The image of a child in fiction. Children's fiction in the formation of a child's personality and speech development Strong personalities in literary works for children

Topic: The influence of fiction on a child’s personality

1. Introduction

2.1 Introducing a child to folklore1

4,5

2.10 “Protective” pedagogy and literature - protecting children from cruel reality

3. Conclusion

1. Introduction

“Whoever educates takes the future into his hands” ( N.A. Dobrolyubov)

Early childhood is a period of intensive physical and mental development of the child. It is at this stage that human abilities are formed. At an early age, a child begins to sense reality, which is constantly developing through visual perception - colors, shapes, sizes; sensory perception - human voices, sounds of nature, sounds of music; tactile perception - tactile sensitivity develops: the child begins to distinguish between different types of touches; understands when it feels good or painful, and begins to react to different temperatures of the surrounding world. When these factors are combined, novelty of sensory effects is noted.

IN early childhood the surrounding world is perceived more acutely: the child begins to live in a special world of feelings, ideas and images. With adequate communication between a child and an adult and provision of conditions for the successful development of objective activities at this age, the most important human abilities and personal qualities are laid, such as curiosity, trust in other people, self-confidence, focus, perseverance, creative imagination.

The determining factors in the mental development of a young child are his communication with adults and leading object-related activities. But the development of a child cannot be limited only to the mastery of objective actions, mastery of speech and play activities. This should just help little man enter the wide world artistic culture and get involved in different types of artistic and aesthetic activities. The youngest children are able to show interest in music, works fine arts, poetry, theatrical productions, perceive the beauty of the surrounding world. These early impressions enrich the child’s emotional sphere with special experiences, form the basis of his aesthetic worldview, and contribute to the formation of moral guidelines.

Great value for general development has the little personality’s own participation in different types artistic and aesthetic activities. At the same time, the child’s ability to perceive and emotionally respond to the beauty of the surrounding world - nature, human relationships, the world of things - becomes more acute. The child begins to listen more carefully, peer into the world around him, learns to notice the originality and uniqueness of objects and phenomena, to realize and express his feelings. In progress artistic activity the child receives ample opportunities for self-expression, discovery and improvement of creative abilities.

The purpose of the study of this work is the influence of the works of poets of the second half of the 19th century N.A. Nekrasova, A.K. Tolstoy, I.Z. Surikova, I.S. Nikitina, A.N. Pleshcheev on the development of children's literature.

2. Main part. Artistic and aesthetic development of a child

In the sphere of artistic and aesthetic development, the tasks of pedagogical work are the formation in children of an aesthetic attitude towards the world around them, familiarization with visual and theatrical activities, and musical development.

.1 Introducing a child to folklore 1

The Child’s first acquaintance with the world of beauty occurs with the mother’s lullaby, which is an amazing gift from the past. These lullabies, nursery rhymes, proverbs, sayings. They were created in distant centuries, passed down from generation to generation, and have reached our time. Lullabies are the first lessons of a child’s native language. Songs help him remember words, their meanings, and the order of words in a sentence. Long, long ago, lullabies were born. The lullaby is the very first one that chooses us. This is a thread from the adult world to the child's world.

2.2 The influence of children's literature on the development of the Child 2

Children's literature is of great importance in shaping a child's personality, qualities, and character traits. Famous psychologists and teachers have spoken and continue to speak about the importance of the influence of children's literature on the development of a child's personality, who believe that the main role of children's literature has been and remains education, moral consciousness, and a correct idea of moral values. Artistic works for children they should show what is good and what is bad, help them recognize the boundaries of good and evil, and show examples of behavior. Reading a book replaces active outdoor games and tiring mental activity. A child reading is distracted from real life, his psychological state is balanced, his strength is restored and his energy is preserved. But this role of the book is fulfilled only if there is a voluntary interest in reading.

2.3 Functions of children's literature 3

Attracting children's attention to reading books is the main task of parents and educators kindergarten, teachers. This is the key to the formation of a harmonious, comprehensively developed personality. In addition to its educational role, children's literature performs a number of important functions.

· Cognitive.

Reading broadens your horizons. Everything that was unknown or inaccessible to children’s understanding is described clearly and intelligibly. A child learns a lot from books interesting information on different topics: about nature, animals, plants, people, relationships, rules of behavior.

· Developmental.

In the process of reading, speech is formed and improved, vocabulary is accumulated, thinking, comprehending, and presenting what has been read helps to reveal creative abilities and connects imagination to work.

· Entertaining.

The child spends his time usefully and with interest. Without this function it is impossible to perform either one or the other. Only a child who is passionate about reading can enjoy a book, learn something new, and learn something useful for himself.

· Motivating.

fiction personality child

Certain moments from the book and the qualities of the characters in the work prompt the child to rethink moral values and change his behavior. A passive activity such as reading motivates active work, helps to find a way out of various life situations.

2.4 Fundamental ideas of L. Vygotsky for children's writers 4,5

Much attention was paid to the development and influence of books by psychology professor L. Vygotsky, who believed that children's literature is a fusion of art, pedagogy and child psychology, and that its main function is educational. When creating books for children, children's writers must be sure to familiarize themselves with the fundamental works of psychological and pedagogical directions, such as, for example, the works of L.S. Vygotsky. Creating books for children requires a lot of work. In order for children to like a work, the writer, in addition to demonstrating literary skill, has to comply with a number of conditions related to the characteristics of children's perception. Thus, a story will not arouse interest in a child if there is no dynamic change of events in it, if what is described is not colored with feeling, humor, if its vocabulary is not simple and understandable to the age of the reader or listener. A work for children should not touch on topics that the child cannot correctly comprehend due to age characteristics. In the work “Pedagogy and Psychology” L.S. Vygotsky warns: “There is no surer way to push a child into some anti-moral act than to describe the latter in detail.” A child has a very strong motor impulse that comes from awareness of some phenomenon. Pointing to the enormous power of books read over children’s behavior, L.S. Vygotsky writes:

"... children, having read Cooper and Mine Reed, flee to America to become Indians"2. In our children's literature, the principle of protecting the child's psyche from the influence of scenes of death, violence and cruelty has always been observed.

2.5 Ignoring the laws of child psychology is dangerous for the Child

In this sense, the current book production is of great concern. Numerous literary crafts of the Western sense, attracting the eyes of children with bright illustrations, in fact form in them a cult of brute force. There are already a lot of examples where children, without hesitation, carry into life the model of behavior of modern super heroes. On the part of adults in this case, complete ignorance or blatant ignorance of the laws of child psychology is manifested, which is very dangerous for the future. This example from modern times only once again proves the correctness of Vygotsky’s scientific conclusions and testifies to their relevance today.

