Introduction

I. Biographical milestones, creative appearance

II. Poetry addressed to children

1. Folklore traditions

2. Thematic cycles and poetics

III. Poetry without limits

1. Creativity of E. Blaginina in the context of the dispute about the specifics of children's poetry

2. Figurative system, main motives, poetics

Conclusion

Bibliographic list

Introduction

In this work, we turn to the work of Elena Aleksandrovna Blaginina. In the reader's mind, this name is reliably associated with the memory of childhood and poetic lines, which are distinguished by their special rhythm, artlessness, and non-ideological nature. The poetic statement concerns the most familiar and favorite topics. The figurative system displays an almost absolute set of objects and attributes of childhood. The poem “Let's sit in silence” (Mom is sleeping, she is tired ...) becomes a kind of sign of the author’s poetic school, not to mention what has always been perceived as Blaginina’s “calling card”. However, the creative image of the poet is not limited to such "universal" knowledge. Her legacy has been little explored.

By studying the work of E.A. Blaginina was studied by well-known literary critics L. Ozerov, V. Prikhodko, N. Pavlova and others, the results of which are reflected in this work.

The study of Blaginina's work in the national history of literature is reduced to several ultra-small introductory "articles" for children's collections (Tarakhovskaya E.), to individual biographical commemorative and memorial articles with elements of literary analysis (Prikhodko V., Pavlova N.), to comments and documented publications in journals (Ozerov L.).

Little is known to the reader of her works, which are not related to the children's theme and childish imagery, they are rarely attracted by researchers. Poetry collection "Windows to the Garden" (1966), selections of poems in the collections "Day of Poetry" (1962, 1969, 1971, 1989), "Requiem" (1989), in the magazine "New World" (1987, 1989) show that this is a highly exacting and rigidly self-critical poet, the essential quality of whose personality can, perhaps, be defined as a thirst for self-fulfillment. The approach to the study of Blaginina often sins with one-sidedness and subjectivity; new aspects, approaches, and interpretations should be sought.

So relevance Our work is determined by the following circumstances:

1) Blaginina cannot be ranked among those who, in the words of Chekhov, “did not tolerate and did not recognize the so-called children's literature,” believing that children should be given what is suitable for adults. Such are Pushkin and Yesenin, their texts entered the children's reading, which they did not even think about;

2) Blaginina does not belong to those who for a moment turned into children's literature, driven by an aesthetic program, like the poets of the beginning of the 20th century, Mayakovsky, the Oberiuts;

3) Blaginina cannot be considered in the circle of professional children's poets who develop specific children's themes and absolutely realize themselves in them, like A. Barto;

4) the thematic range, figurative structure and poetics of Blaginina's works are distinguished by originality and innovation, and therefore deserve detailed consideration.

Thus, we chose three groups for our study. objects :

- Blaginina's poems, included in the children's poetry collections "Crane", "Fly away - flew away", "Shine-burn brightly", "That's what a mother!";

- poems that form the book of poems "Windows to the Garden";

– Selected texts from recent journal publications.

aim our work is to consider the poetry of E.A. Blaginina in two aspects: 1. The correlation of her poetic works with the genre forms of folklore and the tradition of world and domestic children's literature; 2. The originality of the imagery and poetics of Blaginina's "adult" poems.

This approach to the study of E.A. Blaginina is fundamentally new, which means novelty work.

Tasks solved in this work:

– to review the controversy around children's poetry;

- to show in Blaginina's poems the moments of compliance with the criteria of children's poetry and deviation from them;

- to identify the most revealing features of Blaginina's poetics;

- to argue the criterion of the line between the concepts of "poetry" and "children's poetry";

- introduce the poet E.A. Blaginin in the perspective of "poetry without boundaries";

Practical significance work is determined by the fact that the material and results can be applied in the practice of teaching the theory and history of domestic literature of the twentieth century, literary local history.

Work composed from the introduction, three chapters, conclusion, bibliography.

genre form folklore poetry blaginin

Chapter I . Biographical milestones, creative appearance

Elena Alexandrovna Blaginina was born in May 1903 in a village near Mtsensk, Orel Region, and grew up and studied in Kursk. After school - Kursk Pedagogical Institute. I started writing early. As a student, she joined the Kursk Union of Poets.

In the future, having learned that in Moscow there is a Literary and Art Institute named after. Valeria Bryusova (he was simply called “Bryusov Institute”) decided to enter it. She entered the institute and at the same time worked in the luggage department of the Izvestia newspaper. Both turned out to be important in life. In the 30s, having already declared herself as a gifted writer, Elena Blaginina became the editor of the Murzilka magazine, then the Zateynik magazine. Her connection with literature for children is fixed firmly and reliably.

Elena Blaginina has many lines, stanzas, entire poems that exist in the children's audience without the name of the author. But we all know who the author is. Where and from whom did we hear this?

Like our daughter

Pink cheeks.

Like our bird

Dark eyelashes.

Like our baby

Warm feet.

Like our paw

Scratched nails.

Some will say: in the kindergarten from the teacher. Others: at home, from grandfather. And only a third will take the book “Burn, Shine Clearly” from the shelf (M .: Detskaya Literature, 1965) and find “Alyonushka” on page 111 or - what anyone has - will remove the book “Crane” from the shelf (M .: Detskaya Literature , 1973) and on page 52 they will read the same thing, but with different pictures (there - N. Knorring, here - Y. Molokanov).

Her name is probably known to everyone from young to old. Children in this sense are more memoryful and grateful. The poems and poems of Elena Blaginina, her endless songs, tongue twisters, counting rhymes, chatterboxes, games have long been loved by kids, have become an integral part of their learning and leisure. Teachers and educators use them in their work.

E. Blaginina's rhythm set is interesting and original. The iambic tetrameter alternating with the trimeter, the frequent trochaic tetrameter, the amphibrach ballads and descriptions, the rare dactyl and anapaest - all serve the poet. Elena Blaginina has no stereotypes. Everything is alive, everything moves, everything serves the image, character, thought. And everything is so simple, everything is made from the basic elements of the world - fire, water, air.

In foreign literature, she is most interested in poets who wrote for children. So she becomes a master of translation. Her adaptations of poems by Taras Shevchenko, Lesia Ukrainka, Maria Konopnitskaya, Lev Kvitko, Natalia Zabila are widely known. They are included in many anthologies and anthologies. Her own poems are also heard in many languages ​​of near and far abroad.

The creative image of Elena Blaginina will be incomplete and insufficiently manifested, not to mention her books for adults. There are not many of these books, but they are weighty. Every line matters.

Lyrics for adults and lyrics for children are not separated by Elena Blaginina by a high and soundproof partition. They communicate, they go around. Aukane is not a random word here. In the poetics of Elena Blaginina, rhymes, as it should be, echo, but times, and cities, and countries, and human ages also echo.

Elena Blaginina always finds herself surrounded by people of different ages, books, trees, birds, rivers, flowers. And they all exist not separately, not separately, but in the unity of the earthly world, they are all connected, they all echo. They are united by the spiritual warmth of the poet, his appeal to all things. Years passed, and Elena Blaginina never ceased to be amazed at the miracle of life:

Conversation with ancestors and descendants is quite real within the poetics of Elena Blaginina. She addresses her nephews:

Suddenly in two thousand and three

You will hear Aunt Alenka,

The one that will be in heaven or hell.

In the infinity of nothingness, Elena Blaginina finds an inflamed point where her living part, her voice, will remain. Echo again, hooting of the present (which will become the future) with the future (which will become the present).

The trees we loved

Now cut down...

The flowers we plucked

Faded long time ago...

The flame that burned for us

Warmed others...

The hearts that beat next to us

Stopped.

And only the song remains

And everything is sung

Everything is sung...

Elena Alexandrovna's oral and written speech seems exemplary to me. Spills of this speech in all its tones, in all semitones of sound and color give real pleasure. After verbal confusion, language cocktails, after stylistic bad taste, which we meet all the time with modern authors, the works of Elena Blaginina convey to us the overflows of a lively folk dialect, preserve its purity and transparency. In this sense, Elena Alexandrovna can be called the keeper of the fire, the mistress of speech treasures. And here she can be a mentor. Following Prishvin, Zhitkov, Sokolov-Mikitov, Paustovsky , Isakovsky and Fraerman. Freedom and grace of style, inventiveness and naturalness of verbal expression of will without verbal balancing act, richness of intonations and harmony of transitions from one to another - that's what can be said about the language of Elena Blaginina's works.

Elena Blaginina left an extensive memoir prose, long awaiting publication. Probably, the storerooms of this author could significantly increase the corpus of published works. But Elena Alexandrovna, with her high exactingness and harsh self-criticism, did not often and easily part with her manuscripts. Following Maximilian Voloshin, her favorite poet and teacher, she could repeat: “It is more pleasant to be not a book, but a notebook.”

Much about the personality of Blaginina is reported by contemporaries who personally knew this person, this poet. The author of the book about her work, V. Prikhodko, writes that Elena Alexandrovna never ceased to amaze and delight, and often help out her friends. Helps out parents, sends gifts and Christmas tree tickets to tech kids arrested on delusional espionage charges; settles those who returned from the evacuation, after the war he puts things in order - every Thursday to gather guests to read poetry, listen to music, give away their new published books.

E.A. Taratuta testifies: “I liked her pure speech, with simple warm words, which suddenly became high poetry. She knew how to play with words merrily, like her favorite toys, revealing their inner meaning, their mysterious sound. She knew Russian poetry very well - Pushkin, Lermontov, Tyutchev, Nekrasov, Fet. I loved Block very much. Once she told me that Blok simply bewitched her, and his poems taught her to see better, hear better ... ”.

V. Prikhodko and E. Taratuta give several “sayings” of Blaginina, for which she was inexhaustible:

- The floodgates opened - flooded the muses ...

- Not everyone is young that whistles!

- Who buzzes - will not convince.

The personal fate of Blaginina is complex, her events are practically untouched by biographers. Her husband was the poet Georgy Nikolaevich Obolduev. His recognition was not official. During his lifetime, he managed to print one poem and one story, poetic creativity was known to a few initiates. Here, the spirit of experiments characteristic of the 1920s, an appeal to the poetics of futurism and constructivism, and proximity to the Oberiuts are noted. Obolduev left his poems in two typewritten collections, ready for printing, a large novel in verse, "I saw."

The widow, Elena Blaginina, subsequently managed to publish only 6 poems in the USSR. In 1933-39 Georgy Obolduev was repressed, Blaginina became the guardian of his heritage.

