The Significations of the Game in Vierean's Poetry for Children

Abstract

Vieru's creation for children was searching continuously for the break of the Soviet canon. Propelled by a bouncing lyricism and by the sap of mythical folk headsprings, Grigore Vieru's poem brings back the literature of the 1960's to its aboriginal origins. The universe of the Vierean childhood rejects the artificial game, the partisan template, the glorious themes of the USSR, reconfiguring a new aesthetic picture of the child and childhood. Seen like a little demiurge, the Vierean child, an antipode of the child -hero, explores the mysteries of the rural adventure. Suggested from a series of correlated worlds, such as: the sunny world, the dendritic one, the celestial world, the plant world and others -, the ludic space depicts angelically the almighty mother's figure. Vieru's literature for (and about) children promotes, from the debut (1957) the general human values, guiding the infantile reader to the reveal of the great human aims. Accessible and close to the reader's needs, Vieru's literature for children became easily folkloric. Through the intermediate of the child, G.Vieru managed to reverse the models of the character from the whole space of Bessarabian literature, identifying it with an axiological landmark for all ages.The speechless games, the vocal games and rhymes, the ritual games with the sun rays and with the wheat influenced the importance of fraternal communion between the man and nature. Hidden after the mirrors of the games, Vieru’s child looks for a therapeutic remedy in order to heal the inner states caused by the war, the human loss and starvation. Vieru offers to his character the freedom to think and feel autonomous, without imposing his theses. The little reader is fascinated by the hero he discovers, appropriates and by the ludic adventure. The reader feels very good in this amazing space.