Agnia Barto is the most famous children's poet, whose works have forever entered the golden classics of Soviet children's literature. And today she is rightfully considered an unsurpassed master of children's poetry; her poems are benchmarks for children's poets. Her works, simple at first glance, are the result of painstaking work and an endless search for new poetic forms that are understandable and accessible to children. But the main work of her life was the radio program “Find a Person,” thanks to which many families separated during the Great Patriotic War were reunited. Patriotic War.

Agnia Lvovna Barto was born in Moscow in 1906, into a wealthy Jewish family. The childhood of little Gethel (this is the real name of Agnia Barto) was happy and cloudless; she grew up in the typical atmosphere of the Moscow intelligentsia of those years. A spacious apartment, a housekeeper and a cook in service, frequent dinner parties, obligatory summer moves to the country, admission to a gymnasium and ballet school - everything in Gethel’s life developed like that of an ordinary girl from a bourgeois environment. The father, a veterinarian, brilliantly educated, tried with all his might to pass on his knowledge to his only daughter, and dreamed of a career as a ballerina for her. In addition, she was born in the Silver Age of Russian poetry - an era of fashion for writing and searching for new poetic forms, and the passion for creativity did not escape the future Agnia Barto.

At the age of 18, she married the young poet Pavel Barto, with whom they wrote together and dreamed of poetic fame. In 1925, plucking up courage, Barto brought her poems to Gosizdat, and was very disappointed when she was sent to the children's literature department. Children's poetry was considered “pampering”; real geniuses worked in the field of lyrics. A chance meeting with V. Mayakovsky became fateful; it was he who convinced Agnia of the need for poetry for children, as important element pedagogical education. This is probably why Barto’s early poems, written together with her first husband, are more like “teasers”:

What kind of howl? What kind of roar?
Isn't there a herd of cows there?
No, it's not a cow there,
This is Ganya the Revushka.

Family life did not work out, but Barto had already “got a taste”, her own poems were a success and she enjoyed creating for the children. Observant, she accurately noticed the images created by children, listened to the conversations of children on the street, communicated with them in schools and orphanages.

Barto’s second marriage to a prominent scientist and thermal power engineer turned out to be extremely happy, and Agnia plunged headlong into her work. She was criticized a lot, the “pillars” of children’s poetry S. Marshak and K. Chukovsky often scolded her for changing the size of the stanza and using assonant rhymes, but Barto persistently searched for her own style, light and memorable. The undoubted “highlight” of her work is the ability to reproduce children’s speech, with her in short sentences and accurate images. Her poems are simple for children to understand, and humor and irony give children the opportunity to look at themselves from the outside and notice their shortcomings with a smile.

On May 4, 1945, when the whole country froze in joyful anticipation of victory, a misfortune happened in Barto’s life - the life of her 18-year-old son was absurdly cut short. This tragedy turned her life upside down. But work saved her, pulling her out of the abyss of terrible grief. Barto traveled a lot not only around the country, but also abroad. Owning several foreign languages, she freely communicated with children from other countries, and took on translations of foreign children's poets.

Agnia Barto became the organizer of the country’s first people-search program, the prototype of the “Wait for Me” program. Lost children often remembered only small details of their childhood, and wrote about them to Barto, and she read them out on the radio, choosing the most significant ones - the name of the father, the name of the dog, details of home life. Soon the program became so popular that many people went to Moscow directly to Lavrushinsky Lane, where the poetess lived, and Barto received and listened to everyone, including her household members in this activity. Subsequently, Barto devoted almost 10 years to this, managed to unite more than 927 families and wrote a touching book about the fate of lost children.

She died in 1981 and was buried at Novodevichy Cemetery in Moscow. There is no elaborate epitaph on her grave, it simply says:

Agniya Barto
Writer.

Poetess.

Born on February 4 (17 N.S.) in Moscow in the family of a veterinarian. She received a good home education, led by her father. She studied at the gymnasium, where she began writing poetry. At the same time, she studied at the choreographic school, where A. Lunacharsky came for graduation tests and, after listening to Barto’s poems, advised her to continue writing.