The thaw made it possible to publish some serious poetry. In 1966, Blaginina’s only “non-children’s” poetry collection “Windows to the Garden” was published, showing the reader the famous poetess from an unexpected side. First book for adults. And she is already sixty-three years old ... The subtitle "Book of Poems" indicates the integrity of the author's poetic vision. The works of the collection are distinguished by the clarity of language and meaning. They reflect experienced or seen situations, tell about individual experiences or destinies, reveal a connection with nature and focus on the transmission of thought. They are addressed to the third: to the person - mother, father, husband; events, phenomena - childhood, war, nature, maturity; to God.

Blaginina could not publish during her lifetime her serious poems based on the Christian faith, in which her sober view of the communist state is expressed. All her life she worked fruitfully as a children's poet, and poetry collections for children have always enjoyed recognition. Having established herself as the author of poems for children, she nevertheless experienced conflicting feelings in this position. Having published more than forty books for children in her long life and secretly kept her “adult”, seditious poems, at the end of her life, not without malice, she composed the following “rhyme”:

On the green on the lawn

Squirrels are jumping, bunnies are dancing,

And sing in every way

Birds are the mother of their rastuda.

In the 80s and 90s, Blaginina published in "thick" magazines. She brings the latest works to the editor herself, as if in a hurry, afraid of not having time to leave her word about something important, full of either love or sorrow. The poems speak of grief for dead relatives, those arrested, the fate of the poet, disgusting informers (they are worse than Judas), persecuted great ones, the forced loneliness of those whose relatives are in the Gulag, about many oppressive circumstances under communism. But at the same time, Blaginina's poems always rise above publicism. She is trying to comprehend the fate of her own, those close to her, the contemporaries surrounding her, the generation, the fatherland. As a citizen, as a woman, as a person, as an artist.

Elena Aleksandrovna Blaginina also includes the following poem in her latest poetic selection:

May my spirit not be crushed before my body!

God! You don't care!

Make it fly away like a bird

But it didn’t collapse like a log ...

Chapter II . Poetry addressed to children

II . 1 Folklore traditions

Elena Alexandrovna Blaginina is a poet whose work is correlated with many genre forms, compositional structure and poetics of oral folk poetry.

The word "folklore", which often refers to the concept of "oral folk art", comes from the combination of two English words: folk - people - and lore - wisdom. The history of folklore goes back to ancient times. Its beginning is connected with the need of people to realize the natural world around them and their place in it. Awareness of this was expressed for the people in the inextricably merged word, dance and music, as well as in works of fine, primarily applied, art (ornaments on dishes, tools, etc.), in jewelry, objects of religious worship ... From the depths of centuries came to us and myths that explain the laws of nature, the secrets of life and death in a figurative and plot form. The richest soil of ancient myths still nourishes both folk art and literature. Unlike myths, folklore is already an art form. Ancient folk art was characterized by syncretism, that is, the indivisibility of different types of creativity. In a folk song, not only words and melody could not be separated, but also the song could not be separated from the dance, the ritual. The mythological background of folklore explains why the oral work did not have a first author. With the advent of "author's" folklore, we can talk about modern history. The formation of plots, images, motives took place gradually, and over time was enriched and improved by the performers.

Children, whom Blaginina was aware of as the addressees of her poems, cognize the world continuously, so the folklore heritage turned out to be, in a certain sense, the fundamental basis for the author's creativity. The poetic work of Blaginina can rightly be considered a good example of the “author's” folklore of the 20th century. Especially noteworthy is her desire to follow the tradition of lyrical and dramatic genres of folklore.

Lyrical genres include love, wedding, lullaby songs, funeral lamentations. To dramatic ones - folk dramas (with Petrushka, for example). The original dramatic performances in Russia were ritual games: seeing off Winter and meeting Spring, elaborate wedding ceremonies, etc. One should also remember about small genres of folklore - ditties, sayings, etc.

Over time, the content of the works underwent changes: after all, the life of folklore, like any other art, is closely connected with history. The essential difference between folklore and literary works is that they do not have a permanent, once and for all established form. For centuries, storytellers and singers have perfected the skill of performing works. Note that today children, unfortunately, usually get acquainted with the works of oral folk art through a book and much less often - in a live form. As for Blaginina, here is the rarest exception: her poems, designated as "for primary, preschool and primary school age", are initially perceived and exist mainly in oral form.

The whole set of rules of folk life was reflected in oral folk art. The folk calendar accurately determined the order of rural work. The rituals of family life contributed to harmony in the family, including the upbringing of children. The laws of the life of the rural community helped to overcome social contradictions. An important part of life is holidays with their songs, dances, games. All this is captured in various types of folk art. Thematic cycles of Blaginina's poems are correlated with the data. She writes a lot about family life, the labor process, holidays, the change of seasons, and so on. But the thematic criterion is far from prevailing. Folklore is characterized by natural folk speech, striking with the richness of expressive means, melodiousness. A folklore work is characterized by well-developed laws of composition, with stable forms of the beginning, the development of the plot, and the ending. His style gravitates toward hyperbole, parallelism, constant epithets. Its internal organization has such a clear, stable character that, even changing over the centuries, it retains its ancient roots. The father of the poetess was an employee on the railway. The family was closely connected with the village, and rural impressions, the life of a close and friendly family were the main wealth of her soul. Blaginina, who grew up in a family close to the folk environment, comprehended these features of folk culture and ethics, the specifics of the folk language and folk poetic speech, consistently growing up and directly observing and listening.

So, at the early stage of her creative work, she perfectly understands that, firstly, any work of folklore has a functional character - it is closely connected with one or another circle of rituals, it is performed in a strictly defined situation. Secondly, that oral folk art and folk pedagogy are an inseparable dual unity. In addition, many genres of folk art are quite accessible to the understanding of young children. Thanks to folklore, a child more easily enters the world around him, more fully feels the charm of his native nature, assimilates the people's ideas about beauty, morality, gets acquainted with customs, rituals - in a word, along with aesthetic pleasure, he absorbs what is called the spiritual heritage of the people, without which the formation of a full-fledged personality is simply impossible.

Since ancient times, there have been many folklore works specially intended for children. This has played a huge role in the upbringing of the younger generation for many centuries and up to the present day. Collective moral wisdom and aesthetic intuition worked out the national ideal of man. This ideal harmoniously fits into the global circle of humanistic views. Children's folklore. This concept fully applies to that part of the works created by adults for children. In addition, this includes works composed by the children themselves, as well as passed on to children from the oral creativity of adults. That is, the structure of children's folklore is no different from the structure of children's literature.

By studying children's folklore, one can understand a lot in the psychology of children of a particular age, as well as reveal their artistic preferences and level of creative abilities. Many genres are associated with the game, in which the life and work of the elders are reproduced, therefore, the moral attitudes of the people, their national traits, and the peculiarities of economic activity are reflected here. These circumstances determined Blaginina's interest in the study of folklore, in particular, children's.

The great connoisseur of the Russian language V. I. Dal repeatedly turned to children's folklore when compiling the famous four-volume Explanatory Dictionary of the Living Great Russian Language (1863 - 1866). And the first collection of children's folklore published in Russia was "Children's Songs" (1868), collected by P. A. Bessonov. In this book, preference is given to those songs in which the pedagogical content of the texts, which are also distinguished by the perfection of their artistic form, comes through most clearly. Interest in folk culture, which arose at the beginning of the 19th century and did not fade throughout its entire duration, contributed to numerous publications of folklore works, including children's ones. Poets and prose writers turn to folk art, interpreting and processing it or borrowing its forms.

In the 60s of the 19th century, pedagogical thought was intensively developing in Russia. The ideas of K. D. Ushinsky also extend to the sphere of studying children's folk art, to determining its place in the general system of educating the younger generation. The most famous at that time were the articles and books of A. N. Afanasyev, an outstanding researcher and systematizer of folklore. In 1870, the “Russian Children's Tales” collected by him was published - a book that became a reader of folk pedagogy for many years. The compiler of the collection wrote: “I decided to issue a separate edition for children, without keeping the regional peculiarities of the dialect, without burdening the books with notes and choosing the best ones according to the story from several options; at the same time, it will be convenient to omit those fairy tales that should not fall into the hands of children ... "

After the publication of the works of A. N. Afanasiev, folklore has already become a serious science. The next wave of interest in folk art, in particular children's art, has been rising since the early 1920s. Among the numerous collections and studies of that time and later, the works of G. S. Vinogradov, O. E. Kapitsa, K. I. Chukovsky stand out. Vinogradov published such works as "Children's Folk Calendar", "Folk Pedagogy", "Children's Folklore and Life" and many others. Kapitsa owns many studies and collections of folklore texts, for example, Children's Life and Folklore, Living Water, and Children's Folklore. Chukovsky included records of children's word creation, as well as his reflections and scientific conclusions, in the repeatedly published book "From Two to Five"; he paid special attention to the connection of children's creativity with folklore.

A notable milestone was the work of V.P. Anikin "Russian folk proverbs, sayings, riddles and children's folklore", published in the late 50s. It largely determined the directions for further research of children's folklore - historical-genetic, philological, functional-pedagogical. Later, Anikin compiled a multi-volume work “People's Wisdom. Human life in Russian folklore”, the first issue of which is dedicated to infancy and childhood.

One of the most recent major works is the book by M. N. Melnikov "Russian Children's Folklore" (1987). According to Melnikov, "children's folklore is a specific area of ​​folk art, uniting the world of children and the world of adults, including a whole system of poetic and musical-poetic genres of folklore."

For Blaginina, who came to children's poetry, all research in this area was of great value. Therefore, V.I. Dal, P.A. Bessonov, K.D. Ushinsky, A.N. Afanasiev G.S. Vinogradova, O. E. Kapitsa, K. I. Chukovsky. V. P. ANIKIN Obviously, it was the interest of a creative person, a poet. Blaginina vigilantly traced and reliably assimilated the system of poetics of folklore genres and carefully transferred it to her own texts.

In the system of genres of children's folklore, a special place is occupied by "nurturing poetry", or "mother's poetry". These include lullabies, pestles, nursery rhymes, jokes, fairy tales and songs created for the little ones.

Today we have to speak with regret about the oblivion of tradition, about the ever-increasing narrowing of the circle of lullabies. This happens mainly because the inseparable unity of "mother - child" is violated. Yes, and medical science raises doubts: is motion sickness useful? So the lullaby goes out of the life of babies. Meanwhile, a connoisseur of folklore V.P. Anikin appreciated her role very highly: “The lullaby is a kind of prelude to the musical symphony of childhood. By singing songs, the baby's ear is taught to distinguish the tonality of words, the intonational structure of native speech, and the growing child, who has already learned to understand the meaning of some words, also masters some elements of the content of these songs.

