Methodology for forming ideas among younger schoolchildren about the work of K.G. Paustovsky
Konstantin Georgievich was born on May 19 (31), 1892 in Moscow in an Orthodox philistine family. However, in the first years of his life, Paustovsky moved a lot with his parents. He received his education at the classical gymnasium of Kyiv. While studying at the gymnasium, Paustovsky wrote his first story, “On the Water,” and published it in the Kiev magazine “Lights.”
Then, in 1912, he entered Kiev University, but soon continued his studies at the University of Moscow. There Paustovsky studied at the Faculty of Law. However, he was unable to complete his education: because of the war, he left the university.
Writer's creativity
After serving in the sanitary detachment, he worked a lot at various factories. And having moved to Moscow in 1917, he changed his job to a more intellectual one - he became a reporter.
If we consider short biography Paustovsky, in 1916 his first work, “Romantics,” was begun. Work on this novel lasted for 7 years and was completed in 1923, and the novel was published only in 1935.
When the civil war ended, Paustovsky settled in Kyiv, but did not stay there for long. Traveled a lot around Russia. During my trips, I tried to transfer my impressions onto paper. Only in the 1920s did works begin to be published in the biography of Konstantin Georgievich Paustovsky.
The first collection of stories, “Oncoming Ships,” was published in 1928.
The writer's popularity was brought to him by the story "Kara-Bugaz", published in 1932 by the publishing house "Young Guard". It was well received by critics, and they immediately singled out Paustovsky among other Soviet writers.
A special place in the writer’s work is occupied by stories and fairy tales about nature and animals for children. Among them: “Warm Bread”, “Steel Ring”, “Hare’s Paws”, “Badger Nose”, “Cat Thief” and many others.
Last years and death
With the beginning of the Great Patriotic War, Paustovsky began working as a war correspondent. In 1956, as well as in 1961, collections with democratic content were published (“Literary Moscow”, “Tarussky Pages”), in which Paustovsky’s works were also published. The writer gained worldwide recognition in the mid-1950s. At this time he travels a lot around Europe. In 1965 he was nominated for the Nobel Prize in Literature, but did not receive it.
Konstantin Georgievich Paustovsky long time suffered from asthma and suffered several heart attacks. The writer died on July 4, 1968 in Moscow and was buried in the Tarusa cemetery.
Other biography options
Biography test
A short test on the biography of Konstantin Paustovsky.
Konstantin Paustovsky worked in factories, was a tram leader, an orderly, a journalist and even a fisherman... Whatever the writer did, wherever he went, whoever he met - all the events of his life sooner or later became his themes literary works.
“Youth Poems” and First Prose
Konstantin Paustovsky was born in 1892 in Moscow. There were four children in the family: Paustovsky had two brothers and a sister. My father was often transferred to work, the family moved a lot, and eventually they settled in Kyiv.
In 1904, Konstantin entered the First Kyiv Classical Gymnasium here. When he entered sixth grade, his father left the family. To pay for his studies, the future writer had to work as a tutor.
In his youth, Konstantin Paustovsky was fond of the work of Alexander Green. In his memoirs, he wrote: “My state could be defined in two words: admiration for the imaginary world and melancholy due to the inability to see it. These two feelings prevailed in my youthful poems and my first immature prose.” In 1912, Paustovsky’s first story, “On the Water,” was published in the Kiev almanac “Lights.”
In 1912, the future writer entered the Faculty of History and Philology of Kyiv University. After the outbreak of the First World War, he transferred to Moscow: his mother, sister and one of his brothers lived here. However, during the war, Paustovsky almost did not study: first he worked as a tram leader, then he got a job on an ambulance train.
“In the fall of 1915, I transferred from the train to a field ambulance detachment and walked with it a long retreat route from Lublin in Poland to the town of Nesvizh in Belarus. In the detachment, from a greasy piece of newspaper I came across, I learned that on the same day they were killed on different fronts my two brothers. I was left with my mother completely alone, except for my half-blind and sick sister.”
Konstantin Paustovsky
After the death of his brothers, Konstantin returned to Moscow, but not for long. He traveled from city to city, working in factories. In Taganrog, Paustovsky became a fisherman in one of the artels. Subsequently, he said that the sea made him a writer. Here Paustovsky began writing his first novel, “Romantics.”
During his travels, the writer met Ekaterina Zagorskaya. When she lived in Crimea, the residents of a Tatar village called her Khatice, and Paustovsky called her the same way: “I love her more than my mother, more than myself... Hatice is an impulse, an edge of the divine, joy, melancholy, illness, unprecedented achievements and torment...” In 1916 the couple got married. Paustovsky's first son, Vadim, was born 9 years later, in 1925.
Konstantin Paustovsky
Konstantin Paustovsky
Konstantin Paustovsky
"Profession: knowing everything"
During the October Revolution, Konstantin Paustovsky was in Moscow. He worked here as a journalist for some time, but soon went to follow his mother again - this time to Kyiv. Having survived several revolutions here Civil War, Paustovsky moved to Odessa.
“In Odessa, I first found myself among young writers. Among the employees of "Sailor" were Kataev, Ilf, Bagritsky, Shengeli, Lev Slavin, Babel, Andrei Sobol, Semyon Kirsanov and even the elderly writer Yushkevich. In Odessa, I lived near the sea and wrote a lot, but had not yet published, believing that I had not yet achieved the ability to master any material or genre. Soon the “muse of distant wanderings” took possession of me again. I left Odessa, lived in Sukhum, Batumi, Tbilisi, was in Erivan, Baku and Julfa, until I finally returned to Moscow.”
Konstantin Paustovsky
In 1923, the writer returned to Moscow and became an editor at the Russian Telegraph Agency. During these years, Paustovsky wrote a lot, his stories and essays were actively published. The author's first collection of stories, “Oncoming Ships,” was published in 1928, at the same time the novel “Shining Clouds” was written. Konstantin Paustovsky has been collaborating with many people these years periodicals: Works for the Pravda newspaper and several magazines. The writer spoke about his journalistic experience as follows: “Profession: knowing everything.”
“The awareness of responsibility for millions of words, the rapid pace of work, the need to accurately and accurately regulate the flow of telegrams, to select one fact from a dozen and transfer it to all cities - all this creates that nervous and restless mental organization, which is called the “temperament of a journalist.”