In 1925, books of poems for children were published: “The Chinese Little Wang Li”, “The Thief Bear”. A conversation with Mayakovsky about how children fundamentally need new poetry, what role it can play in the education of a future citizen, finally determined the choice of subject matter for Barto’s poetry. She regularly published collections of poems: “Brothers” (1928), “On the contrary boy” (1934), “Toys” (1936), “Bullfinch” (1939).

In 1937, Barto was a delegate to the International Congress for the Defense of Culture, which was held in Spain. There she saw with her own eyes what fascism was (congress meetings were held in the besieged, burning Madrid). During World War II, Barto often spoke on the radio in Moscow and Sverdlovsk, wrote war poems, articles, and essays. In 1942 she was a correspondent for Komsomolskaya Pravda on the Western Front.

In the post-war years she visited Bulgaria, Iceland, Japan, England and other countries.

In 1940 and 1950 new collections were published: “First-grader”, “Zvenigorod”, “Funny Poems”, “Poems for Children”. During these same years, she worked on scripts for children's films "The Foundling", "The Elephant and the String", and "Alyosha Ptitsyn Develops Character".

In 1958 she wrote a large cycle of satirical poems for children “Leshenka, Leshenka”, “Grandfather’s Granddaughter”, etc.

In 1969 the documentary book “Find a Person” was published, in 1976 the book “Notes of a Children's Poet” was published.

A. Barto died in 1981 in Moscow.

“The bull walks, sways, sighs as he goes...” the name of the author of these lines is familiar to everyone. One of the most famous children's poets, Agnia Barto, has become a favorite author for many generations of children. But few people know the details of her biography. For example, that she experienced a personal tragedy, but did not despair. Or how she helped meet thousands of people who lost each other during the war.

February 1906. Maslenitsa balls were held in Moscow and the Lent. Russian empire was on the eve of change: the creation of the first State Duma, carrying out Stolypin's agrarian reform; hopes for a solution have not yet faded in society" Jewish question". Changes were also expected in the family of veterinarian Lev Nikolaevich Volov: the birth of a daughter. Lev Nikolaevich had every reason to hope that his daughter would live in another, new Russia. These hopes came true, but not in the way one could imagine. There were a little more than ten years left before the revolution.

Agnia Barto did not like to remember her childhood. Home primary education, French, ceremonial dinners with pineapple for dessert all these signs of bourgeois life did not decorate the biography of the Soviet writer. Therefore, Agniya Lvovna left the most meager memories of those years: a nanny from the village, the fear of a thunderstorm, the sounds of a barrel organ under the window. The Volov family led a life typical of intellectuals of that time: moderate opposition to the authorities and a completely wealthy home. The opposition was expressed in the fact that Lev Nikolaevich was extremely fond of the writer Tolstoy and taught his daughter to read from his children's books. His wife Maria Ilyinichna, a slightly capricious and lazy woman, was in charge of the household. Judging by fragmentary memories, Agnia always loved her father more. She wrote about her mother: “I remember that my mother, if she had to do something uninteresting to her, often repeated: “Well, I’ll do it the day after tomorrow.” It seemed to her that the day after tomorrow was still far away. I have a to-do list for the day after tomorrow.”

Lev Nikolaevich, a fan of art, saw his daughter’s future in ballet. Agnia diligently practiced dancing, but did not show much talent in this activity. The early manifested creative energy was directed into a different direction - poetry. She became interested in poetry, following her school friends. Ten-year-old girls then were all fans of the young Akhmatova, and Agnia’s first poetic experiments were full of “gray-eyed kings,” “swarthy youths,” and “hands clenched under a veil.”

Agnia Volova's youth fell on the years of revolution and civil war. But somehow she managed to live in her own world, where ballet and poetry writing coexisted peacefully. However, the older Agnia became, the clearer it was that she would not become either a great ballerina or “the second Akhmatova.” Before her final tests at the school, she was worried: after all, after them she had to start a career in ballet. People's Commissar of Education Lunacharsky was present at the exams. After the examination performances, the students showed a concert program. He diligently watched the tests and became animated during the performance of the concert numbers. When the young black-eyed beauty with pathos read poetry of her own composition entitled " Dead March", Lunacharsky could hardly restrain his laughter. And a few days later he invited the student to the People's Commissariat of Pros and said that she was born to write funny poetry. Many years later, Agnia Barto said with irony that the beginning of her writing career was quite insulting. Of course, in It’s very disappointing for youth when, instead of tragic talent, they only notice your abilities as a comedian.