At the center of all "mother's poetry", and the lullaby in particular, is the child. He is admired, he is cherished and cherished, decorated and amused. Essentially, it is the aesthetic object of poetry. In the very first impressions of a child, folk pedagogy lays a sense of the value of one's own personality. The baby is surrounded by a bright, almost ideal world, in which love, goodness, and universal consent reign and conquer. Blaginina creates such a text, as if specially designed to recall the center of the poetic statement in the lullaby:

The little girl woke up

Stretched sweetly,

Lie down, lie down

Yes, she smiled.

The heart is beating fast.

Oh my fish!

What is the road

I need your smile!

Gentle, monotonous songs are necessary for the transition of the child from wakefulness to sleep. From this experience, a lullaby was born. Here the innate maternal feeling and the sensitivity to the peculiarities of age, organically inherent in folk pedagogy, affected. Lullabies reflect in a relaxed, playful way everything that a mother usually lives with - her joys and worries, her thoughts about the baby, dreams about his future. In her songs for the baby, the mother includes what is understandable and pleasant to him. This is a “gray cat”, “red shirt”, “a piece of cake and a glass of milk”, “crane” ... There are usually few words-concepts in a lullaby - only those without which primary knowledge of the world around is impossible. These words also give the first skills of native speech. In this regard, we quote another Blaginin text:

We have five teeth in our mouth.

And a year will pass

The mouth will be full.

Carrots get on the tooth -

Hrup-crunch,

Crunch-crunch!

Cabbage will fall

And she won't get off.

The rhythm and melody of the song were obviously born from the rhythm of the rocking of the cradle. Here is the mother singing over the cradle (folk version):

Baiushki bye!

save you

And have mercy on you

your angel -

Your keeper.

From every eye

I cry from everything

From all sorrows

From all misfortunes:

From the crowbar of the crowbar,

From the evil man

Adversary.

How much love and ardent desire to protect your child is in this song! Simple and poetic words, rhythm, intonation - everything is directed to an almost magical spell. Often a lullaby was a kind of spell, a conspiracy against evil forces. One can hear in this lullaby echoes of both ancient myths and the Christian faith in the Guardian Angel. But the most important thing in the lullaby for all time remains the poetically expressed care and love of the mother, her desire to protect the child and prepare for life and work. Here is also a folklore text:

You will live, live

Don't be lazy to work!

Baiushki bye,

Lovely love!

Sleep sleep at night

Yes, grow by the hour,

Grow up big

You will begin to walk in St. Petersburg,

Silver-gold to wear.

The tradition of the lullaby, apparently, is strong and impeccably observed by Blaginina. Poems, correlated with the folk lullaby, have their own system of expressive means, their own vocabulary, their own compositional structure. Short adjectives are frequent, complex epithets are rare, there are many transfers of stress from one syllable to another. Prepositions, pronouns, comparisons, whole phrases are repeated.

Why are you, weeping weed,

Braided the cradle

Braided the cradle

Filled with tears?

Like I'm a weeping weed

Let me grab the whirl

Let me grab the whirl

Yes, and throw over the threshold.

Don't wake our kids!

Do not Cry,

Don't bullshit our kids!

A frequent character in a lullaby is a cat. He is mentioned along with fantastic characters - Dream and Sandman. Some researchers believe that the mention of it is inspired by ancient magic. But the point is also that the cat sleeps a lot - so he should bring the baby sleep. Often mentioned in lullabies, as well as in other children's folklore genres, and other animals and birds. In Blaginina we read:

bayu-bayu-bayinki,

Bunnies jumped up:

Is your girl sleeping

Chorus girl?

Go away, bunnies,

Don't interfere bainki! -

Lyuli-lyuli-lyulenki,

The gulenki have arrived:

Is your girl sleeping

Chorus girl?

Fly away, little ones

Let your little girl sleep!

It is noteworthy that animals and birds speak and feel like people. The endowment of an animal with human qualities is called "anthropomorphism". Anthropomorphism is a reflection of ancient pagan beliefs, according to which animals were endowed with a soul and mind and therefore could enter into a meaningful relationship with a person.

Folk pedagogy included in the lullaby not only good helpers, but also evil, scary, not very sometimes even understandable (for example, the sinister Buku). All of them needed to be appeased, conjured, "taken away" so that they would not harm the little one, and maybe even help him.

It is assumed that the ancient lullabies dispensed with rhymes at all - the “lullaby” song kept its smooth rhythm, melody, and repetitions. Perhaps the most common type of repetition in a lullaby is alliteration, that is, the repetition of identical or consonant consonants. It should also be noted the abundance of petting, diminutive suffixes - not only in words addressed directly to the child, but also in the names of everything that surrounds him. We find these techniques in Blaginina:

Like lullabies, rhymes, rhymes, jokes contain elements of the original folk pedagogy, the simplest lessons of behavior and relationships with the outside world. Pestushki (from the word to nurture - to educate) are associated with the earliest period of a child's development. The mother, undressing him or freeing him from clothes, strokes his little body, unbends his arms and legs, saying, for example:

Pull-pulls,

Across-fatties,

And in the legs - walkers,

And in the hands - grippers,

And in the mouth - a talker,

And in the head - the mind.

Thus, pestles accompany the physical procedures necessary for the child. Their content is associated with certain physical actions. The set of poetic means in pestles is also determined by their functionality. Pestushki are concise. “The owl is flying, the owl is flying,” they say, for example, when they wave the child’s hands. “The birds flew, sat on their heads,” the child’s arms fly up to their heads. Etc. Not always in pestles there is a rhyme, and if there is, then most often a steam room. The organization of the text of pestles as a poetic work is also achieved by repeated repetition of the same word: “Geese flew, swans flew. Geese flew, swans flew ... " Peculiar playful conspiracies are close to the pests, for example: "Water from the goose, and thinness from Yefim."

In Blaginina we find wonderful examples:

I can dress

If I want to.

me and little brother

I will teach you how to dress.

Here are the boots.

This one is on the left foot

This one is on the right foot.

If it rains,

Let's put on galoshes.

This one is from the right foot

This one is from the left foot.

That's how good!

Nursery rhymes are a more developed game form than pestles (although they also have enough elements of the game). Rhymes entertain the baby, create a cheerful mood in him. Like pestles, they are characterized by rhythm:

Tra-ta-ta, tra-ta-ta,

A cat married a cat!

Kra-ka-ka, Kra-ka-ka,

He asked for milk!

Dla-la-la, dla-la-la

The cat didn't!

Blaginina addresses this genre form by refining the set of techniques with the help of unexpected consonances, doubling the names of objects and actions:

At the cooing cat

Soft velvet fur

sparkle eyes,

Ears with tassels

Our kitten

Rolled a ball-skein.

The ball rolls

The thread is pulling...

Already a coo-cat

And will get:

They will stroke, have mercy,

Sleep put on the bed!

Blaginin's nursery rhymes not only entertain (like the one above), but sometimes instruct, give the simplest knowledge about the world. By the time the child can perceive meaning, and not just rhythm and musical mode, they will bring him the first information about the plurality of objects, about the account. A small listener gradually extracts such knowledge from a game song. In other words, it presupposes a certain mental tension. So thought processes begin in his mind.

From the roof - cap,

From the roof - cap. . .

Frost has become

Very weak

And the snows have settled.

Lives in the mountain

Gorenka floats,

Like on a carousel.

Perceiving through such a nursery rhyme the initial information about the world outside the window of the children's room, the child is puzzled. The instructive meaning of the nursery rhyme is usually emphasized by intonation, gestures. The child is also involved. Children of the age to whom the nursery rhymes are intended cannot yet express in speech all that they feel and perceive, therefore they strive for onomatopoeia, for repetitions of the words of an adult, for a gesture. Thanks to this, the educational and cognitive potential of nursery rhymes is very significant. In addition, in the mind of the child there is a movement not only to master the direct meaning of the word, but also to the perception of decoration:

Like in our garden

How many flowers are blooming

Asters - variegated flowers,

Dahlias and levkoy.

Which one do you choose?

In nursery rhymes, as in pestles, metonymy is invariably present - an artistic device that helps to cognize the whole through a part. For example, in the famous game “Okay, okay, where have you been? - At the grandmother's, with the help of metonymy, the child's attention is drawn to his own hands. Blaginina uses this image, but creates the original version of the text:

Oh alright alright

Let's bake pancakes

We'll put it on the window

Let's make it cool down.

And cool down - let's eat

And we'll give it to the sparrows.

Sparrows sat down

Pancakes were eaten

Pancakes ate -

Shu-u-u! . . - and flew away.

A joke is a small funny work, statement or just a separate expression, most often rhymed. Entertaining rhymes and songs, jokes exist outside the game (unlike nursery rhymes). The joke is always dynamic, filled with energetic actions of the characters. We can say that in the joke, the basis of the figurative system is precisely the movement: “Knocks, strums along the street, Foma rides a chicken, Timoshka rides a cat - there along the path.” Blaginina follows this principle easily and naturally:

Through the river stream

The perch has been placed.

Through the river stream

You can get over!

Chok chok heels

On a boardwalk. .

Let's not get our shoes wet

Let's not get cold feet!

Blaginin's joke-poem testifies to the sensitivity to the stages of a person's growing up. The time of contemplation, almost passive listening, is passing, it is being replaced by the time of active behavior, the desire to interfere in life - this is where the psychological preparation of children for study and work begins. And the first cheerful assistant is a poetic statement in the spirit of folklore. It encourages the child to act, and some of his reticence, understatement causes the child to have a strong desire to think, to fantasize, that is, it awakens thought and imagination.

Above the snowdrift - blue-blue,

Under the snowdrift - a shadow.

Drops from the roof - ding-ding,

And tits - tsvin-tsvin,

Ripped caftan throw off, throw off,

Whole put on!

Often folklore jokes are built in the form of questions and answers - in the form of a dialogue. So it is easier for the baby to perceive the switching of action from one scene to another, to follow the rapid changes in the relationships of the characters. Other artistic techniques in jokes are also aimed at the possibility of quick and meaningful perception - composition, imagery, repetitions, rich alliterations and onomatopoeia. At Blaginina we find "Primer", an alphabet poem, each fragment of which is following the named methods:

- Be-e-e, - the white lamb bleats,

No more letters understand;

A beetle buzzes over the honeysuckle.

Heavy casing on the beetle.

Such varieties of joke genre as fables, shifters, absurdities, became an indispensable component of children's poetry. Thanks to the “shifters”, children develop a sense of the comic precisely as an aesthetic category. This type of joke is also called the "poetry of paradox." Laughing at the absurdity of the fable, the child strengthens in the correct idea he has already received about the world. Chukovsky devoted a special work to this type of folklore, calling it "Stupid absurdities." He considered this genre extremely important for stimulating the child's cognitive attitude to the world, and he very well substantiated why children like absurdity so much. He believes that the desire to play "shifters" is inherent in almost every child at a certain stage of his development. Interest in them, as a rule, does not fade away even among adults - then it is no longer the cognitive, but the comic effect of “stupid absurdities” that comes to the fore.

