Research work "In the footsteps of Krylov the fabulist" (Artistic originality of the fables of I.A. Krylov). A fable as a literary genre and its characteristic features How to distinguish a fable from a fairy tale

Roger Fowler describes a fable as "a short, instructive story, in verse or prose, in which human behavior and related situations are presented primarily through animals and birds, gods, or inanimate objects." Disputes about its specificity do not prevent researchers from highlighting its characteristic features:

• First of all, a fable is a plot work. Typical for her are the dynamics of the action, the lack of detailed descriptions and stylistic devices that slow down the course of the narrative;
• the heroes of the fables are in binary oppositions - some are the embodiment of human virtues, while others are carriers of obvious shortcomings and vices;
• morality in this genre form is brought to the fore, even if it is not directly announced. L.S. Vygotsky claims that each fable contains a special moment, which he conditionally calls a “catastrophe” by analogy with a tragedy. Such a “catastrophe” is its final moment, in which an act, action or phrase is two-dimensionally combined, which lead the contradiction to its apogee and, at the same time, “dilute this duality of feelings, which grows throughout the whole work” . According to the figurative comparison of the author, the fable, as if, is going to one point and, straining to the limit, solves the conflict underlying it with one blow;
• Another essential feature of the fable is that, as a rule, there are no metaphors in its content. Her language is precise, bright, concise, close to colloquial. It often contains onomatopoeia, interjections and lexical borrowings from folklore, which develop the "receptor's" flair for precise verbal details.

Fable genres:

• in form - poetic and prose;
• depending on the nature of the author's invention - folk, authorized and literary;
• depending on the contamination with other genre forms - fables-tales, fables-parables, fables with an anecdotal character;
• depending on the era of its writing - ancient, classical and modern.

The fable originated millennia ago as one of the first manifestations of human artistic thought and experience. We find traces of its presence in the culture of Egypt and India. Antique literature occupies a special place in its development as a genre form. Scientists believe that the first fable recorded for future generations belongs to Hesiod (VIII - VII century BC), who introduced an unwritten tradition - the title should contain an antithesis, a contrast between characters symbolizing certain human qualities and character traits. Considered the first real fabulist, Aesop is a semi-legendary figure who is credited with authoring over 400 works. They were created in the VI century. BC e., and recorded only in the II century. BC e. for the purpose of teaching rhetoric. In the first century, the Roman poet Phaedrus clothed Aesop's fables in poetic form and, along with Babri, puts the beginning of a poetic fable.

During the Middle Ages, the fable has its own distribution, but its real heyday is associated with the era of classicism, when F. Fenelon (France), A.P. Sumarokov, I.I. Kemnitser, I.I. Dmitriev (Russia). The most significant are the achievements of Jean de La Fontaine and Ivan Andreevich Krylov, who, unlike the ancient authors, write detailed narratives in poetic form, built with the help of witty dialogue.

The new tasks formulated by the Enlightenment require educators to pay the attention they deserve to fables and legitimize them as a "children's genre". Jean-Jacques Rousseau, however, remains skeptical about their capabilities. In his novel Emil or on Education, it is even categorically emphasized that children should not have access to fables before the age of 12. The author categorically denies the need for this kind of reading for the younger generation, believing that it can be instructive only for adults.

At the end of the 18th and the beginning of the 19th centuries, the creators of fables are faced with an interesting pattern - their works quickly change their addressee and are already readily read by a predominantly youthful audience, and not by more mature readers, for whom they are intended. Trying to respond adequately to this phenomenon, fabulists are already legitimizing themselves as “authors for adults” and “authors for children”, which does not prevent then, or today, that the best works for adults are also available for boys.

In Russian literature of the 18th and early 19th centuries, the fable was a satirical genre, especially fully reflecting reality. Russian literature in the 18th century became more and more a conductor of new ideas, more and more fully aware of its social purpose. This largely explains the fact that, along with the "high" genres of classicism in the literature of the 18th century, satirical genres, in particular the fable, occupied such a large and important place. Belinsky spoke about this satirical trend in Russian literature, emphasizing that "... since the time of Kantemir, the satirical trend has become a living stream of all Russian literature."