How did Lunacharsky manage to discern in Agnia Barto the makings of a children's poet behind a rather mediocre poetic imitation? Or is the whole point that the topic of creating Soviet literature for children has been repeatedly discussed in the government? In this case, the invitation to the People's Commissariat of Education was not a tribute to the abilities of the young poetess, but rather a “government order.” But be that as it may, in 1925, nineteen-year-old Agnia Barto published her first book, “The Chinese Little Wang Li.” The corridors of power, where Lunacharsky, by his own will, decided to make a children's poetess out of a pretty dancer, led her to the world she dreamed of as a high school student: having started to publish, Agnia got the opportunity to communicate with the poets of the Silver Age.

Fame came to her quite quickly, but did not add courage to her Agnia was very shy. She adored Mayakovsky, but when she met him, she did not dare to speak. Having dared to read her poem to Chukovsky, Barto attributed the authorship to a five-year-old boy. She later recalled about her conversation with Gorky that she was “terribly worried.” Perhaps it was precisely because of her shyness that Agnia Barto had no enemies. She never tried to appear smarter than she was, did not get involved in literary squabbles, and was well aware that she had a lot to learn. The "Silver Age" instilled in her the most important trait for a children's writer: endless respect for the word. Barto's perfectionism drove more than one person crazy: once, while going to a book congress in Brazil, she endlessly reworked the Russian text of the report, despite the fact that it was to be read in English. Receiving new versions of the text over and over again, the translator finally promised that he would never work with Barto again, even if she were a genius three times over.

In the mid-thirties, Agnia Lvovna received the love of readers and became the object of criticism from colleagues. Barto never spoke about this directly, but there is every reason to believe that most of the openly abusive articles appeared in the press not without the participation of the famous poet and translator Samuil Yakovlevich Marshak. At first, Marshak treated Barto patronizingly. However, his attempts to “instruct and teach” Agnia failed miserably. Once, driven to white heat by his nagging, Barto said: “You know, Samuil Yakovlevich, in our children’s literature there is Marshak and the marchers. I cannot be a Marshak, and I don’t want to be a marcher.” After this, her relationship with the master deteriorated for many years.

Her career as a children's writer did not prevent Agnia from pursuing a stormy personal life. In her early youth, she married the poet Pavel Barto, gave birth to a son, Garik, and at twenty-nine years old she left her husband for the man who became the main love of her life. Perhaps the first marriage did not work out because she was too hasty in getting married, or maybe it was Agnia’s professional success, which Pavel Barto could not and did not want to survive. Be that as it may, Agnia retained the surname Barto, but spent the rest of her life with the energy scientist Shcheglyaev, with whom she gave birth to her second child, daughter Tatyana. Andrei Vladimirovich was one of the most authoritative Soviet specialists in steam and gas turbines. He was the dean of the power engineering faculty of Moscow Power Engineering Institute, and he was called “the most handsome dean of the Soviet Union.” Writers, musicians, and actors often visited their house with Barto; Agnia Lvovna’s non-conflict character attracted the most different people. She was close friends with Faina Ranevskaya and Rina Zelena, and in 1940, just before the war, she wrote the script for the comedy “Foundling”. In addition, Barto traveled a lot as part of Soviet delegations. In 1937 she visited Spain. There was already a war going on there, Barto saw ruins of houses and orphaned children. A conversation with a Spanish woman made a particularly gloomy impression on her, who, showing a photograph of her son, covered his face with her finger, explaining that the boy’s head had been torn off by a shell. “How to describe the feelings of a mother who has outlived her child?” Agnia Lvovna wrote then to one of her friends. A few years later, she received the answer to this terrible question.