Blaginina creates texts aimed at understanding the world in the interaction of its individual objects by a small Reader (or rather, a listener). The child constantly has to systematize the phenomena of reality. In this systematization of chaos, as well as randomly acquired shreds, fragments of knowledge, the child reaches virtuosity, enjoying the joy of knowledge. Hence his increased interest in games and experiments, where the process of systematization, classification is put forward in the first place. "Changeling" in a playful way helps the child to establish himself in the already acquired knowledge, when familiar images are combined, familiar pictures are presented in a ridiculous mess. The following poem is illustrative:

A similar genre exists among other peoples, including the British. The name "Stupid absurdities" given by Chukovsky corresponds to the English: "Topsy-turvyrhymes" - literally: "Poems upside down". Researchers believe that fairy tales-shifters passed into children's folklore from buffoon, fairground folklore, in which the favorite artistic device was an oxymoron. semantic quality. In adult absurdities, oxymorons usually serve to expose, ridicule, while in children's folklore, with their help, they do not ridicule, do not ridicule, but deliberately seriously narrate about a notorious unbelievable story. The tendency of children to fantasies finds its use here, revealing the proximity of an oxymoron to the thinking of a child.

In the midst of the sea, the sheep is on fire.

The ship is running across the open field. The men on the street are stabbing 1, They are stabbing - they are catching fish. A bear flies through the skies, waving its long tail!

Many of Blaginina's poems contain an oxymoron as the main formative element, which helps to achieve the expected effect. A technique close to an oxymoron that helps the "shifter" to be entertainingly funny is perversion, i.e. the rearrangement of the subject and object, as well as the attribution to subjects, phenomena, objects of signs and actions that are obviously not inherent in them:

The village was passing by a peasant,

Look, from under the dog the gates are barking ..

Because of the forest, because of the mountains

Uncle Egor is coming:

On my own horse

In a red hat

Wife on a ram

In a red sundress

Children on calves

Servants on ducks...

Don, don, dilly don,

The cat's house is on fire!

Running chicken with a bucket

Fills the cat's house...

So in the folklore version. And so Blaginina:

Ai-lyuli, ai-lyuli,

Guests have come to Dashenka!

Cockerel - in boots,

Hen - in earrings,

Drake - in a caftan,

Duck - in a sundress!

The cat is in a new scroll,

Kitty - in a cape,

With a ring on his paw...

And the dog is wearing a hat.

Everyone sat down on the benches

Sit down and sing...

The absurd shifters attract with the comedy of scenes, the ridiculous depiction of life's incongruities. This entertaining genre turned out to be necessary for children's literature, as well as for folk pedagogy, and it was widely used.

Another small genre of children's folklore - counting rhymes. Rhythms are called funny and rhythmic rhymes, under which they choose a leader, start the game or some stage of it. Rhyming rhymes were born in the game and are inextricably linked with it.

Here one should take into account the extremely important role of play in the formation of a person. Games not only develop dexterity and ingenuity, but also teach to obey generally accepted rules: after all, any game takes place according to predetermined conditions. The game also establishes the relationship of co-creation and voluntary submission to the game roles. The authoritative here is the one who knows how to follow the rules accepted by all, does not bring chaos and confusion into children's lives. All this is working out the rules of behavior in the future adult life.

Who does not remember the counting rhymes of their childhood: “White hare, where did you run?”, “Eniki, beniki, ate dumplings ...” - etc. The very opportunity to play with words is attractive to children. This is the genre in which they are most active as creators: they often bring new elements to ready-made rhymes. Blaginina takes into account this possibility:

One-two -

Three four -

Sun in the world!

Five six -

There is a river!

Seven-eight - we'll drop Mikey!

Nine ten -

Sunbathing for a whole month!

In the works of this genre, nursery rhymes, pestles, and sometimes elements of adult folklore are often used. Perhaps it is in the internal mobility of the counting rhymes that the reason for their wide distribution and vitality lies. And today you can hear very old, only slightly modernized texts from playing children. It fully complies with the requirement of "mobility", for example, the following Blaginin's text:

To build a new house

They store oak wood,

Bricks, Iron, Paint,

Nails, Tow and Putty.

And then, then, then

They start building a house.

G.S. Vinogradov called the rhymes of counting rhymes tender, fervent, a true decoration of counting poetry. The rhyme is often a chain of rhyming couplets.

The methods of rhyming here are the most diverse: paired, cross, covering. But the main organizing principle of counting rhymes is rhythm.

A rhyme-rhyme often resembles the incoherent speech of an agitated, offended, or struck by something child, so that the apparent incoherence or meaninglessness of the rhymes is psychologically explainable. Thus, the rhyme both in form and in content reflects the psychological characteristics of age. Researchers of children's folklore believe that the counting in the counting rhyme comes from pre-Christian "magic" - conspiracies, spells, encryption of some magic numbers. Therefore, such figurativeness, such tonality of Blaginina is not accidental:

Our Masha got up early,

She counted all the dolls:

Two Matryoshkas -

on the window,

Two Arinka -

On the feather

Two Feklushki -

On the pillow

A Petrushka

in a cap -

On a green box.

Tongue Twisters belong to the genre of amusing, entertaining. The roots of these works of oral art also lie in ancient times. This is a word game, which was an integral part of the fun festive entertainment of the people.

Many of the tongue twisters that meet the aesthetic needs of the child and his desire to overcome difficulties have become entrenched in children's folklore, although they clearly came from an adult.

The cap is sewn

Yes, not in a kolpakovski way.

Who would that cap

Recapped?

Tongue twisters always include a deliberate accumulation of hard-to-pronounce words, an abundance of alliterations (“There was a white-faced ram, he re-white-faced all the sheep”). This genre is indispensable as a means of developing articulation and is widely used by educators and physicians. Blaginina composes a whole cycle of tongue twisters. There is one among them:

Yogurt was given to Klasha -

Dissatisfied Clasha:

I don't want curdled milk

Just give me porridge.

Dali instead of curdled milk

Our Clash of porridge.

I just don't want porridge

So - without curdled milk.

Dali along with yogurt Kashi

Our clash.

Ate, ate Klasha porridge

Along with curdled milk.

And I ate - I got up,

Thank you said.

Undershirts, teasers, sentences, refrains, chants. All these are works of small genres, organic for children's folklore. They serve the development of speech, intelligence, attention. Thanks to the poetic form of a high aesthetic level, they are easily remembered by children.

Say two hundred.

Head in the test!

(Undercoat.)

rainbow arc,

Don't give us rain

Give me a red sun

Neighborhood stake!

(3 call.).

teddy bear,

Near the ear is a lump.

(Teaser.)

Blaginina’s laziness, laziness in work, inaccuracy and other moments that can cause criticism from parents and teachers are the subject of teasing and teasing at Blaginina, only they are devoid of persevering and declarative edification, they do not sound offensive, but rather provocatively and cheerfully.

Like our Irka

Hole in stockings!

Hole in stockings?

Because reluctance

Darn our Irka.

Like our Natka

Darn on the heel!

Darn on the heel?

Because reluctance

To be a slutty Natka.

Not forgotten by Blaginina is such a folklore genre as incantations. By their origin they are connected with the folk calendar and pagan holidays. This also applies to sentences close to them in meaning and use. If the former contain an appeal to the forces of nature - the Sun, wind, rainbow, then the latter - to birds and animals. These magic spells passed into children's folklore due to the fact that children early joined the work and cares of adults. Later chants and sentences already acquire the character of entertaining songs.

In games that have survived to this day and include incantations, sentences, refrains, traces of ancient magic are clearly visible. These are games held in honor of the Sun (Kolyada, Yarila) and other forces of nature.

In the chants and choruses accompanying these games, the faith of the people in the power of the word was preserved. In Blaginina we find numerous poetic texts that combine these features. For example:

The sun is red

Burn-burn clear!

Fly into the sky like a bird

Light up our land

So that gardens and orchards

Green, bloom, grow.

The sun is red

Burn-burn clear!

Swim like a fish in the sky

Revive our land

All the kids in the world

Warm up, heal up!

Blaginina's poems can be sung and even danced. Here is born the memory of the rhythmic pattern and imagery of the folk lyric song:

The heaviness of the motley vanek-vstanek,

The arrogance of curled dolls.

And a pink ordinary gingerbread

In divorces and patterns of gold.

When you read individual poems, you remember a lot of game songs that are simply cheerful, entertaining, usually with a clear dance rhythm:

How did you go

Snowstorm

sweeps

All roads

All paths.

Or, for example:

So I took the harmonica in my hands,

Carefully touched the frets -

Sounds poured on fingers

Streams without water.

How many times has an accordion been depicted, and only Elena Blaginina has such an accordion.

Mom melted the bath,

I took Panka in my arms,

Through all the snowdrifts Panka

Mom took me to the bath.

It seems to be a ditty, but there is something else, purely Blaginin. Her manner and style of speech. Both the first and second quatrains have the same meter. And they sound different. It's about intonation. On the same rhythmic stitch, a different intonation pattern is given. This speaks of the high skill of the poet. This is so natural and justified in the mouth of the master, whose word has a folk-poetic basis and is backed by the gold of experience.

Blaginina's poems are easily chanted, their genre forms are designed for oral existence: these are songs, ditties, counting rhymes, gibberish, tongue twisters, riddles, etc. Their "orality" contributed to the fact that many poems are widely known without the name of the author, like folk poetry.

II .2 Thematic cycles and poetics

E. A. Blaginina (1903 - 1989) came to children's literature in the early 30s. Her poems were published in the Murzilka magazine. In 1936, the first collection of poems - "Autumn" - and the poem "Sadko" were published, and in 1939 - the collection "That's what a mother is." Since then, the fund of Russian lyrics for kids has been constantly replenished with her poems.

Blaginina's style is significantly different from the style of Chukovsky, Marshak and even Barto - a special, feminine sound. In Blaginina's poems there is no loud, declarative pathos, their intonation is naturally soft. Femininity shines through in the images of little girls and blossoms in the image of a mother. Efficiency and cordiality, love for everything beautiful, elegant unites mother and daughter - two constant heroines of Blaginina. Her little poem "Alyonushka" can be called a poem of femininity. One of the best poems of the poetess - "That's what a mother!" (according to her own assessment, it is “if not perfect, then still truly childish”). It is constructed in such a way that the voices of the mother, the girl (perhaps playing “mother-daughter”) and the author are merged in it.