Konstantin Paustovsky
"The Tale of Life"
In 1931, Paustovsky finished the story “Kara-Bugaz”. After its publication, the writer left the service and devoted all his time to literature. IN next years he traveled around the country and wrote many works of fiction and essays. In 1936, Paustovsky divorced. The writer’s second wife was Valeria Valishevskaya-Navashina, whom he met shortly after the divorce.
During the war, Paustovsky was at the front - a war correspondent, then he was transferred to TASS. Simultaneously with work in Information agency Paustovsky wrote the novel “Smoke of the Fatherland,” stories, and plays. The Moscow Chamber Theater, evacuated to Barnaul, staged a performance based on his work “Until the Heart Stops.”
Paustovsky with his son and wife Tatyana Arbuzova
The third wife of Konstantin Paustovsky was the actress of the Meyerhold Theater Tatyana Evteeva-Arbuzova. They met while both were married and both left their spouses to create new family. Paustovsky wrote to his Tatyana that “there has never been such love in the world.” They married in 1950, and their son Alexei was born that same year.
A few years later, the writer went on a trip to Europe. While traveling, he wrote travel essays and stories: “Italian Meetings”, “Fleeting Paris”, “Lights of the English Channel”. Book " Golden Rose", dedicated literary creativity, published in 1955. In it, the author tries to comprehend “an amazing and beautiful area of human activity.” In the mid-1960s, Paustovsky completed the autobiographical “Tale of Life,” in which he talks, among other things, about his creative path.
“...Writing has become for me not only an activity, not only a job, but a state own life, my inner state. I often found myself living as if inside a novel or story.”
Konstantin Paustovsky
In 1965, Konstantin Paustovsky was nominated for the Nobel Prize in Literature, but Mikhail Sholokhov received it that year.
IN last years During his lifetime, Konstantin Paustovsky suffered from asthma and had several heart attacks. In 1968, the writer passed away. According to his will, he was buried in the cemetery in Tarusa.
Main themes of creativity
Almost all of Konstantin Paustovsky’s stories are dedicated to his homeland, however, like those of numerous other writers.
Paustovsky was a most attentive and grateful listener to the inexhaustible music that Mother Nature gifted him. That is why all his stories are so diverse, despite the fact that they most often have no plot. More precisely, anything could serve as a plot for K. Paustovsky - any little thing, any manifestation of animal or plant life.
The merit of K. Paustovsky was that he made a kind of “geographical,” psychological, but mainly poetic discovery literally “under the noses” of Moscow and Ryazan. It was necessary to have a powerful imagination and the nature of a passionate traveler in order to rediscover an entire region and present it to millions of readers as a precious pearl of nature.
At the same time, the writer repeatedly emphasizes that this nature outwardly seems completely simple, discreet, even everyday.
Originality creative manner Paustovsky in his works lies in the lyricism of the narrative and in the romantic description of the depicted reality. Lyricism is created by a special intonation mood, often coming from the author-narrator. The creativity of K. Paustovsky helps a person become kinder, better, reveals the beauty of the world, teaches love for his native land.
Imbued with lyricism description of nature in the works of Paustovsky. It helps readers feel the “fairy tale of life.” “...If after this little story you will dream of the nightly cheerful playing of a musical brisk, the ringing of raindrops falling into a copper basin, the grumbling of Funtik, dissatisfied with the walkers, and the cough of good-natured Galveston - I will think that I told you all this not in vain,” says the writer in the story “The Tenants of the Old Houses". Paustovsky sought to show the beautiful and romantic in the most ordinary. The heroes of his works are sensitive to the beauty of nature; they are not passive observers of it, but creators of life, fighters for beauty.
Analysis of major works.
"Steel Ring"
Medium - health
· nameless - great joy
· index - you will see the whole world
The main idea is that the author through this work wanted to talk about faith, kindness, and a person’s care for his neighbor. Paustovsky defined this work as a fairy tale, and wants us to read “The Ring of Steel” as a fairy tale. He seems to remind us: in life there is always something wonderful around us, we just need to notice it.
The main characters are Varyusha (kind, caring), a fighter (bearded, with a cheerful gray eye), grandfather
The work can be divided into 6 parts:
1- Life of a girl and grandfather; 2- Meeting with fighters or an expensive gift; 3 - Loss of an expensive gift; 4 - Search for the ring; 5 - The arrival of spring or The ring was found; 6 - The beauty of the native land.
"Badger Nose"
The main idea is to be attentive and caring. It is necessary to learn to see nature, observe and understand its beauty.
The main characters are a boy, a badger
The work can be divided into parts:
1. Fishing on the lake in autumn. 2- Dinner by the fire. 3 -Badger decided to have dinner with people. 4- Little badger treats his nose. 5- Meeting in a year.
"Hare's Paws"
This story is about a hare who burned his paws. He saved his grandfather from death in a fire. The grandfather was very grateful to the hare for saving him.
The main idea is that people should help animals and each other. Animals also sometimes come to the aid of humans. It is necessary to handle nature carefully and carefully. God's commandment “Thou shalt not kill” applies not only to people. Killing, torturing animals, birds, insects, and poorly caring for domestic animals is also a sin. Grandfather Larion violated this commandment. We can say that God himself withdrew his hand, and the grandfather did not hit the hare.
Grandfather Larion atoned for his guilt by curing the hare.
2 groups of heroes:
Kind and warm-hearted: grandfather and Vanya, Karl Petrovich (he cured the hare). the hare is the savior of the grandfather;
Callous: a veterinarian who finds himself treating a hare.
"Cat Thief"
The title of the story “Cat Thief” is character-based. We can assume that the story will be about a cat who stole something. But Paustovsky calls the story not just a cat-thief, but a cat-thief. Thus, he already expresses his attitude towards him in the name; he will be different from other cats. An important character trait of the hero is stated already in the title itself.
IN this story The plot is the moment - the cat stole a piece of liverwurst from the table. If the Thief had not stolen this sausage, maybe he would not have been caught. But since he stole it, further actions began to develop. The outcome is that the cat began to commit noble deeds. The cat was renamed from Thief to Policeman to show the irreversibility of the changes that had taken place.
The story poses a problem - the struggle between good and evil. Evil can only be stopped with good. Good not only stops evil, but also generates good in return (the cat began to perform noble deeds, thereby thanking its owners). The story shows the effective power of good.
The story is narrated on behalf of the author. He is a participant in all events and tells and shares with us what he observed.