2.6 Jan Komensky. Features of children's perception of text 6

One of the first teachers who paid attention to the peculiarities of children's perception of text by children was Jan Komensky. His World of Sensuous Things in Pictures (1658) was translated into many languages and became the first textbook for children to read. In the preface to his book, Comenius wrote: “Education will be clear, and therefore strong and thorough, if everything that is taught and studied is not dark or confused, but light, separate, dissected, like the fingers of a hand. The main prerequisite for This is the requirement that sensible objects be correctly presented to our senses, so that they can be correctly perceived." 3. Teachers were already having conversations with children about what they had read and learned. This amazing manual contained more than 150 pictures, which were accompanied by text. The child formed an image of the object he read about.

In the 18th century, most books were marked "for the use of the heir" and were intended for children's reading. One of the first to lay the foundations for children's reading was Fenelon; his book "Telemaque" was translated into Russian by Tredyakov and was the most popular for children's reading. The content of the book was structured in the form of conversations and beliefs, and had educational character. It was this form of conversation that became dominant for parents and teachers for a whole century.

In the second half of the 18th century, a false - classical direction or a moralizing - allegorical development of children's literature appeared. The creation of the first original books for children is associated with him. One of these books was the fairy tale of Empress Catherine! "Tsarevich Chlore." Fables were published that were also moralizing in content.

During the Enlightenment, new tasks were set in pedagogical science and they affected children's literature. The contents of the books were presented in the form of a conversation, but now scientific knowledge began to come to the fore. One of the famous representatives of the Enlightenment was J-J. Rousseau. Thanks to his influence, Defoe's book "The Adventures of Robinson Crusoe" was adapted for children's reading. Many books have been altered for children's perception. Many works have lost their artistic and philosophical value, but were well received by children.

The first half of the 19th century was a time of stagnation for the development of children's literature. In all educational institutions, book reading predominated French. And in Russia, a sentimental - moralizing trend in children's literature begins to spread.

The activities of Sergei Glinka and Alexandra Ishimova were very effective. Sergei Glinka published the magazine "New" for many years in a row. children's reading", but its content did not attract the attention of children: it was not interesting for them. Alexandra Ishimova published the magazine "Zvezdochka" for 20 years, in which her stories "Sacred History for Children" and "Stories on Russian History" were published. They were a model for children's books of that time began to publish almanacs and collections for children, in which the fables of Krylov, Khemnitser, Dmitriev were published. They were popular and were read by both adults and children.

2.8 V. Belinsky’s influence on the development of children’s literature in the 30-40s of the 19th century

Changes in literature began to occur in the 30-40s of the 19th century and they were associated with the activities of Vissarion Georgievich Belinsky, who had great authority in literature and was the author of reviews of children's literature. Belinsky controlled the list of books recommended for children's reading. In particular, a list of books was created " New library for education." Belinsky was an outspoken opponent of sentimentalism and romanticism in literature. In his opinion, children's literature had to abandon outdated material, literary forms and ideas rejected by “general literature.” Belinsky was one of the first to compile a library of books of general literature recommended for children's reading. This list includes fables by Krylov, works by Zhukovsky, Leo Tolstoy, excerpts from “Ruslan and Lyudmila”, “The Tale of the Fisherman and the Fish” by Pushkin and many other works.

At the end of the 40s, the activities of many classics of children's literature, such as Alexei Razin and Pyotr Furman, began rapidly. One of the first books by A. Razin, “The World of God,” was written in a language accessible to children, contained encyclopedic knowledge, and was popular for 25 years.

The literary activity of Pyotr Furman was strongly criticized by Belinsky. Furman's book presented biographies of famous public figures whose names were encountered in the process of teaching children to read. Distinctive feature The main difference between books for children in the first half of the 19th century was that books were printed in French, and Russian at that time was used as the language of communication with servants.

2.9 Facts that influenced the development of children's literature in the second half of the 19th century

Speaking about the development of children's literature in the first half of the 19th century. Can

to say that it was influenced by two facts:

) children's literature has always been influenced by general literature;

) children's literature was a means of implementing pedagogical ideas and accumulating pedagogical experience. This served as the basis for the creation of literature for village schools to teach peasant children to read and write.

In the second half of the 19th century, children's literature passed the stage of its final approval in Russian culture. Creativity for children began to be perceived by most writers as an honorable and responsible task. The attitude towards childhood as a sovereign world with its own spiritual and ethical principles, its own way of life is changing. The concept of nationality acquires a more ideological character, which is associated with the ideals of democracy and citizenship. The confrontation between two long-standing trends in children's literature is intensifying. On the one hand, children's literature is moving closer to contemporary “adult” literature: democratic writers strive to introduce into works for children artistic principles and ideas that are accepted in the “adult” part of their work. With unprecedented frankness and at the same time moral tact, they depict a world of real contradictions. The danger of early maturation of a child's soul seems to them a lesser evil than the danger of spiritual hibernation.

Those who adhered to “protective” pedagogy and literature preached to protect children from cruel reality: in works on modern themes There should not be a complete picture of life, unresolved contradictions and unpunished evil. Thus, the tragic inevitability of death is tempered by religious belief in the immortality of the soul, social ills are cured by charity, the eternal confrontation between man and nature comes down to the ennobling influence of the beauties of nature on the young soul. And that’s why stories appear about orphans, the poor, and little workers. Writers strive to draw attention to the catastrophic situation of children who are dying spiritually and physically in the clutches of the bourgeois-capitalist age. Writers such as Mamin-Sibiryak, Chekhov, Kuprin, Korolenko, Serafimovich, M. Gorky, L. Andreev turn to this topic in their works. Writers' attention is attracted psychological problems children growing up in “decent” families. Leo Tolstoy, Dostoevsky, Chekhov, Korolenko, Kuprin carry out detailed analysis age-related psychology of children, factors of educational influence, the environment surrounding the child, and sometimes come to unexpected conclusions. Literary fairy tale becomes more and more like a realistic story. Miracles and transformations, moments magical fiction are no longer the defining features of the tale. Writers prefer to adhere to the laws of reality, without even resorting to direct allegory. Animals, plants, objects can speak, express their feelings and thoughts, but humans no longer enter into dialogue with them. Magic world closed from a person, people exist somewhere on the other side of him.