Agnia Barto knew that war with Germany was inevitable. At the end of the thirties, she traveled to this “neat, clean, almost toy-like country,” heard Nazi slogans, saw pretty blond girls in dresses “decorated” with swastikas. To her, who sincerely believed in the universal brotherhood of, if not adults, then at least children, all this was wild and scary. But the war itself was not too harsh on her. She did not separate from her husband even during the evacuation: Shcheglyaev, who by that time had become a prominent energy worker, was sent to the Urals. Agnia Lvovna had friends living in those parts who invited her to stay with them. So the family settled in Sverdlovsk. The Urals seemed to be distrustful, closed and stern people. Barto had a chance to meet Pavel Bazhov, who completely confirmed her first impression of the local residents. During the war, Sverdlovsk teenagers worked at defense factories instead of adults who went to the front. They were wary of the evacuees. But Agnia Barto needed to communicate with children; she drew inspiration and stories from them. In order to be able to communicate more with them, Barto, on the advice of Bazhov, received the profession of a second-class turner. Standing at the lathe, she proved that she was “also a person.” In 1942, Barto made her last attempt to become an “adult writer.” Or rather, a front-line correspondent. Nothing came of this attempt, and Barto returned to Sverdlovsk. She understood that the whole country lived according to the laws of war, but still she was very homesick for Moscow.

Barto returned to the capital in 1944, and almost immediately life returned to normal. In the apartment opposite Tretyakov Gallery The housekeeper Domasha was again doing housework. Friends were returning from evacuation, son Garik and daughter Tatyana began studying again. Everyone was looking forward to the end of the war. On May 4, 1945, Garik returned home earlier than usual. Home was late with lunch, the day was sunny, and the boy decided to ride a bicycle. Agnia Lvovna did not object. It seemed that nothing bad could happen to a fifteen-year-old teenager in a quiet Lavrushinsky lane. But Garik’s bicycle collided with a truck coming around the corner. The boy fell onto the asphalt, hitting his temple on the sidewalk curb. Death came instantly. Barto’s friend Evgenia Taratura recalls that Agniya Lvovna completely retreated into herself these days. She didn't eat, didn't sleep, didn't talk. The Victory Day did not exist for her. Garik was affectionate, charming, handsome boy, capable of music and exact sciences. Did Barto remember the Spanish woman who lost her son? Was she tormented by a feeling of guilt for her frequent departures, for the fact that Garik sometimes lacked her attention?

Be that as it may, after the death of her son, Agnia Lvovna turned all her mother’s love to her daughter Tatyana. But she didn’t work less; quite the contrary. In 1947, she published the poem "Zvenigorod" - a story about children who lost their parents during the war. This poem was destined for a special fate. Poems for children turned Agnia Barto into “the face of Soviet children’s books,” an influential writer, a favorite of the entire Soviet Union. But “Zvenigorod” made her a national heroine and returned some semblance of peace of mind. This can be called an accident or a miracle. Agnia Barto wrote the poem after visiting a real orphanage in the town of Zvenigorod near Moscow. In the text, as usual, she used her conversations with children. After the book was published, she received a letter from a lonely woman who lost her eight-year-old daughter during the war. The fragments of childhood memories included in the poem seemed familiar to the woman. She hoped that Barto communicated with her daughter, who disappeared during the war. And so it turned out: mother and daughter met ten years later. In 1965, the Mayak radio station began broadcasting the program “Looking for a Man.” Searching for missing people using the media was not the invention of Agnia Barto; such a practice existed in many countries. The uniqueness of the Soviet analogue was that the search was based on childhood memories. “A child is observant, he sees sharply, accurately and often remembers what he sees for the rest of his life,” wrote Barto. “Can’t childhood memory help in the search? Can’t parents recognize their adult son or daughter from their childhood memories?” Agnia Barto devoted nine years of her life to this work. She managed to unite almost a thousand families destroyed by the war.

In her own life everything was going well: the husband was moving up the career ladder, daughter Tatyana got married and gave birth to a son, Vladimir. It was about him that Barto wrote the poem “Vovka kind soul"Andrei Vladimirovich Shcheglyaev was never jealous of her fame, and he was greatly amused by the fact that in some circles he was known not as the largest specialist in steam turbines in the USSR, but as the father of “Our Tanya,” the one who dropped a ball in the river (Barto wrote these poems for her daughter). Barto still traveled a lot around the world, even visiting the USA. Agniya Lvovna was the “face” of any delegation: she knew how to behave in society, spoke several languages, dressed beautifully and danced beautifully. In Moscow there was absolutely no one to dance with Barto’s social circle consisted of writers and her husband’s colleagues scientists. Therefore, Agniya Lvovna tried not to miss a single dance reception. Once, while in Brazil, Barto, as part of the Soviet delegation, was invited to reception with the owner of Machete, the most popular Brazilian magazine.The head of the Soviet delegation, Sergei Mikhalkov, was already waiting for her in the hotel lobby when KGB officers reported that the day before Machete had published a “vicious anti-Soviet article.” Naturally, there could be no talk of any reception. They said that Mikhalkov could not forget the upset face and words of Agnia Barto, who came out of the elevator in an evening dress and with a fan, for a long time.