The cat is a bully, a fighter, “the cat’s ear is torn and a piece of his dirty tail is cut off.” Red color is a symbol of courage, courage, an indicator of fearlessness. The fiery red cat has green, impudent eyes with white markings on his belly to show the cat as an unusual hero.
This is not just a story about the adventures of a cat, but also a story of finding friendship and understanding one’s importance and usefulness to someone. Paustovsky encourages us to look carefully at the world around us. The animal in it acts as an animal, in itself, and together with man; each has its own character.
"The Disheveled Sparrow"
The story is fabulous - unusual objects live in it: an old wall clock, a glass bouquet, musical instruments that look like “ living good creatures" Children read the beginning of the story with a description of the clock, and then the description musical instruments. All phenomena of the surrounding world - the house, the garden outside the windows, the stone lion at the gate, snow, winter - are also animated.
The theme of the story is amazing animals that are similar to people, and this work also says a lot about extraordinary human feelings: about love, fidelity and sadness, about happiness and pain.
The idea is “Small joys make people laugh, but big ones make them cry.” The writer sought to show the power of human experiences, the power of love, which causes pain, tears, and great joy and happiness in a person. Neither animals nor people can live without love; it is love that transforms ordinary world into a colorful fairy tale.
Masha is a kind, inquisitive, impressionable girl;
Sparrow Pashka - decisive, responsive, courageous, a true friend, Kind;
Crow - cunning, desperate, insidious, stubborn, thieving.
1. Alone at home; 2-Saving Pashka; 3-Conversation with a bouquet; 4- Thief Crow;
5- Gratitude of the brave sparrow; 6- Great joy.
"The Adventures of the Rhinoceros Beetle"
Pyotr Terentyev leaves the village to go to war. His little son Styopa gave his father an old rhinoceros beetle, which he caught in the garden. Planted in a matchbox, the rhinoceros beetle ended up with a soldier at the front. Pyotr Terentyev fought, was wounded, fought again, and all this time he took care of his son’s gift. After the victory, the soldier and the beetle returned home. It would seem that what is fabulous here? And the fact that all events are described from the perspective of a rhinoceros beetle. Already at the beginning of the tale, it is felt that there will be many adventures ahead. This is how the beetle “like an insect” saw the battle at the front: “He arrogantly imagined that the burning and buzzing rockets looked like him. It's like they're big bugs." But the main thing here is that the beetle was not afraid. The writer makes fun of him: “He realized that it was better not to mess with such bugs. There were a lot of them whistling around.” Another time, the beetle woke up with a shake: it was Peter and the soldiers who rushed to attack. The beetle flew next to them and suddenly noticed that some man “in a dirty green uniform took aim at Peter with a rifle.” And then the beetle hit this man in the eye. He dropped the rifle and ran. So the beetle saved Peter’s life: Peter was wounded, only his leg was hurt. In other words, the rhinoceros beetle is becoming a hero right before our eyes. When you read the last pages of this amazing fairy tale, tears well up in my eyes. Peter, when asked by his son if the beetle is alive, replies: “He is alive, my comrade... The war has not touched him... - Peter took the beetle out of his bag and put it on his palm.” And he, having recognized his native places, flies away with a loud buzz.
Idea. This touching tale teaches the reader to love people, treat one’s neighbor kindly, understand and respect each other.
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Paustovsky has long been associated with children's literature. Many of his works were published in children's magazines and children's publishing houses. The magazine Children's Literature, published before the war, invariably responded to each new work of Paustovsky.
The past, present and future are united in the writer’s works, calling on one to believe in a dream and strive for its fulfillment. In his work, he often addressed a children's audience, creating fairy tales for them (“The Steel Ring”, “The Disheveled Sparrow”, “The Dense Bear”, “Warm Bread”, “Hare Paws”, “The Cat Thief”, “The Artel Peasants”) , “Frog”, “Caring Flower” and others), stories (“Rubber Boat”, “ Gray gelding", "Badger's Nose", "Tenants of the Old House", "Gift", "The Storyteller", "Golden Tench" and others), stories ("Kara-Bugaz", "Collection of Miracles", "Colchis" and others).
These works always contain humor, kind and optimistic. Paustovsky's stories are artistically perfect, which also gives us the right to say that these are stories for children. Paustovsky's stories are stylistically impeccable. The ability to penetrate the mystery of Russian nature, to convey the “elusive connection” of man and nature (“the muttering of springs, the cry of flocks of cranes”) leaves a great impression in the heart of the young reader.
Paustovsky refers to the work “The Caring Flower” as a fairy tale, because everything that happens in nature is magic, a miracle. He wanted to show that all beauty lies in everyday life, you just need to be able to see it.
A child quickly reacts to everything good, and if he is taught to observe moments of nature in the highly artistic works of K.G. Paustovsky, then, we hope, the “impoverishment of souls” will not occur.
Simple in plot, written in laconic, “compressed” prose, Paustovsky’s works enrich the human soul, help the aesthetic and emotional development young reader. “There is nothing worse when a person’s soul is dry. Life withers from such things, like grass from autumn dew,” the song collector says to the old man in the story “Cracked Sugar.” And Paustovsky talks about people with a passionate, active dream: about Van Malyavin, who takes a hare with burnt paws to the veterinarian (“Hare’s Paws”), about an “inventive” boy who heard fish whispering, saw how a badger had his nose treated ( “Badger Nose”), about Lenka from Small Lake, who is looking for a shooting star for his school collection (“Lenka from Small Lake”).
The diverse educational material contained in almost every work of the writer, the simplicity and fascinatingness of the presentation, a clearly expressed attitude towards good and evil, stylistic perfection - all this ensures Paustovsky’s books lasting success and wide popularity among young readers. But under the outer layer of cognitive material Paustovsky hides the deep philosophical meaning, a poetic subtext that is more likely to be understood by an adult than a child. This also applies to the series of stories “Summer Days”.
These stories can hardly be called zoological stories, although almost all of them involve animals. Paustovsky talks about people and the relationships they enter into with animals.
The main object of his attention is a person who outwardly does not stand out in any way, taken not in crucial moment life, but in its most permanent, “stable”, crystallized state.
Man is not just a being endowed with a certain system political views. Man is the whole world, in which diverse interests coexist, intersect and conflict.