2.11 Poetry for children: two directions

Poets also write for children. The list of poems for children includes examples of Russian classical poetry. The poets were represented by the names of I.A. Krylov, V.A. Zhukovsky, A.S. Pushkin, A.V. Koltsov, M.Yu. Lermontov, P.P. Ershov. Many modern poets for young readers sought to tell children about the people and their needs, about the life of peasants, about native nature: N.A. Nekrasov, I.Z. Surikov, I.S. Nikitin, A.N. Pleshcheev.

The development of poetry for children proceeds in two directions, conventionally called “poetry of pure art” and “Nekrasov school” (i.e. people’s democratic poetry). To the poets who rallied around N.A. Nekrasov, such as I.S. Nikitin, A.N. Pleshcheev, I.Z. Surikov, the closest were the traditions of realism; they shared the idea of open citizenship and democracy, and were drawn to social issues. They were extremely sympathetic to the fate of the people, to the difficult lot of the peasants. They used colloquial language to bring their works closer to the common man. This was especially important for them, because they sought to form an active life position and high civic ideals in young readers.

Under the banner of “pure poetry” and “pure art” were those who developed the romantic traditions of Russian literature and its philosophical, universal orientation. These are the poets F.I. Tyutchev, A.A. Fet et al.

2.12 Creativity N.A. Nekrasova for children 9

Nikolai Alekseevich Nekrasov (1821 - 1877), as a poet and organizer of the literary process, constitutes an entire era in the history of Russian literature. His poetry continued the path laid by Lermontov and Koltsov. It was a direct reflection of the self-awareness of the people, with which Nikolai Alekseevich Nekrasov, as a poet and organizer of the literary process, constitutes an entire era in the history of Russian literature. The poet spoke on behalf of the people. Nekrasov completely shared the views of revolutionary democrats on raising children, their attitude towards children's reading, towards children's books as a powerful means of education.

Nikolai Alekseevich Nekrasov wrote about love for the Russian people, for native land and nature. The poet with all his soul sought to convey this feeling to his readers, including small ones. Nekrasov believed that his poetic word was the voice of the people; he constantly wrote about the connection between people's life and nature, with its life-giving forces.

The images created by Nekrasov, personifying Russian nature, have long been included in children's literature: Green Noise, Red Nose Frost. It is in such characters that the nationality of Nekrasov’s work is especially clearly visible, its close connection with the life of the people, because these images came into his poetry directly from fairy tales and beliefs.

With all this, his pictures of nature are examples of high poetry: “The Green Noise, the Green Noise, the spring noise goes and hums” - and the powerful element of awakening nature embraces the soul of a person of any age. Description of the formidable procession of Frost in the thirtieth chapter of the poem “Red Nose Frost” through the forest:

There is no ugliness in nature! And kochi,

And moss swamps and stumps -

Everything is fine under the moonlight,

Everywhere I recognize my native Rus'...

In his poems, the poet does not avoid “cruel” descriptions of the life of the people. Nekrasov trusts the heart and mind of the little reader, and in his poems he treats the little reader with care. baby cycle I tried to discover those aspects of life that they tried not to touch upon according to the generally accepted rules of that time, children's literature. Many stanzas and passages with poetic depictions of nature have long been included in school anthologies and collections for children's reading.

In the works of Nikolai Alekseevich Nekrasov, children appear as sinless souls, forced to suffer and suffer from the imperfections of society, from the “world order” that adults have established. The poet openly admires children in a natural setting and sees them, and depicts their bright souls as mischievous, cheerful, for the time being, not knowing class boundaries. The simple world of peasant children is close to him. Nekrasov feels guilty for the misfortunes and plight of poor children, he would like to change the order of things, but the poet is unable to do this; he angrily rejects the dull obedience that develops over time in the souls of people. From his “far” Nekrasov addresses us with wise parting words:

Play, children! Grow in freedom!

That's why you were given a wonderful childhood.

To love this meager field forever,

So that it always seems sweet to you.

Keep your centuries-old inheritance,

Love your labor bread -

And let the charm of childhood poetry

Leads you into the depths of your native land!

Nekrasov completely shared the views of revolutionary democrats on raising children, their attitude towards children's reading, towards children's books as a powerful means of education. The historical and literary significance of Nekrasov’s work for children is exceptionally great. He created works of genuine poetic and at the same time martial art, thus fulfilling the behests of the revolutionary democrats. The poet proved that the ideological and thematic content of works for children is limitless. Nekrasov introduced into poetry for children a wealth of educational material, socio-political themes, genuine nationality, a variety of forms and genres, richness, and richness of the native language. Following Nekrasov, many poets - his contemporaries - began to create works for children.

2.13 Poems by A.K. Tolstoy for children 10

A poet who belonged to the romantic, to “pure art” - Alexei Konstantinovich Tolstoy (1817-1875) Like many poems by poets of the second half of the 19th century, Alexei Tolstoy’s poems became songs and gained wide popularity. His poems: “My little bells,” “The sun is descending over the steppes,” “Oh, if only Mother Volga would run back,” soon after publication, in essence, they lost their authorship and were sung as folk works.

Alexei Konstantinovich Tolstoy wrote for adults and children. Tolstoy's poems, which are included in children's reading, are dedicated to nature. He felt her beauty unusually deeply and soulfully, in tune with the person’s mood - sometimes sad, sometimes majorly happy. At the same time, he, like every truly lyric poet, had an absolute ear for music and the rhythm of speech, and he conveyed his spiritual mood to the little reader. Children, as we know, are extremely sensitive to the musical and rhythmic side of poetry. And such qualities of A. Tolstoy as the talented ability to highlight the most striking feature of a subject, accuracy in descriptions of details, clarity of vocabulary, firmly established his name among the poets who entered the circle of children's reading.

My bells

Steppe flowers!

Why are you looking at me?

Dark blue?

And what are you calling about?

On a merry day in May,

Among the unmown grass

Shaking your head?

2.14 Creativity of A.N. Pleshcheeva in children's literature 11

The inseparable fusion of life and poetry was professed by the poet of the Nekrasov school Aleksey Nikolaevich Pleshcheev (1825-1893). He was a participant in the revolutionary movement, then arrested and exiled to Siberia - all this determined the main motives of his work. His poems are permeated with a tragic perception of injustice, anger at the inertia of the environment, and despair at unfulfilled hopes.