In Moscow, Barto often received guests. It must be said that the writer rarely did housework. She generally maintained the way of life that had been familiar to her since childhood: the housekeeper completely freed her from household chores; the children had a nanny and a driver. Barto loved to play tennis and would organize a trip to capitalist Paris to buy a pack of drawing paper she liked. But at the same time, she never had a secretary, or even a work office - only an apartment on Lavrushinsky Lane and an attic at the dacha in Novo-Daryino, where there was an old card table and books were piled in stacks. But the doors of her house were always open for guests. She gathered MPEI students, academicians, aspiring poets and famous actors. She was non-confrontational, loved practical jokes and did not tolerate arrogance and snobbery. One day she arranged a dinner, set the table, and attached a sign to each dish: “Black caviar for academicians,” “Red caviar for corresponding members,” “Crabs and sprats for doctors of science,” “Cheese and ham for candidates.” ", "Vinaigrette for laboratory assistants and students." They say that the laboratory assistants and students were sincerely amused by this joke, but the academicians did not have enough of a sense of humor; some of them were then seriously offended by Agnia Lvovna.

In 1970, her husband, Andrei Vladimirovich, died. He spent the last few months in the hospital, Agniya Lvovna stayed with him. After the first heart attack, she was afraid for his heart, but the doctors said that Shcheglyaev had cancer. It seemed that she had returned to distant forty-five: her most precious thing was again taken away from her.

She survived her husband by eleven years. All this time she did not stop working: she wrote two books of memoirs, more than a hundred poems. She did not become less energetic, she just began to fear loneliness. I spent hours talking to my friends on the phone and tried to see my daughter and grandchildren more often. She still didn’t like to remember her past. She was also silent about the fact that for decades she had been helping the families of repressed acquaintances: she obtained scarce medicines, found good doctors; about the fact that, using her connections, she had been “getting” apartments for many years, sometimes for complete strangers.

She died on April 1, 1981. After the autopsy, the doctors were shocked: the vessels turned out to be so weak that it was not clear how the blood had been flowing into the heart for the last ten years. Agnia Barto once said: “Almost every person has moments in life when he does more than he can.” In her case, it was not a minute; she lived her whole life this way.

Barto Agnia Lvovna, whose biography will be discussed in detail in this article, is famous throughout the post-Soviet space for her beautiful children's poems. However, few people know that the poetess also translated, wrote film scripts and was even a radio presenter.

Childhood

On February 17, 1906, Barto Agnia was born. The writer's biography suggests that her childhood years were very joyful. The girl was born into an intelligent family. Her father, Lev Nikolaevich, worked as a veterinarian, and her mother, Maria Ilyinichna, raised her daughter and ran the household.

Agnia (nee Volova) was born in Moscow, where she spent her childhood and youth. She always remembered her father especially warmly. Lev Nikolaevich often went on business trips, but on those rare days when he was at home, he spent a lot of time with his beloved daughter, read Krylov’s fables to her, and taught her to read. It was he who instilled in Agnia a love of literature. His first serious gift was the biography book “How L. N. Tolstoy lived and worked.”

The poetess had somewhat conflicting feelings towards her mother. On the one hand, she loved her, on the other, she admitted that she considered her a capricious and lazy woman who constantly puts things off until tomorrow. A nanny who came from the village and a governess who taught the girl French took care of the child.

Academic years

Agnia Barto (photo and biography are presented in this article) received an excellent home education, led by her father. Lev Nikolaevich hoped that his daughter would become a ballerina, so she studied dancing for many years, but did not show talent in this area. But Agnia began writing poetry in childhood. Akhmatova became the standard for her. Nevertheless, she did not give up ballet and combined these classes with gymnasium classes.