The beginning of the Russian fable is associated with the names of Kantemir, Lomonosov and Trediakovsky. This is a period of searches, attempts to master various genres, which for the first time were so widely included in Russian literature. The first Russian fabulist was Antioch Kantemir. Although the fable does not occupy a significant place in his work, it is already perceived by him as a satirical genre. In Kantemir, the fable first appears in Russia as a poetic genre, since before that only prose retellings of Aesop's fables were known. Following Kantemir, Lomonosov, Trediakovsky, Sumarokov, V. Maikov, Khemnitser and many other writers turned to the fable. In the genre hierarchy of classicism, when all literature was subject to the "rules" of rhetoric, the fable was considered a "low" kind. But this is what made the fable genre the most vital, democratized it, brought the language of the fable closer to colloquial vernacular, folklore.

Lomonosov, although he rearranged Lafontaine and introduced details into the fables, nevertheless followed the Aesopian tradition. Lomonosov's fables are devoid of comedy and emphatically serious. He preferred calm storytelling. Lomonosov's fable is devoid of author's intonation, dramatization of the story. “Lomonosov in fables is an opponent of both high style and rude colloquialism,” V.I. Korovin.

The original, national character of the fable was clearly reflected in the work of A. Sumarokov. With the fable genre, he responded to the great ideas of his time. He expressed his fabled position in the Epistle on Poetry:

Warehouse of fables should be playful, but noble,

And the low spirit in it is suitable for simple words.

As de Lafontaine reasonably showed

And glorious in the light became a fable verse,

Filling from head to toe all the parables with a joke...

Sumarokov rises in fables against the ignorance and moral licentiousness of the nobility, against the arbitrariness of nobles and officials. Sumarokov declared himself a supporter of La Fontaine. For him, the main thing in the fable was a satirical joke, and not moralizing. He abundantly introduces coarse vernacular into the fable. In his fables, the stupidity of the characters is exaggerated and brought to the point of grotesque comedy. H.J.I. Stepanov reasonably wrote: “For Sumarokov, the fable was a“ low ”comic-burlesque genre, where the author allows himself to talk about rude things with disdainful superiority, and draws the plots themselves from the common people, peasant life” . Sumarokov also has the merit of creating a special multi-footed verse, which was used later by many Russian fabulists up to Krylov.

A new stage in the development of the Russian fable of the 18th century is associated with the name of I.I. Khemnitser. His fable loses the features of comedy, and moralizing only exposes the sad moral results of reflections. "Khemnitzer is an ironic skeptic who conveys the general triumph of stupidity and vice". The language of Chemnitzer's fables is a simple, colloquial style that differs from both vernacular and book stiffness.

By the beginning of the 19th century, varieties could be distinguished in the fable genre: the classical fable (the creators of which were A.P. Sumarokov, V.I. Maikov, A.E. Izmailov) and the sentimentalist fable (its samples are found in the work of M.N. Muravyov, I.I. Dmitriev). To varying degrees, they went back to the classic examples of the genre - to the fables of the ancient Greek fabulist Aesop and the French poet-fabulist La Fontaine. The latter made significant changes to the ancient literary genre and still retained its main features. The purpose of the classic fable is to present this or that episode from life, to offer the reader some truth, a moral maxim that could be used in different life situations. The fable teaches a lesson, denounces, unequivocally evaluates, that is, it does not imply any discoveries, it comes from some unconditional knowledge that is well known to it. A fable, as defined by A.A. Potebniy, there is a quick answer to the proposed question. Lessing rightly said that the fable belonged to the ancients in the field of philosophy, and not in the field of poetry. It was this feature, or rather, the nature of the fable, that Krylov radically changed. After analyzing the texts of Krylov, L.S. Vygotsky came to the conclusion that they belong entirely to poetry, they live according to the laws of the poetic text, and all the laws of the psychology of art apply to them.