The constant search for new paths led him to children's literature. The poet accepted children as future builders of “Russian life”, and with his soulful poems sought to teach them “to love goodness, their homeland, and remember their duty to the people.” The creation of children's poems expanded the poet's thematic range and introduced concreteness and free conversational intonation into his work. All this is typical for such of his poems as “A boring picture!”, “Beggars”, “Children”, “Native”, “Old People”, “Spring”, “Childhood”, “Grandmother and Granddaughters”.

In 1861, Pleshcheev published the collection "Children's Book", and in 1878 he combined his works for children with the collection “Snowdrop”. Most of the poems are plot-based; many consist of conversations between old people and children. Pleshcheev’s poems are lifelike and simple:

“Grandfather, my dear, blow a whistle for me.” “Grandfather, find me a little white mushroom.” “You wanted to tell me a fairy tale today.” “You promised to catch a squirrel, grandfather.” - “Okay, okay, kids, just give it time, You’ll have a squirrel, you’ll have a whistle!

All of Pleshcheev’s poems are familiar from childhood and are accepted by ear as folk poems. In his poems, Alexey Pleshcheev managed to reflect children's psychology; by choosing a simple line, the poet was able to reflect the Child's attitude to the surrounding reality. The grass is turning green. The sun is shining, the Swallow is flying towards us in the canopy with spring.

In the poet's poems, as in folk works, there are many diminutive suffixes and repetitions. In the poems one can hear direct speech with childish intonations. The following poems by Pleshcheev have become the property of children's literature: “Morning” (“The stars fade and go out. Clouds are on fire.”), “Grandfather” (“Bald, with a white beard, grandfather is sitting.”), “Morning on the shore of the lake,” “ The coachman's wife", "I remember: it used to be a nanny." The poet's works organically include motifs and images of folk lyrical songs. It is no coincidence that more than 60 songs and romances were created based on Pleshcheev’s poems. Among them are “Rus”, “On an old mound, in the wide steppe.”. The children's song "Meeting Winter" ("Hello, Guest Winter!") became especially widely known.

Pleshcheev's poems were included in children's collections and anthologies. The poet always strived to merge landscape lyrics with civil ones, like all the poets of the Nekrasov school. When describing nature, he usually came up with a story about those “whose life is only toil and sorrow.” Turning in his poem to early autumn, whose “sad appearance, grief and hardships promise the poor,” he touches on the sad picture of peasant life: He hears in advance the screaming and crying of the children; He sees how they don’t sleep at night because of the cold.

When you read Pleshcheev’s poems about spring, you imagine bright, sunny landscapes, colored by the sun, and a purely childish perception of nature, as, for example, in the poem “The Grass is Turning Green.” Every arrival of spring I want to greet it with poems: “the grass is turning green…”: the time of new hopes, the revival of life after a long, cold winter is coming.

2.15 Creativity of I.S. Nikitina in children's reading 12

Ivan Savich Nikitin (1824-1861) turned to creating poems for children. His poems are included in the reading circle for children. In his poems one can see the influence of the work of A. Koltsov. Like many poets of the second half of the 19th century who sought to write for children, Nikitin connected together nature and the life of the people. He wrote on a grand scale, showing the power and beauty of Russia. His poems sound solemn and affirming: Wide are you, Rus', Spread royally across the face of the earth in beauty.

Nikitin's poems are in tune with folk songs and echo the poems of N. Nekrasov. Many of his poems, set to music, are perceived as truly folk, and there is no doubt about their nationality. The broad element of song is combined in Nikitin’s poetry with thoughts about the fate of the people, about their natural optimism and resilience. The poet's landscape lyrics also serve to express these feelings and thoughts. But in children’s literature, Nikitin’s poems are not used in entire works, but only in some passages: “Meeting Winter”, “Admire, Spring is Coming”:

Time moves slowly - Believe, hope and wait. Behold, our young tribe! Your path is wide ahead.

Nikitin’s poems have a special rhythm of rhyme - this helps the child more easily remember the poem or passage itself. A child, getting acquainted with the poems of Ivan Savich Nikitin, feels the immensity of his country, its greatness and hope for the future.

2.16 Children's poems by I.Z. Surikov 13

Poems and songs that have been heard since childhood and are easy to understand are the poems of Ivan Zakharovich Surikov (1841-1880). His poems are real poetry for children. As soon as the snow falls, the first lines that come to mind: Here is my village, Here is my home, Here I am sledding along a steep mountain

One imagines a snow-covered village, cheerful children, snow slides and sleds, fun and joy - all this in Surikov’s poems. Music is easily written to Surikov’s poems, and again, like all the poems of the Nekrasov group of poets, they are perceived as folk. And they are easily remembered and not forgotten, and in some situations they are easily remembered. Colorful words help to imagine the situation discussed in the poem. A unique poem set to music: “Like a deaf man in the steppe, the coachman was dying.” Simplicity is amazing poetic means, with the help of which the poet manages to achieve such artistic results: brevity in descriptions, laconism in expressing feelings, rare metaphors and comparisons. It was these features of Surikov’s verse that brought him closer to folklore, made it accessible to children, they willingly listened and sang the poet’s poems, which became songs, and read it in anthologies and collections.

The poems of the poets of the 60-70s of the second half of the 19th century, with all the variety of motives and intonations, are surprisingly kind and humane. They recreate a harmonious world of unity between man and nature, warmth family relations, convey faith in a good beginning, the desire for knowledge, for a happy life.

The best poems of the poets of this time are well known and loved by many generations of Russians, they were carefully passed down from elders to younger ones, without exaggeration it can be said that they entered the genetic memory of the people and became invaluable national cultural wealth.

3. Conclusion

The analysis of the development of children's literature in Russia in the second half of the 19th century allows the following conclusions:

children's literature was a kind of “mirror”, an indicator of the political, ideological, and religious attitudes of society;

children's literature reflected all the vicissitudes of Russian history;

history of children's literature the essence of history Russian society.

It would be legitimate to say so. That the history of children's literature itself is the essence of the history of Russian society. Having absorbed the best achievements of previous eras, continuing and developing them in new conditions, children's literature of the second half of the 19th century became high art and, in its best examples, is not inferior to the achievements of “great” literature. Development of children's literature second half of the 19th century century occurs in close connection with education, with literature for adults and all culture, with the revolutionary liberation movement

Until now, children's poems by poets N.A. Nekrasova, A.K. Tolstoy, A.N. Pleshcheeva, I.S. Nikitina, I.Z. Surikov's works are read by modern children. There is no family in which these beautiful poems have not been read and taught since childhood. From the first days of life, communicating with their Child, parents voiced these verses first by ear, and then together helped the child learn.