Agnia’s first critic was her father. He was very strict about her poetic attempts and did not allow his daughter to neglect stylistics and poetic meters. He especially scolded her for often changing meters in the lines of one verse. However, it is precisely this feature of Barto’s poetry that will later become distinctive.

Revolutionary events and the Civil War did not particularly influence the girl’s fate, since she lived in the world of ballet and poetry. After the gymnasium, Agnia went to the Choreographic School, graduating from which in 1924. These were hungry years, and the future poetess, despite her age of fifteen, went to work in a store that sold herring heads, from which they made soup.

Final exam

The biography of Agnia Barto is replete with happy accidents ( summary The life of the poetess can be made up of many unexpected coincidences). So, the graduation test at the ballet school was approaching, at which Lunacharsky himself, the People's Commissar of Education, was supposed to attend. The program included a final exam and a concert prepared by the graduates. At the concert, Agnia read her poems, it was a humorous sketch “Funeral March”. Lunacharsky remembered the young poetess and after some time she was invited to the People's Commissariat for Education. The People's Commissar personally talked with Agnia and said that her calling was to write humorous poetry. This greatly offended the girl, as she dreamed of writing about love. Therefore, Barto did not listen to Lunacharsky and joined the ballet troupe, where she worked for a year.

The path of the poetess

Barto Agnia was forced to give up her career as a ballerina; the writer’s biography changed dramatically after working in a theater troupe. The girl realized that dancing was not her thing. And already in 1925, the poetess’s first book, “Chinese Little Wang Li,” was published, and then the collection of poems “The Thief Bear.” By this time she had just turned 19 years old.

Barto quickly gained fame, but this did not rid her of her natural shyness. It was she who prevented the girl from meeting Mayakovsky, whose poems she adored. At the same time, books with her poems for children were published one after another: “Toys”, “For Flowers in winter forest”, “Bullfinch”, “Reverse Boy”, etc.

The year 1947 was marked by the release of the poem “Zvenigorod”, the heroes of which were children whose parents died during the war. To write this work, Barto visited several orphanages, talked with their pupils, who told her about their lives and their dead families.

Creation

In her poems, Barto Agnia spoke to children in their language. The biography of the poetess indicates that she had no creative failures. Probably the reason for this was her attitude towards the kids as peers. That is why each of us is familiar with her poems and remember them by heart. It is Barto’s works that a child first becomes acquainted with, and then tells them to his children.

Few people know that Agnia was also a screenwriter. In particular, she wrote scripts for the following famous films:

• "Ten Thousand Boys"
• “Alyosha Ptitsyn develops character.”
• "Foundling".
• "Elephant and String"

For her works, Barto received several government awards. Among them are the Stalin (1950) and Lenin (1972) prizes.

Foreign travel and war

Barto Agnia visited abroad several times (her biography confirms this). This happened for the first time in 1937. The poetess ended up in Spain, where military operations were taking place. Here she witnessed terrible pictures and heard stories of mothers who lost their children forever. Already in the late 30s, the writer went to Germany, which seemed like a toy. However, from the slogans and Nazi symbols I realized that the wars Soviet Union can't be avoided.

During the Great Patriotic War, Barto did not want to evacuate from the capital and was going to work on the radio. However, her second husband, a power plant specialist, was sent to the Urals, and he took his family with him - his wife and two children. Despite this, the poetess found the opportunity to come to Moscow and record programs for the All-Union Radio. In the capital, Barto lived in her apartment and once came under bombing. Her house was not damaged, but she saw the destruction of the neighboring one and remembered it for a long time.

At the same time, she repeatedly asked to enlist in the army, and at the end of the war her wish was fulfilled. Agnia was sent to the front, where she read her children's poems to the soldiers for a month.

Personal life

Agnia Barto was not as successful in her personal life as in her work. A short biography telling about her family is full of irreparable losses and grief.

The poetess first married Pavel Nikolaevich Barto at the age of 18, and it was under his name that she became famous. He was a writer and at first worked together with Agnia. They composed the following works: “Roaring Girl”, “Counting Table” and “Dirty Girl”. In 1927, the couple had a boy, who was named Edgar, but Agnia always affectionately called him Garik. The birth of a child did not save the marriage, and after 6 years the couple separated. Presumably the reason was creative success poetess, which her husband refused to recognize.