Regarding the genre of the fable, it should be noted that the genre features of the fable are: morality, allegorical meaning, the typicality of the described situation, characters-characters, ridicule of human vices and shortcomings.

V.A. Zhukovsky singled out 4 features of the fable:

1) the fable helps the reader, using a simple example, to understand a difficult everyday situation;

2) transferring the reader's imagination to a dreamy world, where the fictional is compared with the existing;

3) morality, condemning the negative quality of the character;

4) objects and animals act instead of people in the fable.

The language of the fable is characterized by: the use of colloquial vocabulary, personifications, aphorisms. The language of the fables is simple, concise, close to live colloquial speech.

Bibliography:

1. Belokurova S.P. Dictionary of literary terms. - St. Petersburg: Parity, 2006. - S. 320.
2. Vygotsky L.S. Psychology of art. 3rd ed. - M.: Art, 1986. - S. 573.
3. Zhukovsky, V. A. About Krylov’s fable and fables / V. A. Zhukovsky // Zhukovsky, V. A. Collected works: In 4 vols. T. 4. - L .: Nauka, 1960. - P. 323.
4. Kvyatkovsky A.P. Poetic dictionary. – M.: Sov. Encycl., 1966. - S. 376.
5. Korovin V.I. Poet and sage. M.: Art, 1996. - S. 127.
6. Potebnya A.A. From lectures on the history of literature. Fable. Proverb. Proverb. Kharkov, 1894. - S. 170.

City scientific and practical conference

"LOMONOSOV READINGS"

Section:

Literature

Research

In the footsteps of Krylov the fabulist

(The artistic originality of the fables of I.A. Krylov)

Akhmetshina Karina Rustemovna, student of grade 5A

MBOU "Secondary school No. 114" Privolzhsky district of Kazan

Head Paskar Galiya Saylauovna,

teacher of Russian language and literature

Kazan, 2017

Main part.

Chapter 1. I.A. Krylov - the great fabulist……………………………………………………...4

Chapter 2. Artistic features of the fables of I.A. Krylov…………………………………….

Chapter 3

Chapter 4

Conclusion…………………………………..………………………………………………………………9

List of used literature……………………………………………………………..10

Appendix 1……………………………………………………………………………..……….11

Annex 2 ……………………………………………………………………………………..14

Annex 3………………………………………………………………………………..…….17

Introduction

Today in the century XXIwe again turn to the work of I.A. Krylov. More than 200 years have passed since the birth of the great fabulist "grandfather Krylov", as his people lovingly call him, but his fables are not outdated, they teach us to understand true, moral values, folk wisdom, and expand life experience. At the lessons of literature, extracurricular reading, we got acquainted with the fables of Ivan Andreevich Krylov. Each fable by I.A. Krylov has its own history, its own artistic originality.

We became interested in such an unusual literary genre as a fable, and decided to conduct our own research, to identify the artistic features of I.A. Krylov's fables. Follow in the footsteps of the great fabulist.

Object of study are the fables of I.A. Krylov
Subject of study – language material of fables by I.A. Krylov.
Purpose of the study - to determine the artistic originality of the fables of I.A. Krylov.

Tasks research work:

to study the fable creativity of I.A. Krylov;

reveal the artistic originality, features of the fables of I.A. Krylov;

improve your writing skills;

develop and improve search and creative skills and abilities;

Research methods:

Theoretical:

reference and information;

analysis and systematization.

Practical:

meaningful reading of fables;

observation;

creative search.

Work results can be used by students and teachers in literature lessons when studying the topics “Russian fables”, “Creativity of I.A. Krylov”, in the lessons of speech development, extracurricular activities.

This research work will help students open the curtain into the world of fables by I.A. Krylov,will arouse interest in the work of the fabulist, in the study of the subject "Literature" and will encourage the desire to show theirCreative skills.ANDthe study can be continued by studying this material in subsequent classes.aaaaaaaaaaaaa

Main part

« With fun, he corrected people,

Sweeping dust from them vices;

He glorified himself with fables,

And this glory is our reality ... "

P.A. Vyazemsky

1. I.A. Krylov the great fabulist

Ivan Andreevich Krylov entered the history of Russian literature as a great fabulist. A.S. called him "truly popular". And it really was so, because every literary character of Ivan Andreevich Krylov still teaches good, bright and eternal.Ivan Andreevich Krylov went through a harsh school of life, was able to reflect his experience in beautiful fables that have become an integral part of classical Russian literature.