4. Analysis of the poem by N.A. Nekrasov "Grandfather Mazai and the Hares" 14

Nekrasov perfectly understood the importance of children's reading in the formation of the child's personality and civic qualities, and therefore he dedicated his poems to those on whom he had high hopes for fulfilling the fate of Russia - peasant children. One of Nekrasov’s poems that has become firmly established in children’s reading is “Grandfather Mazai and the Hares” (1870).

The main theme of this poem was love for nature, for caring for it, and reasonable love. The poet gives the floor to Mazai himself:

I heard stories from Mazai.

Children, I wrote one down for you...

In the poem, Mazai talks about how in the spring, during the flood, he swam along a flooded river and picked up little hares: first he picked up several from an island on which the hares were crowded together to escape the water that was flowing all around him, then he picked up a hare from a stump on which, " "The poor fellow stood with his paws crossed," and the log with a dozen little animals sitting on it had to be hooked with a hook - they wouldn't all fit into the boat.

In this poem, the poet Nekrasov tells young readers about peasant life, instills in them love and respect for the common people, and the spiritual generosity of a person like Grandfather Mazai.

With old Mazai I beat great snipes.

The climax in this poem is Mazai's story about saving the hares:

I went in a boat - there are a lot of them from the river

In the spring the flood comes to us -

I go and catch them. The water is coming.

At the end of the poem, Mazai releases the hares with the advice: “Don’t get caught in winter!”

I took them out to the meadow; out of the bag

He shook it out, hooted - and they gave a shot!

I gave them all the same advice:

"Don't get caught in winter!"

Grandfather Mazay loves all living things. This is a real, living humanist, a good owner and a good hunter. Mazai, like every Russian person, is honest and kind, and is not able to take advantage of the situation in which the animals find themselves.

The poem "Grandfather Mazai and the Hares" does not tire the little reader: his attention switches from subject to subject. The poet writes amazingly beautifully about the evening singing of the warbler, and the hooting of the hoopoe, and about the owl:

In the evening the warbler sings tenderly,

Like a hoopoe in an empty barrel

Hoots; the owl flies away by night,

The horns are chiseled, the eyes are drawn.

Here is a peasant “anecdote” about some Kuza, who broke the trigger of a gun and set fire to the primer with matches; about another “trapper” who, to keep his hands from getting cold, carried a pot of coals with him when hunting:

He knows a lot of funny stories

About the glorious village hunters:

Kuzya broke the trigger of the gun,

Spichek carries a box of matches with him,

He sits behind a bush and lures the black grouse,

He will apply a match to the seed and it will strike!

Another trapper walks with a gun,

He carries a pot of coals with him.

“Why are you carrying a pot of coals?” -

It hurts, darling, my hands are cold...

The poem contains comparisons. Nekrasov compares rain with steel bars:

Straight as bright as steel rods,

Jets of rain pierced the ground.

The creaking of a pine tree with the grumbling of an old woman:

Is any pine tree creaking?

It’s like an old woman grumbling in her sleep...

There are also epithets here - green gardens, painted eyes.

In the summer, cleaning it up beautifully,

Since ancient times, the hops in it will be born miraculously,

All of it is drowning in green gardens...

...Whoops; the owl scatters by night,

The horns are chiseled, the eyes are drawn.

The poem "Grandfather Mazai and the Hares" is recommended for older children preschool age and primary school age. The poem gives children a lesson in love for nature, and a careful and reasonable love; beautiful pictures of nature are given here. The poet does not avoid “cruel” descriptions; his trust in the heart and mind of the little reader is so great that it gives him the right, in this poem of the children’s cycle, to reveal those aspects of life that children’s literature of that time tried not to touch.

Nekrasov always carefully worked on the educational side of children's poems, but, in addition, these poems themselves are a lesson in careful handling of the child's psyche, because the child is also a part of nature, which Nekrasov so ardently called on to love and protect.

List of used literature

1. Svetlana Panova, jazz singer: “The influence of lullabies on a person.”

2. Elvira Agacheva “The influence of literature on the upbringing of children. History, types and genres.” Family website www.list7i.ru.

Curriculum for the discipline "Children's Literature" in the Specialty "Defectology. Correctional Pedagogy."

L.S. Vygodsky "Pedagogy and Literature"

L.S. Vygodsky "Imagination and creativity in childhood."

. "The world of sensual things in pictures." Foreword by Jan Komensky (http://www.twirpx.com/file/599330/)

I.N. Arzamastseva, S.A. Nikolaev "Children's literature".

E. E. Nikitina "Development of children's literature and periodicals of the second half of the 17th century and the first half of the 19th century." http://cyberleninka.ru/.

N.A. Nekrasov "Poems for Children" "children's literature" 1975

A.K. Tolstoy "Poems and Ballads" Publishing House "EXMO" LLC. Russian Federation, Moscow, K. Tsetkin St., 18, building 5

A.N. Pleshcheev "Poems for Children" Upper Volga Publishing House 1969

FROM. Surikov "Poems for Children" ESMO 2015

I.S. Nikitin "Native poets". State Publishing House "Children's Literature" Moscow 1958

N.A. Nekrasov "Red Nose Frost". Publishing House "Children's Literature" 1959

Similar works to - The influence of fiction on a child’s personality

Many works of Russian literature glorify a bright, strong personality. In addition to Gorky, Sholokhov and L.N. addressed this topic. Tolstoy.

Mikhail Sholokhov in the epic novel " Quiet Don"describes the feat of Grigory Melekhov. On the battlefield, he not only heroically defeats the enemy, but also, after receiving a serious wound, saves a dying officer. Just like Danko from Gorky’s work “The Old Woman Izergil,” he goes to his death, saving others (“- You will die! You will die! - they roared."

The exploits of these heroes are united by the goal of helping people (“Danko looked at those for whom he worked”).

L.N. Tolstoy in his epic novel “War and Peace” describes Tushin’s feat in the Battle of Shengraben. On the battlefield, his battery is left without cover (“The cover... was left on someone’s orders”), but without the approval of his superiors he decides to set fire to the village, thereby delaying the French and saving the Russian troops. The heroes of the works “War and Peace” and “Old Woman Izergil” are united by the desire to save people at any cost, they are ready to take command and responsibility (“You said: “Lead!” - and I led!” Danko shouted).

Thus, all three heroes are bright, strong personalities who have common goals.