The second marriage turned out to be much more successful. The chosen one was Andrei Vladimirovich Shcheglyaev, who was considered one of the best energy drinks THE USSR. Representatives of various creative professions often gathered in their house: directors, writers, musicians, actors. Among Barto's friends were Faina Ranevskaya and Rina Zelenaya. Andrei and Agnia loved each other, their life together turned out well. Soon they had a daughter, who was named Tatyana.

On May 4, 1945, a terrible tragedy occurred in the family - a car hit Garik, who was riding a bicycle. The seventeen-year-old boy died instantly. In the first months after the funeral, Agnia was cut off from reality, ate almost nothing and did not talk to anyone. The poetess devoted the rest of her life to her husband and raising her daughter and grandchildren.

In 1970, Barto suffered another blow - her husband died of cancer. The poetess outlived him by 11 years and left this world on April 1, 1981.

Agnia Barto (biography): interesting facts

Here are some notable events from the life of the poetess:

• All Barto's documents indicate that she was born in 1906. But in fact, Agnia was born a year or two later. Inaccuracy in dates is not the fault of bureaucrats, extra years the writer added to herself in order to be hired, since in those years there was a terrible famine in the country.
• The poem “Zvenigorod” is notable not only for its popularity and theme. Immediately after its publication, Agnia received a letter written by a woman who had lost her daughter at the beginning of the war. Some parts of the poem seemed familiar to her and she began to hope that the poetess was talking with her child in the orphanage. It soon became clear that this was so. Mother and daughter met after 10 years of separation.
• In her youth, Agnia was in love with Mayakovsky. It was the poet’s words that one should write only for children that prompted the girl to choose such a poetic destiny.

Agnia Barto: biography for children

It is better to start a story about the life of the poetess for children from her childhood. Talk about your parents, ballet classes and dreams. Then you can move on to poetry. It is advisable to recite a few poems by Barto here. It would be useful to mention foreign trips and provide interesting facts. You can focus on the poetess’s communication with children. It’s better not to touch on your personal life - schoolchildren are rarely interested in this.

Finally, I can tell you about how I spent last years of her life Agniya Lvovna Barto. A biography for children should not be replete with dates.

The famous children's writer Agnia Lvovna Barto was born in 1906, in the family of a veterinarian. Immediately after birth, the parents named the baby Gethel, but after marriage she changed her name. That is why, for adults and children in all sources, we know her as the famous poet and film screenwriter as Agnia Barto.

Briefly about childhood and youth

Since childhood, the girl loved to dance and dreamed of ballet. And although her father was in charge of her primary education, after entering the gymnasium, the future poetess studied at a ballet school. Agnia loved to be creative since childhood. That is why poems and a biography of Agnia Barto are included in the curriculum for 3rd grade. They are imbued with childhood and include instructive meanings.

It would be possible to briefly talk about Agnia Barto if her biography were not filled with so many interesting facts. Such as, for example, she studied German and French since childhood. After graduating from ballet school, Agnia was enrolled in a professional ballet troupe. This is how it began in the biography of Barto Agnia Lvovna new stage, who inspired her to write new poems.

Literary creativity

Among adults and children it is impossible to find anyone who would not love her work. Presence open human feelings and language that is understandable for a child is what really attracts her in her work. And her father taught her to love poetry.

1925 is a significant year in the biography of Agnia Barto, as she published her first two books, the works of which are currently recommended for grade 2.

Agnia read poetry with such an intonation that she inspired confidence. She had an amazing gift of speaking to children in their language. That is why works such as “Chinese Wang Li” by Agnia Barto and her biography are recommended for study for 3rd grade. Many fascinating events took place in the biography of Agnia Lvovna Barto, which prompted her to write poetry for children.

Personal life

Like any person, the poetess experienced black and white stripes in life. There were tragic moments such as sudden death son. There were bright moments associated with the publishing of Agnia Barto’s books, which are mentioned so much in all the photos and video sources of her biography. Together with her husband, Agnia Barto wrote a number of works for children primary school. For example, such as “Roarer Girl”. She also worked in the magazine “Murzilka”.

The poetess lived a very active and rich life. Her favorite activities were traveling and playing sports.