Mom sang a song

Dressed my daughter

Dressed - wore

White shirt.

white shirt -

Thin line.

That's what mom -

Golden right!

Her lyrical heroine speaks in a clear, sonorous voice about love - for her mother, for trees and flowers, for the sun and wind ... The girl knows how not only to admire, but in the name of love and work, and even sacrifice her own interests. Her love is manifested in business, in chores, which are the joy of her life ("Do not interfere with my work"). Children, especially girls, from an early age know Blaginina's poem "Let's sit in silence":

Mom is sleeping, she is tired..

Well, I didn't play!

I don't start a top

I sat down and sit.

Elena Blaginina relied in her work on the traditions of folk lullabies for children's songs, on the high simplicity of Pushkin's "verb" verse, on the color and sound writing of Tyutchev and Fet, the sonority of songwriters - Koltsov, Nikitin, Nekrasov, Yesenin. The rich heritage of folk poetry and classical Russian lyrics helped her to create her own world of pure colors, clear ideas, good feelings.

I put on a belt

Tied up a tuesok

ran through the raspberries

Through the meadow, through the forest.

I moved the bushes.

Well, shady, well, dense!

And raspberries, raspberries -

The largest krupnost!

The largest large

The reddest redness!

The themes of Blaginina's children's poems are determined by the usual range of interests of kids: home, loved ones, favorite toys, garden and forest, pets. Animals were awarded a three-dimensional portrait, in which everything in appearance is taken into account to the smallest detail, character is taken into account:

An owl-like animal

named cat,

He sits on a chest in the hallway,

Surround yourself with your tail.

Through slits-squints,

It flickers in the dark

On his fluffy fur

Zagogulin million.

And on the face - for beauty -

spiky eyebrows

No purr and no meow.

It's so important because

What's coming now

X O 3 I B A,

And they will serve him...

As an example, we can recall the poems "Kitten", "Crane", "Cuckoo", "Bunnies". Nature in her poems is close, familiar, also "home". You can directly turn to the bird cherry, to the "grass-ant", to the birches and hear the answer:

Bird cherry, bird cherry,

Are you standing white?

For the spring holiday

Bloomed for May.

Even the motives of Soviet life, the poetess wove into family life (the poems "The Overcoat", "Peace to the World" and others like that). Contrary to the spirit of ideology and production, Blaginina returned readers to the world of personal, intimate values. A mother seeing off her son to the war (“Two Mothers”), soldiers of the Red Army (“Song about two Budenovites”), a young partisan (“Harmonica”) are shown at the most dramatic moments of life. The dynamics of experiences is interesting for the author: comprehension of duty, farewell, heartache, love ... In confirmation, one can name her numerous collections: “That's what a mother!” (1939), "Let's sit in silence" (1940), "Rainbow" (1948), "Spark" (1950), "Shine, shine bright!" (1955), the final collection "Alyonushka" (1959), as well as new, later ones - "Grass-ant", "Fly away - flew away."

Created by Elena Blaginina in poetry could be divided into thematic cycles. Let's say poems about the seasons. She quite fully depicts spring and summer, autumn, from autumn to winter, and so on in a circle. And Elena Blaginina vigilantly follows the signs of this transition, conveying each pore in expressive detail. Here is the golden autumn:

The sun hides behind a cloud

That will spread yellow rays.

And sits fried, odorous,

With a golden crust bread in the oven.

The gold of the leaves echoes the golden crust of the bread. Unexpected, bold image! In the same poem, "the apples are high-cheeked, steep, and then flopped down." The epithet "big cheekbones" together with the epithet "cool" makes apples not only visible, but also palpable in taste.

Summer and spring, in the image of Blaginina, are multicolored, densely populated. The characters are trees (“Bird cherry”, “Apple tree”), flowers (“Dandelion”, “On my window”), wind, rain.

And heat, and rain, and a bucket, and cold, and wind, and a blizzard - all this received a living and vivid embodiment in the books of Elena Blaginina. The task of the poet is not only to depict, but also to express. Express your state, your mood. But even this is not enough. The poem conveys to the reader the idea of ​​the world. How does it look with Elena Blaginina? The summer rain had passed, and the track was filled with water. We read the poem "Koleya":

Over the rye, crushed by the rain,

It costs almost a day through.

Oryol wind smells like mint,

Wormwood, honey, silence.

I walk with a wall of high bread.

I'm going, I'm going to stay.

Admiring how the sky fell

Into a full track.

The painter would have stopped here. Is there a picture? There is. But the poet (however, not everyone, namely Elena Blaginina) goes further:

Birds fly on the blue bottom

Clouds are floating sadly ...

The painting is still going on. But it is already crying out for a way out to thought, to generalization. And so:

I'm standing... I'm afraid to stumble.

I'm very afraid to stumble -

So this abyss is deep.

Deep with its reflection of the sky, clouds, space, the world. Here you will not only admire the picture, but also think about the meaning of what you saw ...

Generally speaking, Blaginina's descriptive lyrics gravitate toward generalizations, taking on the character of an artistic study of the world of things and their refraction in the individual consciousness of the lyrical hero ("Window leaf", "Snow Maiden", "Sweet garden", "Rainy rain", "Porcini mushrooms").

Elena Blaginina depicts work and people of work in a special manner. Showing at the same time how the spiritual qualities of a person are revealed in labor. There are many professions in the poems of Elena Blaginina. And they are different. Janitor, polisher, grinder, crane operator. And all - people need. And how attractive Elena Blaginina’s “cheerful person” (that’s the name of the poem) looks! Appearing in the house, he “turned everything upside down”:

He moved chairs and tables,

He climbed into all corners,

He spilled paint on the floor

And he sang songs.

This list is real. And he aroused delight in the boy who was watching him or the girl who was watching him. All the same, delight and envy are important here.

Having smoked, rested, the polisher gets to work:

Cloth and brush brought

Cheerful person.

He waxed the brush.

Cheerful person.

And well, dance, and well, whistle -

And the parquet began to shine like that,

That the windows along with the blue day

Suddenly reflected in it.

Then the parquet was rubbed with a cloth

Cheerful person.

Oh amazingly smart

There was this person!

He moved the furniture as he pleased.

He turned chairs in the air

But even aunt on him

Not angry, nothing!

Annoyance is added to delight and envy. What's the matter? The aunt gives the floor polisher the due money.

And me for this mess

Which one did you raise in the house,

Such would come out to catch up,

What only ah-ah-ah!

This is not a "protocol" retelling of the "labor process", as we say, but a living, psychologically correct portrait of a person; An episode torn from life is spiritualized by the poet.

The woman brought a trough and began to wash:

Smells like foam under your hands

And it bubbles a little

As if given to our mother

Not underwear, but clouds

A tank is raging on the stove,

The fat man slams the lid.

This can be transferred to the picture. Outside the picture remains the ending - the property of poetry. Linen washed, hung on a rope.

The wind flaps its sleeves

Rip sweaters and pants,

As if suddenly ran to mom

All dancers are dancers.

Any occupation of a person under the pen of Elena Blaginina turns into a poetically fascinating action. Freshly dried linen should be ironed. Everyday activity. Here it is - in the image of Elena Blaginina:

The iron goes over the sheet,

Like a boat on a wave

And leaves an even trail

On a white canvas.

Hot, smooth-smooth track, -

There is no crease or wrinkle.

At the same time you see an iron and a boat, a sheet and a river surface, wrinkles on a sheet and waves on the water. On top of that, you see a man ironing linen. And it's like you're talking to him. This is the supreme task of the poetic image.

You can outline a cycle about the relationship of older and younger, parents and children. Here a special world arises, psychologically authentic and subtly depicted. (“Our grandfather”, “About the flag”, “Overcoat”, “About the crystal slipper”). Blaginin's poems can also be arranged in a different way - by the hours of the day: from dawn to dusk, from dusk to dawn (“I got tired”, “Wind”, “Primer”, “Good morning”). There may be different aspects, layouts, layouts. They refresh the perception. And they clarify a lot in creativity.

Using only the exact word and patterned rhythm, Blaginina created the image of her native language - bright, sonorous, flexible. The words for her were concrete, physically tangible:

And I touch them!

And I taste them!

Like a tree beam

And like a brew of cous...

III . 2 Figurative system, main motives and poetics

Blaginina's appeal to fairy-tale images deserves special mention, which is not isolated. It can be seen in a set of enduring poetic devices. It is noteworthy that this is not about the well-known texts of children's collections, but about the poems of the 1966 collection "Windows to the Garden", which united her adult works.

The images that we call fabulous here really belong to folklore, mainly Russian, but sometimes they remind of a “world” plot, and earlier of a literary tale than a folk tale.

These are several modifications of the hero named Ivan: the fool, the king's son, Alyonushka's brother. These are various “good” heroines: Leda, Alyonushka, Vasilisa, the frog princess. Finally, these are the heroes personifying magical powers: the Serpent Gorynych, Yaga.

Fairy tales that arose in ancient times have always interested Blaginina - as a poet, as a translator, as a researcher and, finally, as a reader. She, for example, drew attention to the following fact: in the raw versions of the famous "Teremok" the mare's head acted as a tower, which the Slavic folklore tradition endowed with many wonderful properties, which speaks of the antiquity of fairy tales. In other words, the roots of this tale go back to Slavic paganism. At the same time, fairy tales testify not at all to the primitiveness of the people's consciousness (otherwise they could not have existed for many hundreds of years), but to the ingenious ability of the people. The fairy tale genre turned out to be so viable because it is perfectly suited for expressing and preserving fundamental human truths, the foundations of human existence. Fairy-tale images nourished the figurative system of later literary works. Blaginina's poetry in this sense is an illustrative example.

Telling fairy tales was a common hobby in Russia, they were loved by both children and adults. Usually the narrator, narrating about events and heroes, reacted vividly to the attitude of his audience and immediately made some corrections to this narrative. That is why fairy tales have become one of the most polished folklore genres. They also meet the needs of children in the best way, organically corresponding to child psychology. The craving for goodness and justice, faith in miracles, a penchant for fantasies, for the magical transformation of the world around - all this the child joyfully meets in a fairy tale.

In a fairy tale, truth and goodness certainly triumph. A fairy tale is always on the side of the offended and oppressed, no matter what it tells. It clearly shows where the correct life paths of a person go, what is his happiness and unhappiness, what is his retribution for mistakes, and how a person differs from a beast and a bird. Each step of the hero leads him to the goal, to the final success. You have to pay for mistakes, and having paid, the hero again gets the right to good luck. In such a movement of fairy-tale fiction, an essential feature of the worldview of the people is expressed - a firm belief in justice, in the fact that a good human principle will inevitably defeat everything that opposes it. In a fairy tale, both for children and adults, there is a special charm, some secrets of the ancient worldview are revealed. They find in the fairy tale narrative on their own, without explanation, something very valuable for themselves, necessary for the growth of their consciousness.