Updated: 2017-10-04

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Useful material on the topic

What features of a romantic narrative are present in the legend of Danko? In what works of Russian literature is a bright, strong personality glorified, and in what ways can these works be compared with M. Gorky’s work “Old Woman Izergil”?

One of the main characters of N. A. Nekrasov’s poem “Who Lives Well in Russia” - Grisha Dobrosklonov - is a bright personality who stands out from the background of other characters. Like Danko, the hero of the poem does not live for himself, but lives for others, lives in the struggle for the happiness of the people.

Gregory does not agree to submit to fate and lead the same sad and wretched life that is typical of most people around him. Grisha chooses a different path for himself and becomes a people's intercessor. He is not afraid that his life will not be easy.

Fate had in store for him

The path is glorious, the name is loud

People's Defender,

Consumption and Siberia.

Since childhood, Grisha lived among poor, unhappy, despised and helpless people. He absorbed all the people's troubles with his mother's milk, therefore he does not want and cannot live for the sake of his selfish interests. He is very smart and has a strong character. And it leads him onto a new path, does not allow him to remain indifferent to the people’s disasters. Gregory's thoughts about the fate of the people testify to the liveliest compassion that makes Grisha choose such a difficult path for himself. In the soul of Grisha Dobrosklonov, confidence is gradually maturing that his homeland will not perish, despite all the suffering and sorrows that befell it. Nekrasov created his hero, focusing on the fate of N. A. Dobrolyubov.

The image of Grigory Dobrosklonov in Nekrasov’s poem “Who Lives Well in Russia” inspires hope in the moral and political revival of Russia, in changes in the consciousness of the ordinary Russian people.

The ending of the poem shows that people's happiness is possible. And even if it is still far from the moment when an ordinary person can call himself happy. But time will pass and everything will change. And not the least role in this will be played by Grigory Dobrosklonov and his ideas. Like Danko, the hero of the poem does not live for himself, but lives for others, lives in the struggle for the happiness of the people.

But there are bright, strong personalities in Russian literature, but they could not find application for their abilities, their “immense powers.” For example, Grigory Aleksandrovich Pechorin, the hero of M. Yu. Lermontov’s work “Hero of Our Time”. Already in the title itself it is emphasized that we are talking about a strong, extraordinary person. Pechorin is a deep character. He combines a “sharp, cooled mind” with a thirst for activity and willpower. He feels immense strength within himself, but wastes it on trifles, on love affairs, without doing anything useful. Pechorin makes the people around him unhappy. So he interferes in the lives of smugglers, takes revenge on everyone indiscriminately, plays with the fate of Bela, the love of Vera. He defeats Grushnitsky in a duel and becomes the hero of the society he despises. He is above the environment, smart, educated. But internally devastated, disappointed. He lives “out of curiosity,” on the one hand, and on the other, he has an ineradicable thirst for life. Pechorin's character is very contradictory. He says: “I have long lived not with my heart, but with my head.” He painfully searches for a way out, thinks about the role of fate, seeks understanding among people of another circle. And he doesn’t find a sphere of activity or use for his powers.

We are publishing an excerpt from the thesis “Features of the image of a child in expectant mothers receiving various specialties,” author M.Yu. Gumilevskaya, graduate:

As we already said in the first paragraph of the diploma, the study of the image of a child is not limited to any one discipline; it runs like a thread through many sciences and is found in art, religion and other spheres of public consciousness. To understand it more fully, let us consider literature as a separate area in which this image is reflected.

We will try, by analyzing the literature, to touch on several periods. In the literature of classicism one can see that childhood is perceived as a deviation from the norm of “immaturity.” At this time, they are interested in exemplary behavior of people.

Educators are developing an interest in childhood; at the same time, it is rather educational. Literature for children is published, where serious and scientific thoughts of the adult world are tried to be explained to children. Books are written in an accessible, didactic, illustrated form. Between 1750 and 1814, approximately 2,400 such book titles were published in England. Childhood and adolescence occupy more and more space in educational autobiographies and “novels of education”, portrayed as a period of formation and formation of the hero’s personality. And only in the era of romanticism, childhood is seen as a “precious world in itself.”

For romantics, the attitude is turned upside down. As N.Ya. wrote Berkovsky, “Romanticism established the cult of the child and the cult of childhood. The 18th century understood the child as an adult of a small size, they even dressed children in the same camisoles, slapping them on top with wigs with a pigtail and slipping a skewer under their arm. Children start out as romantics; they are valued for themselves, and not as candidates for future adults. The “children of children” of the romantics are in fact not children at all, but the same conventional symbols of a certain ideal world as the “happy savages” of the 18th century. Childhood innocence and spontaneity are contrasted with the “perverted” and cold world of rational adulthood. In W. Blake's "Songs of Innocence" the child is a "child of joy", "a bird born for joy", which in the "Songs of Experience" awaits a school resembling a cage. The intrinsic value of childhood is emphasized in every possible way. According to W. Wordsworth's definition, “a child is the father of a man.” S. Coleridge emphasizes that a child can teach an adult a lot. But in romantic works appears, not a real, living child, but an abstract symbol of innocence, closeness to nature and sensitivity, which adults lack.

In Russia, the image of childhood is endowed with deep significance by M.Yu. Lermontov. He expresses the idea that childhood seems like a shaky, flourishing island in the middle of a deserted sea of life. Pushkin, in turn, treats childhood as well as old age, as simply a moment in the cycle of times.

The theme of childhood entered Russian literature as a sign of intense self-awareness of the individual and society as a whole. Writers before L.N. Tolstoy, as a rule, was guided by the type of adult with his stable, formed individuality. L.N. Tolstoy was the first to turn his attention to childhood, during this period of the development of literature. His thoughts on the image of the child L.N. Tolstoy reflected in the work “Childhood. Adolescence. Youth". He shows the internal mobility of feelings, sharp transitions from denial to affirmation, from the whole to the particular, which are a typical feature of the child in his mind. Childhood, and after it the child himself, does not obey certain rules and one line; it lives multidimensionally, multidirectionally, biting into everything it comes into contact with. Childhood and a child are “an ocean on the surface of which islands of adult consciousness float.” L.N. Tolstoy depicts the development of reflection and moral consciousness of a child.

In B. Pasternak's "Childhood Eyelets" things appear to the reader as some blurred edges that penetrate each other. Here we see that everything is in everything, without limitation. The childhood gap is aggravated by illnesses and dreams. B. Pasternak’s child appears as a defenseless, tender creature, striving to be constantly under someone’s tutelage and care. This creature wants to remain in this position for as long as possible, because his world allows him to live without thinking about adult problems.