The first fables of Krylov, without a signature, appeared in the 18th century: "The Shy Player", "The Poet Dissatisfied with the Guests", "The Peacock and the Nightingale". But there was still nothing of Krylovsky in them. Genuine fables, which made the name of Krylov popularly loved, he began to write in 1805. The first collection of fables was published in 1809, among them were masterpieces: "Crow and Fox", "Elephant and Pug", "Rooster and Pearly Grain". In total, more than 200 fables were written. Krylov's fabled heritage is, in Gogol's words, "the property of the people and constitutes the book of the wisdom of the people themselves" * .

Ivan Andreevich was born in Moscow in 1769. His father served in the garrison and did not encourage his son's literary interests. But his mother, Maria Alekseevna, on the contrary, took care of the education of little Vanya, aroused in him an interest in books, a love of reading. The boy did not go to school due to lack of money. But all this did not prevent Krylov from becoming the most educated person of his time. Ivan Andreevich independently studied Russian and foreign languages, literature, and mathematics. He drew beautifully, played the violin.

Left without parents, he worked in St. Petersburg as a scribe of documents and at the same time was writing plays - tragedies and comedies.He began writing fables only at the age of 37.After gaining fame in literary circles, he worked as a journalist for some time. He traveled a lot and lived in the provinces, without ceasing to compose. After moving to Moscow, his first fables were published, which dispersed into proverbs and winged words. The writer himself was popularly called"grandfather Krylov" - this name is firmly entrenched in his biography. The fabulist died on November 9, 1844.

2. The artistic originality of the fables of I.A. Krylov

What is the artistic originality of the fables of I.A. Krylov? To find the answer to this question, one must follow in the footsteps of the great fabulist.Krylov's fables cover a wide range of topics dictated by life itself, contemporary to the author. In linguistic means, images, Krylov comes from folklore.

In his fables, Krylov skillfully combined bookish, poetic and colloquial speech, including vernacular. Hence that extraordinary lightness, simplicity of language, which Zhukovsky and Gogol never ceased to admire.

The most important feature of the fables of I.A. Krylov is a folk colloquial language with an abundant inclusion of vernacular (“bawls nonsense”, “not for the future”, “breathing has stopped”), phraseological units, proverbs and sayings (“The work of the master is afraid”, “Swallow alone is not makes springs"). No wonder Belinsky saw in Krylov's fables a feature that is generally characteristic of a Russian person, "the ability to express himself briefly, clearly and curlyly together." The great Russian fabulist enriched the Russian language with many aphorisms and winged expressions (“I didn’t even notice the elephant”, “But the chest just opened”, “Yes, things are still there”), which have become firmly established in speech and enriched the modern Russian language.Winged expressions help to understand the plot of the fable, morality and draw conclusions and make our speech more vivid.

In every fable of Krylov there is a moral. Morality is the main idea of ​​what was said earlier, a conclusion, a result containing advice to the reader to act in one way or another.A fable, according to a dictionary definition, is "a short story that has an allegorical meaning." For the purpose of allegory, he uses images of animals endowed with individual human traits: courage, diligence, cowardice, kindness, beauty, courage, etc. Allegory (allegory) is an artistic technique that the author uses in the work- this is one of the artistic features of the fabulist. In the fables “The Wolf in the Kennel” and “The Pike and the Cat”, the following artistic feature of Krylov should be noted - a metaphor. In these two fables, Napoleon is meant by the images of the wolf and the pike. From history we know that Napoleon was cunning, dexterous, smart, able to quickly and deftly adapt to the situation. But he did not calculate his capabilities and ended up "in the kennel" instead of the "sheepfold". “The strong are always to blame for the weak,” says the moral of the fable “The Wolf and the Lamb.” The image of the lamb is used not only as the "Lamb of God" - an allegory of weakness and defenselessness. This image also appears as a metaphor for a certain social level, perhaps petty officials. It is worth paying attention to the rhythm of the Dragonfly and the Ant fable. The ant says: “Gossip, this is strange to me”, “So come on, dance.” The image of a jumping dragonfly is created by a special "jumping" size - a trochee. Krylov's fables are poetic works.