The heroes of Paustovsky's stories do not seem to perform such outstanding feats. They do not burn at the stake and do not cover the embrasures of enemy pillboxes with their bodies. Their actions are outwardly more modest and less noticeable. But these people are made of the same stuff that heroes are made of. Just as thousands of small lakes, barely visible streams and lost rivulets feed the deep expanse of wide rivers, so the everyday behavior and everyday life of the heroes serves as the natural environment in which exploits are born. For them, for these heroes of Paustovsky, “I want” is inseparable from “I need.” “I want” because “I have to.” And “need” because “I want”. Therefore, they are people of unusual integrity. Therefore, they always, whether circumstances favor them or not, remain true to themselves. They may make a mistake and take a false step. But they would rather die than commit a vile and dishonest act. Not because they will be afraid of sidelong glances, but because they are endowed with a large and never falling asleep conscience. They hate mental chicanery, self-deception, lies and hypocrisy. And most of all - beautiful words covering up ugly actions. If you are a person in the true sense of the word, if you are not the only goal of your existence, you will always act like a human being, you will never have to blush for yourself and no forces in the world will be able to persuade you to do this, which you do not want to do and should not.
Already in his twilight years, Konstantin Georgievich Paustovsky wrote a very wise and deep work in its content, which he called “Golden Rose”.
The works of Konstantin Georgievich Paustovsky were included in the classroom reading program for elementary schools back in the second half of the twentieth century. The first encounters with his stories fascinate students. But already the second and third lessons on the same text, instead of the joy of communicating with the writer, usually bring boredom and disappointment: the content of the work is already known to children, and the techniques of repeated re-reading, used formally, do not contribute to the discovery of new layers in the understanding of ideological artistic meaning.
Meanwhile, the writer’s palette of K. G. Paustovsky is very rich: subtext, subtle graceful humor, semantic and emotional richness of the detail. And all this requires a fairly developed artistic perception, which the young reader does not yet have.
The ability to perceive a work of art does not come on its own; it is formed gradually, over time, and requires patience and pedagogical tact from the teacher, and from children constant communication with talented works.
Stories by K.G. Paustovsky are fertile material for the formation of the reading culture of younger schoolchildren. Since working on them requires two or three lessons, it becomes possible to clarify and develop the holistic emotional impression that children have during initial reading, and help them rise to a new level in understanding the work.
In the process of introducing younger schoolchildren to the works of K.G. Paustovsky needs to take care of the formation of not only reading skills, but also a complex reading skills, contributing to a full perception of the ideological and artistic meaning of the writer’s works. Below we will consider the features of reading and analyzing the story by K. G. Paustovsky “Hare's Paws” and reveal the methodology for developing some reading skills.
The story actively affirms the good principles in man, the need humane treatment to the “lesser brothers”. We are presented with a bright, exciting narrative about unusual events, characters outlined in a few strokes with their own special character, and inspired landscapes. How to convey all this to younger students? How to avoid turning a story into material for mechanical rereading? How to help children hear the author's living voice?
The disclosure of the humanistic pathos of the work will be facilitated by elements of problematic and compositional analysis, taken in conjunction with repeated re-reading of the relevant episodes.
When starting to develop lessons on such a complex text, the teacher should remember that all components of the work, from the title to the landscape, are aimed at revealing the author’s concept. Let's look at this in more detail.
From the first lines we feel the author's sympathy for the animal, which becomes more and more apparent as events develop. A small, warm, crying hare is sick and brought to where it is customary to bring animals in such cases - to the veterinarian. But instead of the expected help, there is a rude mockery: “Fry it with onions and grandfather will have a snack.”
The hare is quietly trembling under a greasy jacket, and the compassionate grandmother Anisya is already feeling sorry for him. She gives practical advice: go to Dr. Karl Petrovich for help. The hare groans from pain and thirst, and Vanya Malyavin runs barefoot along the hot sandy road to quickly give him something to drink. The hushed, exhausted animal is carried to the city, where grandfather Larion, overcoming the timidity of a villager, stubbornly asks the angry doctor for help: “A child, a hare, it’s all the same.”
And the doctor treats, and two days later the entire small town is interested in the fate of the unusual patient.
This is the chain of events, in the center of which is the hare. This is how sympathy for him grows, the conflict between evil and good in which each character manifests itself is successfully resolved.
Not only the characters and their grouping, but also the plot, composition, and landscapes serve to reveal the ideological and artistic meaning.
The plot of the story is a forest fire drama and the treatment of a hare - in general, what is usual for children's literature. The “little brother” did good to a man, saved him from inevitable death, and the man pays him back in kind.
But let’s imagine that the events in the story are given in the same time sequence as in life. Probably, then the reader would sympathize less with the hare's misfortune, because the element of mystery would be lost. In fact, why did grandfather Larion suddenly decide to cure the hare? Why does he stubbornly compare a hare with a child? What kind of hare is this? How did he save his grandfather? The disruption of the temporal sequence in the presentation of events and the transfer of the fire episode to the very end add mystery and drama to the story. Together with grandfather Larion, we look with different eyes at a familiar activity - hunting. We look angrily, realizing our guilt.
The affirmation of humanistic pathos is served not only by the plot and the method of its disclosure, but also by all components of the composition. The speech characteristics of the characters and landscapes are especially significant in this. Each character shows his attitude towards the hare's misfortune not only through action, but also through word. You cower, afraid of being hit, by the veterinarian’s rude remarks. He doesn’t even speak, but “screams”, “screams” and “pushes in the back”. Stupid, stupid, go ahead - expressions familiar to him, which make not only Vanya, but also the reader, want to cry. A laconic speech characteristic gives an idea of a stupid, cruel (and not a person at all) veterinarian. And the usual, prevailing concept that a goat can still be treated, and a hare can only be fried for a snack, is striking in its barbaric essence.
Vanya says in a hoarse whisper, quietly, worriedly. Grandma Anisya “mumbles,” but in such a kind voice that this “mumble” seems melodious. Grandfather Larion stubbornly mutters, timid in front of the intelligent, strict doctor, but not thinking of backing down and finding words that convince Karl Petrovich to take up the treatment of the hare.
The doctor says angrily. But how angry Karl Petrovich and the veterinarian are in different ways: the first slams the lid of the piano to the accompaniment of thunder, the second pushes the child in the back. The veterinarian does not know how and does not want to treat the hare. The doctor has never treated hares, but, struck by the argument: “A child and a hare are all the same,” he treats and cures.