Already in the 19th century, the concept of romanticism began to fade into the background, giving preference to a different image; it manifests itself most deeply in F.M. Dostoevsky. The image of an innocent, sinless child is increasingly becoming a thing of the past. The image of a child in F.M. Dostoevsky is built on the dual nature of the child. On the one hand, this is a unique childish purity, on the other, cruelty in all its manifestations. This is a traditional Christian image and a demonic creature, ready to destroy all commandments. At M.F. Dostoevsky is the highest ideal, which represents an adult with the innocence and spontaneity of a child and the experience of moral consciousness.

In the 20th century, some Western writers had this position: M.F. Dostoevsky’s attitude towards the child is focused on the anti-morality of childhood. For example, W. Golding in “Lord of the Flies” expresses the idea that a child easily stops behaving the way adults taught him and turns into a wild, unbridled creature. Children themselves degrade to such a state. The child is not initially a superior person, as the writers of romanticism imagined him, and not a person, some kind of alien and even hostile entity to humanity. Such an example can be seen in R. Bradbury’s work “The Veldt,” “The Hour.” He expresses a very interesting thought and idea in which he wants to show that a child can be the worst thing. On the one hand, he is completely dependent on the adult, is completely defenseless, on the other hand, in terms of his internal makeup, he is impenetrable to adults. The child speaks his own language, plays his own games, all this remains a mystery to the adult. As a result, aliens can penetrate our civilization thanks to children, taking into account their image and characteristics. Then they will be just as mysterious and unpredictable in their plans and just as insidious and ruthless in their actions.

Contrasting the image with the English one, Russian literature has developed its own image of a child, for whom interest in the world of nature and things can be considered specific. If L.N. In Tolstoy we saw a focus on people; in Aksakov, nature and the child’s relationship with it are in the foreground. Aksakov believes that a child is a person before the Fall, the person who gave names to all things and animals that came to him. The child’s image includes enthusiasm and involvement in the process of communication with nature, interest in everything around him. Predominant interest in things rather than people arises, according to Aksakov, only during infancy.

In the 19th century, images of poor, disadvantaged children, deprived of a home, victims of family and especially school tyranny appeared, but the children themselves remained one-dimensionally naive and innocent. Then the family “nest” is subjected to artistic research and it turns out that cruel slavery, oppression and hypocrisy that cripple the child are often hidden here under the warm shell. As you go deeper psychological analysis The children's images themselves also lose their former clarity and one-dimensionality. Oliver Twist is a small, pitiful man, kicked from all sides by adults, covered in bruises from physical and moral bruises; a little man, crushed by a huge mass of strangers, non-native people, among whom he was lost. I would like to immediately bring the opposite image of a child and childhood. In J.-P. Sartre's child lives in complete bourgeois affluence; he is deprived of support in real world, others do everything for him, he is artificially fenced off from reality. Before us are two different images: one unhappy and persecuted, the other wealthy and constantly living in care - at the same time, they are both defenseless, each in their own way.

M. Twain shows a child who loves the romance of travel and adventure, the joy of homelessness. And if in Dickens, the child does not love, even hates, his home, because he has lost the warmth of kinship, then Huckleberry Finn hates his home, because it is a limited space, and he needs breadth and spaciousness. If Oliver cannot remember his mother without tears, then Finn fiercely hates his father. The childhood of Finn and Tom Sawyer is just as happy as that of Nikolenka L.N. Tolstoy and Seryozha Aksakov, only they are happy in different ways. The first is complete freedom of action and imagination, the second is in the unity of oneself and the earth, a deep feeling of the earth.

In Hemingway, Volker, T. Wolfe, and Salinger, the image of a child is built on the naturalness of a child, intolerant of falsehood and rejecting conformity.

Only in the 20th century did the image of a Twain-type child appear in Russian literature. These are tomboyish boys, daring, courageous, uninhibited - this is Timur A. Gaidar. These are guys ready for combat, they crave the unknown, and are ready for any challenge.

In the 40s - 50s. In the 20th century, Prishvin and Paustovsky created a sentimental image of a child, where the child is surrounded by the reality of nature and the atmosphere of a fairy tale; he is marked by features of naivety, high simplicity, and childishness.

But everyone new image a child is not just a stage of deepening the artistic knowledge of childhood, but also a specific type of social projection, a reflection of the aspirations and disappointments of adults.

The multidimensionality and diversity of children's images in literature or portraiture reflect not only the progress of artistic knowledge and differences in the individuality of the authors, but also changes in the real content of childhood and its symbolization in culture.

S. Zweig wrote: “...Our spiritual world is made up, like from millions of monads, from individual impressions, the smallest part of which is what we personally saw and experienced, and we owe everything else - the bulk - to books, what we read, what we perceived, what we studied.”

The system of ideas reflected in the book really actively shapes both the image of the world and the image of the child. The image in the book itself becomes a second reality, sometimes more real than reality itself. And since a book is an infinite expansion of the connections of the subject of social action with the world, the more the book opens for the individual, the richer his personal image of the world becomes.

Lomov B.F. highlighted the role of the word in constructing an image and determined its formative role through fiction. With the help of words, the writer paints a living picture, which is then recreated by the reader. So, for example, when reading descriptions of the steppe in the works of M.A. Sholokhov, not only vivid visual images arise, but also sounds and smells are recreated.

When building his image of the world, a person cannot, at least to a minimal extent, not be included in the process of learning the image of the world that is characteristic of his society, because a book is an objectified need for adequate inclusion in normative social and personal moral relations. The book is a significant factor not only in structuring, but also in the nature of creating the image of the world and the image of the child and their characteristics.

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Fortitude is an active determination to reach a goal, overcoming any obstacles. Every person would like to be strong, but not everyone succeeds. Examples of the strength (or weakness) of the spirit are found both in fiction and in the reality around us.

