Vieru’s nursery rhyme has undoubtedly demonstrated that the poet is religious from the outset of his editorial debut. The poet’s creation dedicated to a young audience is defined as a set of poems, simple in structure, but moralizing, educational, axiological, cantabile, jovial, stories about true human meanings and norms. Without divine appellations, without direct references to religious lexemes, Vieru poetizes an archetypal world of identity values. The universe of the sacredness is represented by the distinct symbols: the white, the mother, home, the wheat, the land, the bee, the water (the spring, the rain), the bird, the longing, the song, etc. By sacrificing childhood, the poet sacralizes the entire surrounding universe, safeguarding childish chastity from mature influence and thought. His poetry for children combines allegorical (moralizing) stories and elements of mysterious rituals: the rain invocation, the bread baking, the rainbow waiting, the dialogue with the sun, lullabies song etc. Vieru’s character discusses freely with all the surrounding creatures, ventures into the game world even with the phenomena of nature, discovers the primordial meanings of life. The attachment to the rural world denotes the unforgettable past and the longings of distant childhood. Vieru’s verse is nourished even from the depth of ballads, millennial traditions, moral-spiritual creed. The childlike sensibility, the empathy and the burning desire to fraternize with the rural land are inherited, but also strengthened day by day through the mother’s presence. His nursery rhyme is not just a simple rhyme game, but a cult for (and about) the organic connection between man (child) and nature.
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