An imaginary, fantastic world basically turns out to be a reflection of the real world in its main foundations. A fabulous, unusual picture of life gives the reader the opportunity to compare it with reality, with the environment in which he himself, his family, people close to him exist. This is necessary for developing thinking, as it is stimulated by the fact that a person compares and doubts, checks and convinces. The tale does not leave the reader and listener an indifferent observer, but makes him an active participant in what is happening, experiencing every failure and every victory together with the characters. The tale accustoms him to the idea that evil in any case must be punished.

In the twentieth century, which accounted for the work of Blaginina, the need for a fairy tale seems to be especially great. A person is literally overwhelmed by a continuously increasing flow of information. And although the susceptibility of the psyche in babies is great, it still has its limits. The child becomes overtired, becomes nervous, and it is the fairy tale that frees his mind from everything unimportant, unnecessary, concentrating on the simple actions of the characters and thoughts about why everything happens this way and not otherwise.

According to the theme and style, fairy tales can be divided into several groups, but usually researchers distinguish three large groups: fairy tales about animals, fairy tales and household (satirical) ones. But it often does not matter to the reader who the hero of the tale is: a person, an animal or a tree. Another thing is important: how he behaves, what he is - handsome and kind or ugly and angry. The fairy tale tries to teach to appreciate the main qualities of the hero and never resorts to psychological complication. Most often, the character embodies any one quality: the fox is cunning, the bear is strong, Ivan in the role of the "Fool" is lucky, and fearless in the role of the Tsarevich. The characters in the tale are contrasting, which determines the plot: the diligent, reasonable sister Alyonushka was not obeyed by brother Ivanushka, he drank water from a goat's hoof and became a goat - he had to be rescued; the evil stepmother plots against the good stepdaughter... Thus, a chain of actions and amazing fairy-tale events arises. Blaginina, carefully transferring the fairy-tale image in its essential characteristics, adds the dynamics of experiences, sets the psychological motivation for the act, opens up the possibility for a “new” aesthetic reaction of the reader, different from the previous one, born of “empathy” with the folkloric predecessor character.

A folklore tale is built on the principle of a chain composition, which, as a rule, includes three repetitions. Most likely, this technique was born in the process of storytelling, when the narrator again and again provided the listeners with the opportunity to experience a vivid episode. Such an episode is usually not just repeated - each time there is an increase in tension. Sometimes the repetition is in the form of a dialogue; then children, if they play a fairy tale, it is easier to transform into its heroes. Often a fairy tale includes songs, jokes, and children remember them first of all. Blaginina, even in narrative lyrics that recreate the events of the original source, leaves this technique. Causal relationships tend to outweigh. Repetitions are simply an unclaimed way for her to achieve the expected, proper emotional impact. The lyrical hero is not focused on the repeated reproduction of actions and statements, but on the “broadcasting” of the one-time and unique, the statement of what is done and spoken out once and for all.

For the poet Blaginina, it is especially valuable that the fairy tale has its own language - concise, expressive, rhythmic. And here she impeccably follows the age-old canons. It is thanks to the language that a special fantasy world is created, in which everything is presented large, convex, remembered immediately and for a long time - the characters, their relationships, the surrounding characters and objects, nature. There are no halftones - there are deep, bright colors. They attract to themselves, like everything colorful, devoid of monotony and everyday dullness.

“In childhood, fantasy,” wrote V. G. Belinsky, “is the predominant ability and strength of the soul, its main agent and the first mediator between the spirit of the child and the outside world of reality.” Probably, this property of the child's psyche - a craving for everything that miraculously helps to overcome the gap between the imaginary and the real - explains this interest in a fairy tale that has not been quenched for centuries! Moreover, fairy-tale fantasies are in line with the real aspirations and dreams of people. Let's remember: flying carpet and modern air liners; a magic mirror showing distant distances, and a TV. And yet, the fairy-tale hero attracts both children and adults most of all. Usually this is an ideal person: kind, fair, beautiful, strong; he necessarily succeeds, overcoming all sorts of obstacles, not only with the help of wonderful assistants, but primarily thanks to his personal qualities - intelligence, fortitude, dedication, ingenuity, ingenuity. This is what every child would like to become, and the ideal hero of fairy tales becomes the first role model.

The most popular and most beloved genre is fairy tales. Everything that happens in fairy tales is fantastic and significant in terms of task: its hero, getting into one or another dangerous situation, saves friends, destroys enemies - fights not for life, but for death. The danger seems especially strong, terrible because his main opponents are not ordinary people, but representatives of supernatural dark forces: the Serpent Gorynych, Baba Yaga, Koschey the Immortal, etc. Blaginina introduces them into the figurative system of characters in his narrative lyrics. According to the folklore canon, by winning victories over this evil spirit, the hero, as it were, confirms his high human principle, his closeness to the light forces of nature. In the struggle, he becomes even stronger and wiser, makes new friends and gets the full right to happiness - to the great satisfaction of little listeners and adult readers. Blaginina brings the fairy-tale action as close as possible to the real one, or introduces into the context of the perception of a modern person any everyday phenomenon, provided that this contemporary lyrical hero has a "fabulous" thinking.

In the plot of a fairy tale, the main episode is the beginning of the hero's journey for the sake of one or another important task. On his long journey, he meets with insidious opponents and magical helpers. Very effective means are at his disposal: a flying carpet, a wonderful ball or mirror, or even a talking animal or bird, a swift horse or wolf. All of them, with some conditions or without them at all, in the blink of an eye fulfill the requests and orders of the hero. They do not have the slightest doubt about his moral right to order, since the task assigned to him is very important and since the hero himself is impeccable. The dream of the participation of magical assistants in people's lives has existed since ancient times - since the time of the deification of nature, faith in the Sun God, in the ability to summon light forces and ward off dark evil from oneself with a magic word, sorcery.

Blaginin's heroes, who emerged from a folklore fairy tale, do not rely on a magical helper, do not possess miraculous knowledge or amulets, the set of emotions they experience is accentuated, but there is no task at all. As a rule, not the entire plot-plot basis is recreated, but only an episode, or a separate character, or a single line.

Each instance of a lyrical retelling of a well-known fairy tale, or just the very mention of a character, illustrates Blaginina's habit of rethinking fairy-tale images. Thanks to this, either there is a deeper penetration into the world of subjective experiences in comparison with a fairy-tale source (which fully corresponds to the lyric as a genre), or the plot itself is modified, or the possibility of an unexpected interpretation of both the image and the idea arises.

Blaginina often names fairy-tale heroes only in order to set a characterization of her hero through them.

You are on a daily feat

Gave a lot of strength

Neither the Snow Maiden, nor the princess,

It wasn't fun"

we read in the poem "Mother".

This downpour, golden, green,

So it whips - the head is spinning!

And you're standing like a sandrillon

In the passionate expectation of magic, -

such a "creative" comparison is found in the poem "I see a garden" (44).

Snow Maiden, princess, sandrillon - in this case they are perceived as designations of a socio-psychological type. It is no coincidence that all these nouns are common nouns.

The use of the plural of the name is also indicative:

Here, probably, Ivanushki lived -

Fools and princes, those

That the monsters of the night were tamed

And they turned back the beauty of the earth

An old baking dream (105).

Myronitsy, Mironushki

They are floating on the edge…

Probably there Alyonushki,

They must live there! (109)

Ivanushki and Alyonushki are the focus of both concrete and generalized meaning at the same time.

In the poem "Fairy Tale" (23), Blaginina goes further. Let us quote this little-known text in full:

Why does it require publicity?

The song that went with the water ...

You were Ivanushka from a fairy tale

And I was Alyonushka.

Moody rug - river,

And the stove is a magnificent royal house ...

From fear, the heart is dying in the chest,

The head is on fire.

Silt pulls me in

Covers slowly with sand.

- My sister, Alyonushka!

The executioner is hired by an insidious witch,

Fires crackle on the shore.

And the stone pulls to the bottom, pulls

So I can't breathe.

- Oh, my brother, Ivanushka!

And we cry loudly - in three streams, -

From the bitter tale of life.

The situation is perceived by the lyrical hero from within the fairy-tale action.

A fictional, imaginary, magical space built on ordinary attributes gives rise to real experiences. Feeling: “And the stone pulls to the bottom, pulls.

So I can't breathe." Emotion: "A heart is dying in my chest from fear, My head is on fire." The final stanza is the final spiritual movement:

We are unable to continue

And we cry loudly - in three streams, -

From perfidy, from villainy,

From the bitter tale of life.

As you can see, the fairy-tale material is refracted through an individual vision, leading to reflections on the ontological problem. Before the threshold of these reflections, the hero is left.

Blaginina chooses well-known fairy tale motifs and combines them into new structures, as a result, she achieves a special capacity, integrity of the poetic solution. So, in the poem "The Blue River" (105), the lyrical hero comprehends the present as a search for a connection between the real and the fictional folk fantasy.

Vasilisa

Fled from Yaga

Towel

Kept in the bosom

white towel,

washed clean,

Herringbones dark

Embroidered.

Here the origin myth is imitated. The Blue River arose, according to Blaginina’s invention, as follows: Vasilisa, unable to escape from Yaga, waved a towel, “entwined with fogs”, and turned into a river (“turned into water”), the patterns of the towel (“embroidered with dark Christmas trees”) became a natural decoration .

Vasilisa

She waved her towel

And then the coolness sighed,

And the dawn is high

lit up

And the sands of the river

Rolled…

The dynamics of events conveyed here also gives rise to an allusion to the ancient plot. The hero, who cannot allow himself to be overtaken, changes his appearance, merges with nature. This is exactly what happened to Daphne, who was running away from Apollo.

Turned into a vodka

To the stepmother with riches

Didn't return...

Sometimes Blaginina prepares the appearance of a fairy-tale image, deliberately creating the tone of a fairy-tale narration. It is indicative of the poem "There shine lightning" (89).

Raise their crowns

Trains

And leaf through the platforms,

Like pages.

Not pages - pages!

Lightnings are shining there

And they sing, mad with joy,

There on every track -

Birch earrings.

And on every path

Aspen orphans

And mountain ash-marinka.

Through blooming swamps

The frogs are chirping.

It may turn out

They call Ivan Tsarevich.

Maybe cry?

They haven't found out yet...

That frog princess

Was she happy?

Maybe not in the world

Is she lonely?

Maybe the wind of separation

Her eyes got cold

Dried out her heart

And the ashes of insomnia

Filled up her tower

Up to the windows.