Arguments from literature

(56 words) In D.I. Fonvizin’s comedy “The Minor,” Starodum can serve as an example of fortitude. The hero meets a young officer who seems decent. However, war was soon declared, the protagonist’s friend evaded the defense of the Motherland and succeeded in the rear. Starodum went to the battlefield, was wounded and outflanked. But this incident did not break him and did not deprive him of faith in the triumph of truth.
(48 words) Erast, the hero of the story by N.M. Karamzin " Poor Lisa", turned out to be a weak person, could not match the love of the peasant woman Lisa. The young man, having seduced the girl and got his, squanders his fortune and decides to find himself a profitable match. Erast deceived Lisa and married someone else, and she drowned herself, so the hero’s powerlessness was punished by eternal pangs of conscience.
(54 words) Chatsky, hero of the comedy A.S. Griboyedov “Woe from Wit” is a truly strong man, he had the courage to go not only against one influential person, Famusov, but also against a crowd of his supporters. Chatsky preached truth, freedom, opposed veneration and lies. Everyone turned their backs on him, but Alexander still did not give up, isn’t this strength of spirit?
(59 words) In the novel in verse “Eugene Onegin” by A.S. Pushkin, the strength of the spirit is concentrated in Tatyana. Having fallen in love with Onegin, she was ready to do anything for him. The girl was not even afraid to confess, but this was unacceptable in the 19th century. The strength of spirit, the power of love overcame all obstacles, except one - the lack of reciprocal feelings. Tatyana remained unhappy, but she has a core and the truth is on her side.
(47 words) Mtsyri, main character poem of the same name by M.Yu. Lermontov, all his life he yearned for his native Caucasus and freedom. The hero had a goal: to live for real, at least for a moment, outside the monastery. And Mtsyri fled and tried to return to his native place. It didn’t work out for him, but this thirst for freedom reveals the strength of spirit in the hero.
(48 words) Pechorin, the main character of the novel by M.Yu. Lermontov "Hero of Our Time" - strong-willed Human. For example, when Grushnitsky started an unfair duel against him, Grigory was not afraid, but calmly brought the game to the end, punishing the scoundrel with death. This act is not at all merciful, but strong, because otherwise the hero himself would have died.
(52 words) The main character of the story M.E. Saltykov-Shchedrin's "The Wise Minnow" is completely devoid of any spiritual strength, he was afraid of dangers all his life, and therefore did not live, but only existed in a hole without friends, love, simple joys. Because of his weakness, everything passed by the gudgeon, although his existence was long, but absolutely empty. Without strength of spirit there is no life.
(36 words) In the story by A.P. Chekhov's "Death of an Official", the executor Chervyakov sneezed on General Bryzzhalov and was so frightened by the consequences of this accident that, in the end, he died of horror. Fear has deprived the hero of common sense, this is what weakness of spirit leads to.
(41 words) Andrei Sokolov, the main character of the story by M.A. Sholokhov’s “The Fate of Man” can be called a strong personality. He went to war because his homeland was in danger, he went through all its horrors, then captivity and a concentration camp. Sokolov is a real hero, although he himself never understood his strength.
(60 words) Vasily Terkin, the hero of the poem of the same name by A.T. Tvardovsky, fortitude is combined with humor and ease, as if it costs nothing for a fighter to do things that few modern people can repeat without fear and posturing. For example, the chapter “Duel” tells about the hero’s confrontation with a German: the enemy is fattened, better prepared, but Vasily won, and this victory occurred solely on moral and volitional qualities, because of fortitude.

Examples from life, cinema and media

(54 words) Plumber Dmitry, the hero of the film “Fool” by Yu. Bykov, tried to go against the system for the benefit of almost a thousand people who were simply abandoned. In the dormitory building, the hero noticed a huge crack, the house was about to collapse, people would die or be left on the street. He fights for strangers against the authorities, fights to the end. He died, the system still won, but the hero’s strength of character evokes respect.
(46 words) Chuck Noland, the main character of the film “Cast Away” by R. Zemeckis, found himself in an extreme situation: the plane on which the hero was traveling crashes, and he finds himself on a desert island. In such a situation, if you give up, you will die. Decisions need to be made here and now. Chuck harnessed his inner strength, survived and was able to rethink his life.
(44 words) The eccentric Captain Jack Sparrow from Gore Verbinski's Pirates of the Caribbean: At World's End epitomizes unsinkability. This hero went to the next world and came back without batting an eyelid. And all because he never gives up, and this quality makes him a strong person.
(41 words) Nick Vujicic is a man of enormous fortitude. Nick has no arms or legs, but he was able to graduate with a double major, find love, travel, and give lectures that help other people. Such heroes motivate us to accomplish great things by their example.
(46 words) Peter Dinklage, known to many for his role as Tyrion Lannister from Game of Thrones, has overcome many obstacles. Dinklage was born with achondroplasia (a disease that leads to dwarfism), he has a poor family, and there was no success at the beginning of his career. Now this actor is extremely popular; problems have only strengthened his character.
(52 words) Stephen Hawking, who is a luminary modern science, since the age of 20 he has been struggling with amyotrophic lateral sclerosis. Now this disease cannot be treated, the scientist is paralyzed, he even speaks only with the help of a speech synthesizer. However, Hawking does not give up: he continues his scientific work, inspires young scientists to new achievements, and even appears in the comedy series “The Big Bang Theory.”
(67 words) One of my friends was diagnosed with cancer. This was a young woman with a small child, and the disease was already in its final stages. The first thing she thought about was how to arrange a child in the best possible way. The second is how to live further. One could cry in anticipation of the end, but the woman began to help other patients, and also live life to the fullest without delaying any meetings, travel, acquaintances. You need to have a huge inner core to repeat her feat.
(47 words) A friend of mine underwent an operation that was not entirely successful. The body rejected the material that was sewn in during surgery, and inflammation began. She underwent several more operations, a huge number of injections, and a whole year of her life passed in the hospital ward. However, this year strengthened her character, taught her not to give up and be strong.
(62 words) As a child, an incident happened to me that forced me to be strong on pain of death. I was just learning to swim, but I accidentally found myself in a deep place where I couldn’t reach the bottom, I got scared and started to drown. It was quite far from the shore. Then I realized that if I didn’t calm down and be strong, I wouldn’t be able to save myself. And I swam as best I could, but I swam and survived.
(57 words) Once, when I was still very little, my mother looked out of the apartment and saw that there was smoke in the entrance, and it was impossible to go out, especially with a child. But through the window, my mother saw a fire truck, so we went out onto the balcony, and my mother began giving signals to the firefighters. They noticed us and pulled us out. Mom was not at a loss, she had to become strong for me.

Strength of spirit is not only about going into battle with a saber drawn; it is often required in everyday life to deal with all problems and troubles. This quality must be cultivated in yourself; you cannot live without it, as the Kino group sang: “You must be strong, otherwise, why should you be?”