Landscapes in the story are a means of characterizing the characters, they allow you to visualize the scene of the action, and make you experience events more acutely. Each of them has its own special personality. Here is a forest in an unbearable drought, amber resin flows down the trunks of pine trees, solidifying. Under barefoot there is hot earth on the path. It smells like dry cloves. There's not a cloud in the sky. But a thunderstorm is approaching. She comes out from behind Oka. Thunder is lazy: who knows, maybe the rain will pass by. It got dark. Wind. Ripples on the river. And rapid pictures of a fire, when it seems that it is not Grandfather Larion, but you, the reader, running away, looking for salvation, suffocating in the smoke.
So, understanding the ideological and artistic meaning of the story is determined adequate perception such components as title, plot, composition, characters, landscapes.
Having clarified which components of the text are decisive in children’s perception of it, the teacher can skillfully organize the process of analyzing and rereading the story, taking into account their significance.
Students’ correct and deep perception of the story will largely depend on the teacher’s choice of reading and analysis techniques. When selecting them, we must remember the need to develop in children the skill of correct, fluent, conscious and expressive reading, imaginative thinking, syntactically correct and expressive speech. The choice of techniques should be determined by the artistic originality of the story under consideration.
As we have already noted, the result of all analytical work above the story there should be a disclosure of its ideological and artistic meaning. It is advisable to begin this disclosure by stating the problem. The title of the story is already problematic: about a hare or about people? Consequently, the problematic attitude may be associated with deciphering the title, why is the story called that, what is the meaning of its title, who is the story about, about a hare or about people? Three lessons are devoted to solving the problem. Let's consider one of possible options their implementation.
In the first lesson, it is advisable to organize familiarization with the text of the work, analysis of the plot, training in reading skills, and propaedeutic work on the landscape.
The teacher announces the topic of the lesson and gives instructions for the primary perception of the text: “We will get acquainted with the story by K. G. Paustovsky “Hare's Paws.” Do you think it’s possible to tell by the title who or what this story will be about? (Children usually say that the story is about a hare.) Let’s read the work and see if your answer was correct.”
The story is read in combination by the children and the teacher. The most difficult to understand components of the text are read by the teacher (the beginning of the story, landscapes in parts 1, 2 and 3, the grandfather’s meeting with the doctor). As you read, an unobtrusive emphasis on the main events is possible with the help of questions asked by the teacher after reading the most significant episodes: “Did Vanya find help from the veterinarian? Did the doctor help the hare? Who saved my grandfather during the fire?”
The proposed option for combined reading will allow children to focus their attention on landscapes, which will help develop the ability to recognize them in text.
In the process of secondary reading and conversation about what you read, a deeper acquaintance with the plot will take place. The task of secondary reading is to find out what the story is about, what events are narrated in it, and this task should be clearly set for children.
Children reread the following episodes:
1. Vanya’s visit to the veterinarian. 2. Advice from grandmother Anisya. 3. The road to the doctor and meeting with him. 4. Forest fire and the rescue of grandfather Larion.
You should not strive for an immediate assessment of these events. At this stage, it is important to teach children to see them in the fabric of the story, remember their sequence, understand the objective side of each episode (for example, Vanya brought a hare with burnt paws to the veterinarian, but he did not want to cure it and pushed the boy out. Grandma Anisya took pity on the hare and gave it to Vanya good advice. The road to the doctor was long and difficult. The doctor himself was surprised and even angry at his grandfather’s request, but he undertook to treat the hare. And so on).
At home, students reread narrative passages and learn to retell them.
In the second lesson, it is necessary to set goals such as: developing in children an aesthetic appreciation of events and characters; teaching elements of character characteristics; further disclosure to students of the ideological and artistic meaning of the work.
After checking the homework, the teacher invites the children to continue working on the text, learn to read it expressively and get to know the characters better. To reveal the character’s character, it is advisable to use the technique of selective reading in combination with verbal drawing portrait of the hero, analyzing it speech characteristics and identifying his relationship to the hare. This work forms in children their own assessment of the character and his actions.
So, for example, students are given the task of finding out what Grandfather Larion is like. Reading episodes about him or with his participation, children learn that grandfather Larion is an old hunter living on distant Lake Urzhenskoye. He sends his grandson to the veterinarian, but, having failed there, he himself, in the heat, carries the hare on foot to the city, where, overcoming his shyness, he asks the children's doctor to cure the animal. The fire episode explains the cause caring attitude grandfather Larion to the hare and adds a new touch to his characterization: this is a person who understands nature and animals well and knows how to return kindness for kindness. Children are asked to imagine what Grandfather Larion looks like, as he speaks. There are few detailed details characterizing this character in the story: a disheveled beard - and, perhaps, that’s all. But actions, indications of occupation, age allow children to recreate appearance hero: an old man, perhaps short, hunched over, with a gray beard and gray hair, face and arms brown from tanning, agile, thin, speaks as the village people say.
The reading of the episodes and the conversation about grandfather Larion ends with a conclusion-evaluation: grandfather Larion is a very good, kind, sympathetic person, sympathizes and helps animals in trouble.
Joint drawing up of a plan will help to understand the character’s character, which can be like this:
1. What actions did the character perform? Read the episodes with his participation and talk about the events in which his character traits are somehow manifested.
2. What does the character look like? Find a description of his appearance and add your own details to it. Why do you imagine this hero this way?
3. How does the character speak? Find and read his remarks and the author's description of the speech.
5. How do you feel about the hero?
Working on a character also involves training in expressive reading, since it is this that will reveal the degree to which children understand a particular character and evaluate it.
As we have already noted, expressive reading must be pedagogically organized. The reading task is clearly stated. For example, having chosen for reading an episode of Larion’s grandfather’s meeting with Dr. Karl Petrovich, the teacher invites the class to convey in reading the doctor’s intelligence, his love of music, bewilderment and even slight irritation in response to the grandfather’s unusual request, and then the understanding that the hare needs to be cured. Thus, the task of reading will follow from the task of revealing the character’s character. You need to express with your voice what is already understood in the character: the character’s character, the author’s and his own attitude towards him.
We have already noted one compositional feature story: everything characters reveal their human essence through the attitude towards a sick hare. Some pass the humanity test, others do not. This thought can be heard at the end of the second lesson: there are much more kind, sympathetic people in the story than bad, cruel ones; thanks to them the hare is saved.
At home, students prepare a story about one of the characters (to choose from) and an expressive reading of their favorite episode with his participation.
In the third lesson you can do the following very important work, namely: comparing the composition with the plot, reading and analyzing descriptions of nature, comprehending the ideological and artistic meaning of the work.