One of the most interesting facts in the biography of Agnia Barto is her date of birth. There is a version that she was born two years later. The fact is that she really wanted to get a job early because she experienced hunger and poverty. So she had to slightly falsify her birth document.

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Biography, life story of Barto Agnia Lvovna

Children's writer Agnia Lvovna Barto (nee Gitel Leibovna Volova) was born in 1907 on the 4th of February (17th BC). Her father was a veterinarian, her mother was a housewife. As a child, the future writer studied at a choreographic school and at the same time at a gymnasium. Lunacharsky listened to her poems during the final exam at school and advised her not to give up writing. It was he who did everything so that instead of a ballerina, she would grow into a children's writer. Lunacharsky carried out a government order to search for talent. Being a Soviet writer, Barto did not remember her bourgeois childhood in a house that was quite wealthy. My father loved the writer and was in moderate opposition to the authorities. He was a fan of the arts and saw his daughter's future as a ballet dancer. Agnia was fond of early poetry and adored it. Agnia’s youth fell precisely during the harsh years of the revolution and civil war. However, she continued to practice ballet and write poetry. After meeting with Lunacharsky at the school, she was summoned to the People's Commissariat for Education and offered to write funny poetry. Agnia felt almost insulted, since she thought of herself as a poetess of a tragic sound at the level. She was offended that she was perceived as a comedian.

In 1925, she published the book “Chinese Wang Li,” which was a success and introduced her to the world of Silver Age poets. The choice of topic was also influenced by, which convinced Agnia of the need for poetry for children. Collections of poems began to be published regularly. In 1937, Agnia Barto was a delegate to the Congress for the Defense of Culture, held in Spain in besieged Madrid. Agnia was very shy and did not get involved in literary squabbles. The Silver Age instilled in her respect for words; she was a perfectionist and tried to be perfect in everything, but did not try to seem smarter than she really was. Readers began to love her, but among writers she became an object of attack. Relations with her became bad for many years, she became the object of his nagging. tried to instruct her and was patronizing. At the age of 20, Agnia left her husband, the poet Pavel Barto, with whom she had a son, Garik. She spent the rest of her life with energy scientist Shchegolyaev, they had a daughter, Tatyana. It was a hospitable family; writers, musicians, and actors visited the house. Agnia was friends with actresses Rina Zelena and. They lived in an apartment directly opposite the Tretyakov Gallery, on Lavrushinsky Lane. The housekeeper Domasha took care of the housework, the children had a nanny and a personal driver. The family was prosperous, the husband was making a career. The writer did not have a secretary or an office, but she had a dacha in Novo-Daryino, where her favorite table stood and books were piled up.

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During the Patriotic War, Agnia Barto spoke on the radio, was a war correspondent, and wrote war poems, essays and articles. The husband was sent to Sverdlovsk, where they spent years of evacuation. Barto met in Sverdlovsk with, who seemed to her, like all Urals, closed and distrustful. Barto worked in the machine shop with teenagers, drawing stories from them; she needed to communicate with children. There was also an attempt to become an adult writer, a front-line correspondent.

They returned to Moscow in 1944. In 1945, on May 4, his son accidentally died in a car accident. Therefore, there was no Victory Day for Agnia Lvovna. In 1947, Barto published the poem "Zvenigorod", which had a special fate. After the publication of the poem on the Mayak radio station, Agnia Barto began broadcasting the program “Looking for a Man,” which she did for 10 years. According to childhood memories, she was looking for children lost during this terrible war. She reunited almost a thousand families. This work restored her to a semblance of peace of mind, and she became a national heroine. In 1950 she received the Stalin Prize. The Lenin Prize awaited her until 1972. There were other government awards - the Order of the Red Banner of Labor, October revolution, Badge of Honor and, finally, the international Order of Smile. In the post-war years, she traveled abroad, visited Bulgaria, Iceland, England, Japan and other countries. Agnia Lvovna Barto became the favorite writer and poet of many generations of children. For decades, she offered help to the families of repressed acquaintances, found apartments using her connections, obtained scarce medicines for them, and found the best doctors.

Agnia's husband Barto died in 1970, the writer survived him by 11 years. She wrote two books of memoirs, more than a hundred poems. Agnia Lvovna Barto died in 1981 on April 1.