overdue:
What is an "echo"?
And if there is it in the forest,
Where is it hiding?
On the third question
Drozd reports,
Appointed in charge
repair of bird nests.
Then the debate begins:
And whistling, and creaking, and singing,
Rumbling, and squealing,
And twitter and chirp.
Performances will begin
Starlings, goldfinches, tits
And everyone without exception
Other famous birds
Attention! Attention!
Today at five o'clock
There will be a station for groves and forests!
Our receiver at five o'clock
Received a hundred votes:
"Fiur-fiur! Fu-fu-foo!
Chick-chirp! Tew-tew-tew-tew!
Pew Pew! Tsvir-tsvir-tsvir!
Chiwi-chiwi! Tyr-tyr-tyr!
Sleep-sleep-sleep! Lu-lu! Tick-tick!
Shadow-shadow-shadow! Chu-ik! Chu-ik!
Ko-ko-ko! Ku-ku! Ku-ku!
Gur-gur-gur! Ku-ka-river!
Ka-arr! Ka-arr! Pi-it! Drink!.."
We didn't know what to do!
Obviously at this hour
Transfer is not for us!
river
Like a shiny ribbon
The river is flowing
Real.
And the day flows
And the night flows
turn right,
Turn left.
And in the river the water is freezing,
On the coast grumbling,
And lazy in the middle.
And why should she grumble, river water?
No one will say this anywhere.
Perhaps stones and fish
This could be said
But the fish are silent
And the stones are silent
Like fish.
Table
A tree has grown in our Polissya,
Stately, tall - to the skies.
The boys had to work hard
Before the tree fell to the ground.
Good horses in foam and soap
They took him to the sawmill.
The saws cut him into boards,
The teeth bent on its hard trunk.
Boards and planks were rough.
A carpenter from Warsaw took them to work.
Experienced master Adam Wisniewski
Gets along with planers, saws, chisels.
For a long time he planed, glued, drilled,
Before this glorious table celebrated.
That's how much hard work is needed,
So that your grace sits at the table!
Oratory as a prototype of journalism
Quotes about Napoleon - dslinkov — LiveJournal
Me vengeance The man on the bulldozer destroyed the city