Before checking homework the teacher reminds the class the main task of reading and analyzing the story “Hare's Paws” - to find out what K.G wanted. Paustovsky tell his readers? Why did he give this title to his work? Then the children talk about the hare’s misfortune, how he felt and the attitude of each character towards him (according to the plan drawn up in the previous lesson).
Then the teacher summarizes: there was an acquaintance with the events, with the characters participating in them, but this does not mean that the story was revealed to the reader to the end. There are mysteries in it. One of the mysteries is the sequence of events in life and in the story. Children are asked to compare these chains of events. During the viewing reading, it is clarified in what sequence the events actually happened (the plot) and in what order the writer talked about them. A note appears on the board:
Events in the story Events in life
1. Vanya at the veterinarian. 1.Forest fire.
2. Advice from grandmother Anisya. 2. Vanya at the veterinarian.
3. The road to the city. 3. Advice from grandmother Anisya.
4. Meeting with the doctor 4. The road to the city.
5 Forest fire. 5.Meeting with the doctor.
6. Grandfather's hare 6. Grandfather's hare.
When comparing events in the story and in life, the questions naturally arise: “Why did the author violate the real sequence of events?”, “Why was the story about the forest fire moved to the very end of the story?” To answer them, you should once again turn to the third part, re-read it, find out that grandfather Larion is trying to save the burnt hare because he feels guilty before the animal. The hare saved the grandfather from certain death, brought him out of the fire, and before that the grandfather shot at the hare, wanting to kill him.
The most striking, important and dramatic episode in the text is the fire. This is a terrible disaster for the forest, its inhabitants, and for people. The shadow of the fire is felt in the story from the first to the last line. The fire showed that the relationship between man and animal (between hunter and beast, between one who kills and one who must fear a person) can be friendly. A weak, wounded, burnt animal brings its eternal enemy - the hunter - out of trouble, saving it from certain death.
The sequence of events in the story is broken in order to emphasize the most dramatic episode in it and thereby help the reader understand the main idea: animals are our friends, we must treat them with care.
Working on the landscape also contributes to revealing the ideological and artistic meaning of the work. Children are asked to find landscapes in the text and correctly determine their boundaries. This is where the results of the primary combined reading will manifest themselves, in which the descriptions of nature are read by the teacher himself. Then comes training in recreating a landscape based on the author’s micro-pictures, children’s direct experience, lexical analysis and control over their ideas. Children listen to the mood evoked in them by descriptions of nature, and together with the teacher try to answer the question: “Why is this or that landscape in the story needed?”
Here, for example, is how the reading and analysis of the landscape in the third part can be organized. The teacher asks the children what mood they had when reading the fire episode (feelings of fear, anxiety, danger, tension), suggests finding this description in the text and presenting it. Ensure that children separate the description of the fire from the narrative text. We need to help them choose supporting parts to recreate the paintings.
The difficulty in recreating this landscape is that children will have very little support for direct life experience. For most people, a forest fire is a terrible, fantastic and hardly imagined picture.
After recreating, the children clarify the mood evoked by the landscape and try to read the description in such a way as to draw a picture of the fire in their voice and convey the mood of anxiety, fear, and despair.
Then the teacher leads the children to the idea that the description of the fire in the story is necessary in order to emphasize what terrible trouble the hare rescued the grandfather from, so that it becomes clear why the grandfather-hunter suddenly treats the hare, and does not “roast him with an onion.”
Work on the landscape in the first and second parts of the story is organized based on the availability of time. So, you can simply find the landscape in the first part, read it and find out that it is needed in order to show how hard nature endures the drought, how bad the hare feels.
The exhaustion of nature is also shown in the landscape in the second part of the story. In addition, the description of the heat reveals the character of Larion’s grandfather: his gratitude to the hare is so great that in the very heat, on foot, he carries the animal to the city for treatment.
The description of the thunderstorm in the second part of the story is interesting both in character and in its compositional function. Unlike all other descriptions of nature, it is anthropomorphic. Thunderstorm, thunder, lightning are depicted as living beings. The thunderstorm “comes out” from behind the Oka as a large giant fairy-tale creature. Thunder - “lazy”, “sleepy strongman”, “reluctantly shook the earth.” Lightning “sneakily” strikes the meadows. Each phenomenon has its own character, its own living soul.
This landscape is also interesting because when reading it, an analogy arises with the fate of a hare.
In the final conversation, the teacher summarizes all the material discussed in class: the title and its understanding; sequence of events in life and in the story; characters and their attitude to the fate of the hare and the author’s assessment; landscapes and their role in the text - all this serves to reveal the author’s thoughts about careful attitude to everything living.
Let's consider the methodology for studying Paustovsky's fairy tale "The Ring of Steel". In the first lesson, you need to tell the children about the fairy tale (what is a fairy tale?), about the author of the fairy tale “The Ring of Steel,” and show them a portrait. Then it is possible to read the fairy tale aloud paragraph by paragraph, after which the students express their opinions about what they liked and remember best, and also compose a story together with the teacher.
In the second lesson, you can organize a defense of the children’s drawings themselves, as well as a story about Varya picture plan. After all, illustration activates students’ attention and interest in the fairy tale.
We can first discuss Varyusha’s age. It is important that schoolchildren be able to come to conclusions based on individual facts and details. So, since the author affectionately calls the girl Varyusha, since she is a granddaughter, we can conclude that this is a girl of 7-10 years old. She can already be sent to the neighboring village for shag. The fighter communicates with her not as with a 10-year-old young lady, but as with an adult and serious child of 7-8 years old. He asks to sell shag, gives affectionate nicknames, and composes a fairy tale about a ring. From this passage it is clear how seriously and in an adult way Varyusha treats his grandfather and his illness: he goes to the neighboring village to buy shag, but does not agree to sell the shag to a fighter. At the same time, it is clear that she is a very kind and observant girl: she understands how much a person may want to smoke, and shares her grandfather’s shag with the fighter. Varyusha is a sociable girl: she communicates confidently and like an adult with the fighters. There are also the first hints that she is an impressionable girl: she believes in fairy tales.
Let schoolchildren find two comparisons: “a flower-petal in felt boots” and “a pansy with pigtails.” Of course, in both cases we are dealing with metaphors (when one object “girl” is likened to another object “flower” on some basis: beauty, tenderness in the first case, blue eyes - in the second case). But since we do not enter into primary school concept of metaphor, then let's call it a comparison.