Here, each object that has fallen into the field of view of the lyrical hero is given signs and actions that would be inherent in it in another reality. Epithets and metaphors are indicative: “lightnings shine”, “aspen orphans”, “marinka ashberries”, “blooming swamps”.

A different world is being built, where “trains raise their crowns” and “birds sing, mad with joy.” In other words, everything is projected onto fairy tales, even the most mundane, generated by the “new” reality, which does not correspond to the time when fairy tales were created.

The last two stanzas are a reflection of the lyrical hero, aimed at destroying the inertia of perceiving the image from the old fairy tale. The tone of light sadness and irony is at the same time obvious.

The question of whether that same frog princess was happy, and the assumption: “Maybe she is not alone in the world,” are unexpected both in this poem and for the reader's memory of the genre.

The same can be said about the combination in space of one poetic text of Father Frost and Northern Leda:

Frost-grandfather,

Light-light,

North Leda

Once upon a time (72);

about the intention to show the tamed Gorynych-serpent in today's conditions:

They turned the Gorynych-serpent:

Graystripe, one-eyed and tailless.

He flies, not daring to catch his breath,

Past the herbs, past the dreams, past the stars...

(Bus Pskov - Moscow, 104);

about the ability to make an imaginary meeting with a literary hero through a comparison of two typical heroines of fairy tales - Cinderella and Infanta:

I am a Cinderella, she is an Infanta,

I - burlap, she - furs,

For me, the Entente would have failed,

And she would have to wait for the groom.

(Natasha Rostova, 34).

The re-creation of fairy-tale images takes place not as an “attraction for”, but precisely as rethinking in accordance with the original artistic idea.

Another notable feature that I would like to point out as a defining feature of Blaginina's poetics is the peculiar role of the objective world.

The artistic representation of an object in the minds of researchers is most often associated either with the symbolic meaning of a detail, or with an understanding of the object as a stroke in the description and, as a result, an evaluative characteristic of the whole. As for the lyrical work, here the subject is, first of all, an image-experience.

In the poetry of E.A. Blaginina's objective world is vast, but does not obey the traditional principles of consideration. Blaginina does not resort to the image of an object in order to give it a symbolic content, rarely makes it an evaluative sign of the spiritual way of the lyrical hero. Most often this is the starting point for poetic reflection:

What could be sadder than the subject

Which one is useless?

Here is the big staircase

In my ruined house."

Violets for sale again...

I'm still, dear, alive! .

In the descriptive and narrative lyrics of Blaginina, the subject becomes a kind of semantic signal from another world - the world of memories or dreams of the lyrical hero:

Everything is just on the desktop:

Pen, paper, folder, knife...

And behind the window, by the way,

The day is like nothing!” .

I brought with me to the country

oval small portrait,

I sit, look and cry loudly

For those who are no longer with us."

Quite often, a precisely chosen object, above all other means, helps to create the necessary atmosphere, to choose the tone. For example:

It smells of pine needles and a little bit of snow,

In the poems "Doll", "Window", "Lonely Stoves", "Stairway That Leads Nowhere", "Oval Portrait" the name of the object is placed in the title, which in itself makes it the center of a poetic statement. And then the whole figurative structure correlates with it. Despite the fact that the content in each case is based on a real, everyday situation, the objects are given a fair amount of sacred meaning.

The semantics of the objective world of Blaginina allows for a very clear classification. You can select objects related to the general meaning of the house, the hearth: a staircase, a window, a stove, a carpet. Attributes are easily distinguished - either a way of life or a person: an English pipe, a cane, a book in morocco binding, a worn white tunic, a notebook of poems, a decanter of wine, a knapsack, barbed wire. The mention of any fabric product is quite stable: a shroud, a tablecloth, a curtain, a shroud. Even at a first approximation, a row is recognizable: a loaf, a slice or a piece of bread, a bunch of bagels. Flowers often appear in the objective world, reminiscent not of the landscape, but of home comfort and, accordingly, of longed-for peace: geranium, ficus, violet, roses.

The poeticization of everyday detail (a circumstance that brings to mind the memory of the acmeists) is achieved with a minimal presence of tropes. The most common is the personification, designed to convey an impression, to create a vivid image. “The frame rushed sharply from the window, / And the glass ached, rattling.” Or: "The phone is silent as if killed"

The personification becomes expanded. So, in the poem "Lonely stoves" it is said:

They are ashamed. They calmed down.

They seem to be very hard...

The increment of meaning occurs mainly due to syntax. Rhetorical figures help to focus attention on the subject. The opening lines of the poems "The Stairway That Leads Nowhere", "Not Your Ring" are indicative.

Repetitions are able to set the intonation of the spell, lamentations, prayers, complaints, the effect of the echo.

For a long time in my thoughts lulled,

For a long time in my thoughts a dream:

real doll,

Like a wild rose in bloom!

I bet - close

Blue eyes.

I will plant - open

Blue eyes" .

A huge semantic and partly rhythm-forming load is carried by the antithesis, built on the opposition of objects.

Or a shroud of linen

Or a loaf of bread, -

we read in the poem "Mother".

I am a Cinderella, she is an Infanta,

I - burlap, she - furs, -

in the poem "Natasha Rostova".

Often, various techniques of poetic syntax do not just coexist in the text, but interpenetrate:

Homemade slippers!

Homemade hats!

Not a ring for you

No cast earrings ... ".

Blaginina, creating images of objects, happily avoids verbal redundancy, on the contrary, the original speech formulas are thoughtful, concise. Thanks to syntactic and intonation solutions, a special alignment of the poetic phrase, capacity, integrity is achieved. At the same time, each named element of the objective world is able to absorb many elements that are absent in the “open” text, to serve as the “grain” of the lyrical plot.

Conclusion

Blaginina's poetry is a remarkable phenomenon, but, unfortunately, not sufficiently meaningful in literary criticism. Consistent and conscientious reading of Blaginina by a modern reader, whose reading experience is enriched by knowledge of Russian poetry of the 19th and 20th centuries, is necessary to comprehend many essential problems of the theory and history of literature.

Elena Aleksandrovna Blaginina is a literary genius of the 20th century. Among many authors in Russian literature, she is distinguished by the fact that she is deeply individual and personal in her work. Behind the abundance of forms and trends, the requirements of the official ideology, the vicissitudes of personal fate, she has not lost what distinguishes a person and an artist.

In this paper, an attempt is made to study the factors that determined the formation and originality of the poet E.A. Blaginina.

In this regard, the memoirs of contemporaries of E.A. Blaginina: E.A. Taratuta and V.P. Prikhodko. An appeal was made to the national folklore heritage, individual works on the aesthetics of literature, in particular, to K.I. Chukovsky.

It is noteworthy that the children's and “non-children's” poetry of E.A. Blaginina is united by the affinity of motives, individual images, stable visual techniques: this is a different embodiment of the same experiences, perception of reality. The first demanded from the poet maximum objectivity, special imagery and rhythm in reflecting the realities of life, and the second - a means of self-disclosure. Through her, Blaginina introduces us into the world of her innermost thoughts, reveals the secrets of the soul, shows how she was overwhelmed by the “element”, which carried her into the world of poetry.

The world of childhood - it would seem very closed - in Blaginina's work exists within the circle of her main thoughts of those years: About the Poet, Time, Man, human bonds, Nature, God; about the correlation of these things with reality.

Blaginina's poetic work was covered selectively: first of all, poems correlated with various genre forms of folklore, then - dedicated to traditional topics for children's poetry, reflecting the actual events and experiences of the poet; finally, motifs common to poetry and "children's poetry." It is said about the conditionality of the choice of artistic and visual means, techniques, individual images.

It is obvious that Blaginina's poetry does not lend itself to a clear distinction from children's poetry and casts doubt on the legitimacy of such. Its poetics has tendencies, regularities, signs, but not "frames". Folklore texts are the primary source and model of a whole layer in the poet's heritage. The topics of an independent extensive research can be questions about the artistic image of a thing and fairy-tale images, which is illustrated by specific examples.

The author expresses the hope that a consistent and detailed understanding of such a phenomenon in Russian literature as Elena Aleksandrovna Blaginina is ahead of our literary critics and will take place in the near future.

Literature

1. Blaginina E.A. Windows to the garden. Book of poems. - M.: Soviet writer, 1966.

2. Blaginina E.A. Fly away, fly away. - M., 1982.

3. Blaginina E.A. Burn-burn clear! Poems for children. - M., 1962.

4. Blaginina E.A. Crane. Poems. - M.: Children's literature, 1983.

5. Arzamastseva I.N., Nikolaeva S.A. Children's literature. - M.: Publishing Center "Academy", 1997.

6. Baevsky V.S. History of Russian poetry: 1730-1980 - Smolensk: Rusich, 1994.

7. Ozerov L. Keeper of fire. // Children's literature. - 1989. - No. 9.

8. Prikhodko V. Creativity E.Blaginina. - M., 1971.

9. Rodnyanskaya I.B. The lyrical image of a thing in the poetry of our century // I. Rodnyanskaya. Artists in search of truth. - M.: Sovremennik, 1989.

10. Rudnev V.P. Encyclopedic dictionary of culture of the XX century. - M.: Agraf, 2001.

11. Russian children's classics / comp. V.N. Bredikhin. - M .: AST Publishing House LLC: Artel Publishing House LLC, 2004.

12. Tomashevsky B.V. Theory of Literature. Poetics. - M.: Aspect Press, 1999.

Blaginina E.A. Windows to the garden. - Moscow, 1966. All the poems of the collection are quoted in this paragraph from this edition, indicating the pages in brackets. Poems from magazine publications are specifically noted.

Such a river flows through the Pskov region. E.A. Blaginina described her trip to Pskov in the poems of the cycle “Maria Postupalskaya - eight poems from the Pskov notebook”, which includes “The Blue River”.

Blaginina E.A. May the spirit not be crushed // Novy Mir. - 1987. -№ 9

Blaginina E.A. On the sweet shore // New World. - 1989. -№ 12

How is the rating calculated?
◊ The rating is calculated based on the points accrued in the last week
◊ Points are awarded for:
⇒ visiting pages dedicated to the star
⇒ vote for a star
⇒ star commenting

Biography, life story of Blaginina Elena Alexandrovna

Blaginina Elena Alexandrovna is a well-known Russian poetess and translator, on whose kind and sincere poems more than one young generation has grown up.

early years

A native of the Oryol province (the village of Yakovlevo), Elena was born on May 14, 1903 in the family of a railway worker. She began to receive her education at the Mariinsky Gymnasium (the city of Kursk), under the Soviet regime she already finished her studies at a secondary school.