The signs of the story are clearly visible in the text: it is indicated in which village the grandfather and granddaughter live, and in which village Varyusha goes to buy shag. All specific details: snowfall, a station, a train rushing past - are characteristic of the story. And most importantly, schoolchildren should note that already in this fragment of the text the character of the girl is revealed. The content of the girl’s conversation with the fighter also suggests that this is a story: after all, the fact that the ring has miraculous properties may simply be good joke adult.
At the same time, the same content of the conversation between the fighter and the girl about the ring is very similar to that of a fairy tale. Firstly, the fighter (whom another fighter calls a “sorcerer”, although this is only because he survived being a sapper) does not just give the girl a ring, but because she passed the test: she did not sell shag to the fighter, but treated his. Secondly, the very nature of the fighter’s comments about the ring is similar to a fairy tale: the ring can be put on three different fingers, and it begins to have different properties once it is on the middle, index or ring finger. This already contains another test for the heroine: what she will prefer in the future. Thirdly, even the description of the train is similar to the description of a monster that can pick up and carry away the little heroine.
Schoolchildren should understand that if they define a text as a story, then the story they come up with will have to develop as in ordinary life, that is, submit to chance. And if they perceive the text as a fairy tale, then the development of events in it will have to obey strict fairy tale laws.
When working on a fairy tale, it is necessary to teach students to carefully monitor the content of the work being studied: correct errors when reading, find comparisons, that is, show that the author uses the method of comparison in the text and why he does it.
In these lessons you must use different types works: selective reading, retelling, composing a story - in a word, to carry out a lot of work on the development of students’ speech.
All this must be done by the teacher so that students can perceive this fairy tale holistically.
The miracle that happened in the lives of Varyusha and grandfather Kuzma is both the arrival of spring and the recovery of the grandfather. This miracle concerns all of nature, all living things around. Schoolchildren will find and read a description of the coming spring. In this description, the author uses the technique of personification: “The black branches shone, the wet snow rustled, sliding from the roofs, and the damp forest rustled importantly and cheerfully beyond the outskirts. Spring walked across the fields like a young mistress. As soon as she looked at the ravine, a stream immediately began to gurgle and overflow in it. Spring was coming, and the sound of streams became louder and louder with every step.”
Did the grandfather gain weight because Varyusha found the ring and put it on middle finger, or because spring has come, is unknown. It depends on how students determine the genre of the text.
But it is important to draw the attention of schoolchildren to the fact that a feature of Konstantin Paustovsky’s text is its deeply poetic character. And the poetic perception of the world is already a miracle, which is no less significant than fabulous miracles. Poetic perception of the world transforms the world, helps to discover the magical side in it, gives a person strength and hope, helps to overcome fear and illness.
The second miracle is associated with the feeling of happiness that awakens in the soul if it is a developed and receptive soul that can blossom from immersion in the beauty of the surrounding world. Varyusha enjoys watching the arrival of spring: she knows how to look and see, not just listen, but also hear, she knows how to feel the invisible touches of the air, she knows how to get great pleasure from all this. It is the beauty of nature awakening to life that captures Varyusha and envelops her with a feeling of happiness. It is no coincidence that the girl wakes up very early and goes to the forest alone. The second miracle is the same arrival of spring, which becomes more and more bright and noticeable.
It is important that schoolchildren discover not only visual images (“white snowdrops”, “thousands of thousands of flowers bloomed and sparkled; “yellow pollen fell from nut earrings”, “such light poured from heaven that ..." and so on), but also the ability the author to create a sound image of spring - an image based on numerous sound impressions. White snowdrops are ringing (let them find the stunning comparison that creates the impression of this ringing: “as if a small beetle was sitting in it...”), a woodpecker is knocking, an oriole is singing, a cuckoo is crowing. The author notes the roll call of roosters, the clinking of water, and the whistling of birds. There are also tactile sensations of the arrival of spring (one feels, as it were, the touch of spring): a strong, warm, gentle wind; sticky birch leaves.
It is necessary to draw the attention of children to the fact that the arrival of spring is described precisely as a miracle: “Such light poured from the sky that Grandfather Kuzma’s eyes became narrow, like slits, but they chuckled all the time. And then, through the forests, through the meadows, through the ravines, thousands of thousands of flowers began to bloom and sparkle all at once, as if someone had sprinkled magic water on them.”
The most important impression that brings Varyusha a feeling of tremendous joy and happiness is the impression extraordinary beauty nature awakening to life. But this is not just some abstract nature - this is the nature of the specific place in which Varyusha and her grandfather live - the village of Mokhovoe. Let the children read the final paragraph of this fairy tale: “Nowhere in this world can it be as good as here in Mokhovoy. What a beauty this is! It’s not for nothing that Grandfather Kuzma says that our land is a true paradise and there is no other such good land in this world!” Here the idea is expressed that you don’t have to go far to find happiness: happiness is nearby, you just need to be able to see it; you need to educate your eye and develop your soul in order to be able to enjoy the beauty of the world that surrounds you.
The events described in the text do not occur today, but, most likely, immediately after the Great Patriotic War. You can ask children what feelings and experiences of the heroine of this work are understandable and close to people living in a variety of historical eras. This is a feeling of love for family, a feeling of admiration for the beauty of nature; attachment to the place where you live.
Let's consider studying another work by K.G. Paustovsky (“The Disheveled Sparrow”) in literary reading lessons.
To help children imagine Masha’s character, you can invite them to find confirmation of each quality in the text.
Masha is inquisitive. This is evident from the questions that concern her: “And it was incomprehensible how such a black sky could fly White snow. And it was still unclear why, in the midst of winter and frost, large red flowers bloomed in a basket on my mother’s table. But the most incomprehensible thing was the gray-haired crow...” It was because of Masha’s curiosity that the crow took away her mother’s bouquet: “Masha was curious to see how the crow squeezed through the window. She had never seen this. Masha climbed onto a chair, opened the window and hid behind the closet...”
Masha is a kind girl - she takes care of a wounded sparrow: “Masha brought Pashka home, smoothed his feathers with a brush, fed him and released him.” She is very worried that it was her fault that her mother was upset: “And when my mother returned from the theater, she cried for so long that Masha cried with her.”
Masha’s impressionability is most clearly manifested during the performance, in the way she perceives what is happening on stage: “Cinderella! - Masha quietly screamed and could no longer tear herself away from the stage.” This is also manifested in the way Masha perceives music: “It was very good that the music all the time did nothing but grieve and rejoice for her mother, as if all these violins, oboes, flutes and trombones were alive good creatures" To answer the question about Masha’s family, students will have to carefully review the text again. They will find out that Mashin’s father was a sailor, that then he “went to war, sank several fascist ships, sank twice, was wounded, but remained alive. And now he is far away again, in a country with the strange name “Kamchatka,” and will not return soon, only in the spring.” Schoolchildren will guess that Masha’s mother is a ballerina: “...she danced in the theater, but never took Masha with her there”; "All last days Mom was worried. She was preparing to dance Cinderella for the first time and promised to take Petrovna and Masha to the first performance.” Nanny Petrovna is constantly next to Masha. It is clear from the text that Petrovna has already old man that she is kind and a little strict.
Answering the question: “How does Masha develop relationships with birds: with the crow and with Pashka the sparrow?”, children can briefly retell some episodes of the text. It should be noted that the crow arouses great interest in Masha. She seems incomprehensible and mysterious to the girl. Masha, together with Petrovna, often sees wet footprints on the table left by a crow when no one is in the room.
First, Masha watches the crow from the window (“...the most incomprehensible thing was the gray-haired crow. She sat on a branch outside the window and looked, without blinking, at Masha”). Then Masha opens the window and hides behind the closet to “see how the crow squeezes through the window.” This experiment ends in big trouble: my mother’s glass bouquet, a gift from my father, is stolen.
As for Masha’s relationship with the sparrow Pashka, they are friendly. Pashka is grateful to Masha for feeding him. The sparrow constantly tries to express his gratitude to the girl: either he brings a caterpillar as a gift, or he tries to return the things stolen by the crow. It is no coincidence that it is Pashka who returns Mashina’s glass bouquet to her mother.
The next task that can be offered to students (“Tell everything you know about Pashka”) is aimed at identifying one of the lines of the narrative. You can once again draw the attention of schoolchildren to the title of the story and note that this line is one of the main ones, in the opinion of the author himself. Let the schoolchildren talk about Pashka’s character: he is dexterous, smart, brave (let them find confirmation of each of these qualities). Ask the children to briefly tell what happened to Pashka and how he ended up at Masha’s house.
The task is to tell about the incident with the bouquet from the person different heroes works (Sparrow Pashka and Nanny Petrovna) develops the ability to look at the world through the eyes of another person or animal. To complete this task, children must have a good understanding of the characters of the characters on whose behalf they will speak. We need to once again pay attention to the fact that the sparrow Pashka is nimble, dexterous, smart, brave, that he adores Masha. It is important that children remember that Nanny Petrovna is kind, but strict and a little grumpy. Let the schoolchildren remember what Petrovna said about the tricks of the crow; how she treated Pashka the sparrow. You can also ask children questions designed to draw children’s attention to historical events that are mentioned in the fairy tale: the disappearance of cab drivers and the appearance of cars in cities and the Great Patriotic War. Schoolchildren will again have to look through the entire text to find the thoughts of Pashka’s grandfather, the old sparrow Chichkin, about the changes that have taken place around him; to once again find the lines that tell how Mashin’s dad went to war and was wounded there.
It is important that children, finishing the discussion of the fairy tale, come to the conclusion that the main miracle in the work is the love that binds its heroes: their desire to help each other, to support each other in a difficult moment of life. The glass bouquet was not lost or broken because Mashin’s father gave it to Mashin’s mother as a sign Great love so that at least the bouquet (if not he himself) can attend such important event, like my mother’s performance of Cinderella’s part in the ballet (my mother dreamed of dancing Cinderella). The bouquet did not break because love is such a huge value and power that no random circumstances are afraid of it. And if a crow stole a bouquet, then there will be a sparrow who will return it!
Reading lessons can be in-class and extra-curricular, that is, those aimed at implementing the curriculum and those whose purpose is to study works of art not included in the program.
Based on knowledge of the stages of development of student readers and the characteristics of aesthetic perception or literary works, during literary reading lessons the teacher organizes reading fiction for younger schoolchildren. Specific goals educational work in reading fiction is aimed at ensuring that students become familiar with a variety of children's books, children's mastery of the general properties and patterns by which books are grouped, mastery various types activities with available books, which ultimately makes it possible for each student to determine his or her reading range.
Achievement by students in literary reading lessons of the educational goal, fulfillment educational tasks ensure the successful application of universal educational activities in lessons.
When conducting extracurricular activities The principle of entertainment is necessarily taken into account, which helps to arouse students’ direct interest in the subject and arouse the desire to acquire knowledge. The proposed materials and various exercises usually contain a problematic task. Tasks that are difficult at first glance attract students because of their novelty. By arousing interest among schoolchildren, they support the spirit of search, discovery, active learning of new things, and contribute to the creation of a positive emotional environment, without which it is impossible for students to actively assimilate the material.
When conducting extracurricular activities, the teacher should not forget that the active interest and creative activity of students are an indicator of the effectiveness of each lesson and all work as a whole. Compliance with these conditions helps the teacher regulate the entire course of extracurricular work and find optimal options for classes that allow more successful implementation of the tasks of educating schoolchildren.
Conclusions on the first chapter
This chapter examined the stages of a writer’s creativity. K.G. Paustovsky divided his work into 3 periods. In each period, the works differ in theme and the author’s view of the world.
Paustovsky's stories are humanistic. We share the position of those authors of textbooks on literary reading, which include in the program familiarization of children with such works as “Steel Ring”, “Hare’s Paws”, “Cat Thief” and “What Kind of Rains Can Be”, “Badger Nose”, “Basket with Fir Cones”, “Hurry to Do Good " In our work, we proposed, based on the experience of practicing teachers and our own, optimal, from our point of view, process of familiarization with the works of the writer.
Acquaintance with any work can be carried out in class and extracurricular reading. In this work we examined both forms of work organization. The main difference between in-class reading and extra-curricular reading is that the works studied in class reading lessons are included in the curriculum, while out-of-class reading is not included, and the teacher chooses them based on many factors: the tradition of choice, the characteristics of the students, personal inclinations.
Works by K.G. Paustovsky - important component reading circle for junior schoolchildren. Introducing children to the writer’s works helps develop their understanding of literature as an art form, as well as form moral ideas and independent thinking. But what is especially valuable is that the writer’s works will help children understand the world and find your place in it.