Since childhood, Elena dreamed of working as a teacher. For this purpose, she entered the Pedagogical Institute. Despite the long distance to the educational institution (7 kilometers), the girl tried not to miss a single lesson and in any weather, in home-made shoes, she traveled a long way.

As a student, Elena wrote her first poems, which are included in the Kursk almanac of poetry. Realizing that she would not be able to leave writing, Elena entered the Higher Literary and Art Institute in Moscow, which gave her a powerful impetus to realize herself in the literary field.

Path to literature

Elena Blaginina's works for children began to appear in the 1930s in the children's magazine Murzilka, and then she became a favorite of children, because her poems were the closest to them.

Elena Blaginina's work is based on Russian folklore. Her poems, songs, fairy tales, jokes, teasers, counting rhymes, tongue twisters sparkle with good humor, and themes: the world around, mother's care for a child, communication with peers, rural nature are close to both children and adults. Love for rhyming lines manifested itself in my youth and became a determining factor in choosing a life calling. Blaginina Elena, whose photo can be seen in many collections for children of preschool and school age, first wrote poems on lyrical themes.

CONTINUED BELOW

Her first attempts at writing are permeated with real deep feelings and are read in one breath. Gradually, the desire to write intensified, because Elena began to do it well, moreover, her works were published in the almanac of Kursk poets. In the future, the work of the talented poetess was addressed to the children's generation - naive and sincere in their attempts to study the world around them.

1936 was a good start for the poetess: the poem "Sadko" was written and the first book "Autumn" was published. Then the collections "Forty-white-sided", "Let's sit in silence", "That's what mom", "Spark", "Rainbow" saw the light of day.

Elena Blaginina was engaged not only in writing poetic lines. The author was also a talented translator: she easily managed to acquaint the domestic reader with the work of Lev Kvitko, Maria Konopnitskaya, Julian Tuvim. Blaginina Elena did not forget about the adult audience, for which two collections of poems were published: in 1960 - "Window to the Garden", in 1973 - "Skladen".

Many of Elena Blaginina's works have been translated into other languages, and the best ones have been included in the national fund of children's books.

Personal life

Elena Blaginina was married to the Russian poet Georgy Obolduev, whose original work was hidden from the reader by Soviet censorship for many years. The husband was repressed. After his release, he did not have the right to live in Moscow and other large cities. The poetess subsequently wrote a book of memoirs about her original and bright wife.

Blaginina Elena Aleksandrovna, was born on May 14 (27), 1903, in the village of Yakovlevo (now the Sverdlovsk district of the Oryol region). Blaginina's father worked as a luggage clerk at the Kursk-1 station; Here Elena received her first lessons in literature from her grandfather, a village deacon and teacher of a parochial school, as well as from her mother, “a great bookworm with a phenomenal memory.” My father also loved to read, he subscribed to the magazines "Firefly", "Guiding Light", "Niva" with all the applications.

Childhood

The Blaginins did not live richly. Sausage and sweets were only available at Easter and Christmas. They ate cabbage soup and porridge, on Sundays - pies with liver. And plenty of fruits and vegetables. Nevertheless, the father, a man of rare kindness, regularly arranged "candy holidays" for all the surrounding children, subscribed to children's magazines for pennies, and where Blaginina herself began to write poetry from the age of 8.

Soon the family moved permanently to Yamskaya Sloboda near Kursk. In 1913, Elena Blaginina graduated from the railway school and entered the Mariinsky Gymnasium, where she studied with great eagerness and continued to write poetry. She failed to graduate from Blaginina’s gymnasium: the thunder of the war soon merged with the thunders of the revolution, the gymnasium was first merged with a real school, and then, having failed to establish classes at the new school, they handed the entire issue a certificate and released without exams.
Since childhood, Elena dreamed of becoming a teacher and in 1921 she entered the Kursk Pedagogical Institute. Every day, in any weather, in home-made shoes with rope soles (it was a difficult time: the twenties), she walked seven kilometers from home to the institute.

However, the desire to write turned out to be stronger, and soon Elena realized that her passion for poetry was much stronger than for teaching. She was fascinated by Blok, Akhmatova, Gumilyov, Mandelstam. In 1921, Blaginina's first poem, The Girl with a Picture, was published in the collection Nachalo. Soon the young Blaginina was already a member of the Kursk Union of Poets. The poems with which she performed at the evenings were published in the collection Golden Grain (1921) and in the First Almanac of the Kursk Union of Poets (1922).

Upon learning that in Moscow there is a Literary and Art Institute named after. Valery Bryusov (he was simply called “Bryusov Institute”), Blaginina decided to enter it, and in 1922 she left for Moscow. She entered the institute and at the same time worked in the luggage department of the Izvestia newspaper. She studied with G. Shengeli, a poet and versifier.

Creation

After graduating from the institute in the creative and editorial and publishing cycle in 1925, Elena worked at Izvestia, at the University of Radio Broadcasting, and the All-Union Radio Committee. Elena Blaginina did not have the opportunity to print her creations for ideological reasons, because they were quite serious and based on the Christian faith and categorically did not fit into the concept of proletarian art. With this, her entry into children's literature was connected.
Elena Alexandrovna came to children's literature in the early 1930s, declaring herself to be a gifted writer. It was then that on the pages where such poets as Marshak, Barto, Mikhalkov were printed, a new name appeared - E. Blaginina. Since 1933, Blaginina became a regular contributor and then editor of the Murzilka magazine, then the Zateinik magazine.

Blaginina often performed live for young readers. With the help of her works, she penetrated into their soul and created a truly charming fairy tale where any child could go. “The guys loved her and her lovely poems about what is close and dear to children: about the wind, about the rain, about the rainbow, about birches, about apples, about the garden and the garden and, of course, about the children themselves, about their joys and sorrows,” recalls the literary critic E. Taratuta, who then worked in the library, where the authors of “Murzilka” spoke to young readers.

Books followed magazine publications. Almost simultaneously in 1936, the poem "Sadko" and the collection "Autumn" were published, in which Blaginina placed her lyrical beautiful poems about the golden season.
Then there were many other books. There are a number of collections "That's what a mother!" (1939), "Rainbow" (1948), "Forty-white-sided", "Poems", "Let's sit in silence", "Spark", "Burn, burn clearly!", "Shoes", "Autumn ask", "Difficult poems”, “Do not interfere with my work”, “Alyonushka”, “Grass-ant”, “Crane”, “Fly away, flew away” and others. Since 1938, E. A. Blaginina has been a member of the Union of Writers of the USSR.

The theme of labor as a joy with greater psychological depth and tact is affirmed by Blaginina in a number of her poems - “I will teach you how to dress my brother!”, “There will be firewood for the winter”, “I got tired”, etc.

In 1943, Blaginina visited Orel, liberated from the Nazi invaders, and helped revive the literary life of the old Russian city. It was during this period that she wrote the poems “The Eagle of the 43rd”, “Window”, “I Was and Will Be”, a small poem “Accordion”, dedicated to the partisan Misha Kurbatov, a pupil of the Oryol Nekrasovsky orphanage.

Blaginina’s books, published in the 50s and 60s (“Shine, burn brightly!”, “Spark”, “Autumn - ask”, “Alyonushka”, “Do not interfere with my work” and others), are books by a mature master.

Already in the second half of the 1960s, Blaginina published two collections of "adult" poems - "Windows to the Garden" (1966), and "Skladen" (1973), a number of publications in periodicals, in particular, in the journal "New World" and " Banner". All this testifies to the growing philosophical richness and moral sharpness of the writer's work.

Since that time, the attention of publishers and critics to Blaginina has been decreasing more and more. She had to face the arrest of her father and husband. She was the friend and wife of the talented poet Georgy Nikolaevich Obolduev (1898-1954), a representative of an ancient noble family, who survived prison and exile during the years of Stalinist repressions, and then was seriously shell-shocked at the front. During the life of G. Obolduev, only one of his poems was published in 1929. The only book of poetry - "Sustainable Disequilibrium" - was published in 1979 in Munich, prepared by the efforts of the West German Slavist Wolfgang Kazak. The novel “I love my tormentor more and more passionately”, published in 1997, is dedicated to the bitter literary fate of her husband, the poet Georgy Obolduev (1898-1954).

Blaginina supported the persecuted B. Pasternak and L. Chukovskaya. People capable of “independence” gathered in her house, united by honesty and devotion to art, the ability to adequately meet sorrows and troubles.

A native of the Orel village of Yakovlevo, Elena Blaginina It didn't take long for her to find her calling. Initially, the future children's poetess dreamed of becoming a teacher. With great perseverance, she walked seven kilometers to study at the Kursk Pedagogical Institute
Yet Elena Blaginina was born a poet. The desire to write turned out to be stronger, and already in the student years, the first lyric poems appeared among the Kursk poets. Elena Alexandrovna.
Later, Elena Blaginina entered the Higher Literary and Art Institute in Moscow, which in those years was led by the outstanding poet Valery Bryusov.
Elena Aleksandrovna came to children's literature in the early 1930s. Blaginina could not get her serious, Christian-based poetry published, and devoted her life to children's poetry. It was then that a new name appeared on the pages of the Murzilka magazine - Elena Blaginina.
Children's poems, counting rhymes, fairy tales fell in love with many generations of children.
Books followed magazine publications.
Elena Alexandrovna had a long busy life. She worked constantly. Elena Blaginina wrote children's poems, sparkling with humor, "teasers", "counters", "patters", songs, fairy tales. But most of all she has lyrical poems.

Which is closely connected with the world of childhood, is a well-known Russian poetess and translator. On the kind and sincere poems of the author, more than one theme of her works has grown, which is understandable to an adult.

Elena Blaginina's work is based on Russian folklore. Her poems, songs, fairy tales, jokes, teasers, counting rhymes, tongue twisters sparkle with good humor, and the themes: the world around, mother's care for a child, communication with peers, rural nature are close to both children and adults.

Blaginina Elena: short biography

Blaginina Elena did not forget, whose biography is a vivid example of determination and love for poetry, and about an adult audience, for which two collections of poems were released: in 1960 - “Window to the Garden”, in 1973 - “Folder”.

Creative contributions to children's literature

In her personal life, Elena Blaginina was married to the Russian poet Georgy Obolduev, whose original work was hidden from the reader by Soviet censorship for many years. The poetess subsequently wrote a book of memoirs about her original and bright wife.

Many of Elena Blaginina's works have been translated into other languages, and the best ones have been included in the Russian children's book fund, becoming on a par with the poems of Samuil Marshak and Korney Chukovsky.

A talented poetess, a favorite author of many children, lived a long life, which put an end to April 24, 1989. Blaginina Elena, whose biography entered the history of Russian literature, was buried in Moscow at the Kobyakovsky cemetery next to her husband.