3. Heroes of fables

The main characters of Krylov's fables are birds(nightingale, rooster, siskin, crow, cuckoo, chicken, eagle), people ( Cook, Neighbor, Peasant, Man, Boy, Merchant),inanimate objects(Cabinet, Glasses, Mirror). Mostly animals, but the author has always associated their images with people. His satire ridicules idle nobles, judges, officials, bureaucrats, doing their dirty deeds with impunity. Ivan Andreevich Krylov believed that it was possible to eradicate the vices of mankind through their ridicule. Stupidity, greed, ignorance are ridiculed in his fables. The images of animals in Krylov play a more important role - they carry not only individual features, but also whole characters.

Fabled in olk symbolizes strength, leadership, cunning, anger, family, hunting, search, mystery, freedom, individuality (“Wolf and goat”, “Wolves and cub”, “Wolf in the kennel”, “Wolf and Cuckoo”, “Wolf and cat ”, “Wolf and Crane”, “Wolf and Mouse”, “Wolf and Shepherds”).

The bear symbolizes endurance, patience, divinity, protection, invulnerability, truth, healing, intuition, strength, courage ("Hardworking Bear", "Quartet", "Hermit and Bear", "Bear in Nets", "Bear with Bees").

Ant - the personification of diligence, ("Dragonfly and Ant", "Ant").

The lion symbolizes royal rights, tranquility, family, strength, courage ("Lion and Man", "Lion and Wolf", "Lion and Fox", "Lion and Mouse", "Lion and Mosquito")

The fox is the personification of hypocrisy, cunning, deceit, cunning ("Crow and Fox", "Eagle and Fox", "Fox and Monkey", "Fox and Grapes", "Tailless Fox", "Fox and Mask" and others).

Monkey means several qualities, in Chinese literature it is a desire to mimic, vanity, mischief, in Russian literature - ignorance, frivolity, cunning, love of luxury and even deceit (“Monkey”, “Monkeys”, “Mirror and Monkey”, “Quartet ”, “Monkey and glasses”)

The donkey symbolizes greedstupidity, stubbornness,arrogance, slowness, ignorance, stupidity. (“Donkey”, “Donkey and Nightingale”, “Donkey and Peasant”, “Quartet”, “Owl and Donkey”).

The pig is the personification of ignorance, uncleanliness ("Pig under the oak").

Lamb - meekness, weakness, defenselessness, like the "Lamb of God" ("The Wolf and the Lamb")

A person is inseparable from his social position, and through the images of animals you can see representatives of various social levels. Kings, nobles, officials, "little people" also found their metaphorical reflection in the images of animals by Krylov. Sometimes Krylov is ironic not only over social vices, but also over the very support of the social ladder - state institutions. For this, images of animals are used.

4. Speech characteristics of heroes

Krylov constantly uses the reception of speech characteristics. The speech of the characters is presented in the form of a dialogue. We find vivid examples in the fables "The Cat and the Nightingale", "The Cat and the Cook". Especially skillfully Krylov conveyed the words of the Fox, expressing the subtle flattery of the Crow. The fox is endowed with a lively colloquial speech, in which there are many words with diminutive suffixes (close, voice, eyes, neck, piece) of appeals (sister, light, dove,), colloquial words (feathers). Krylov very expressively conveys the sweet speech of the Fox. In this he is helped by the use of speech characteristics. There is irony in Lisitsa's compliments. The author's narrative is permeated with irony. This adds vitality, creates conditions for a more sober conclusion. The language, the speech of the characters acts to complicate the plot of the fable, this leads to a deepening of its meaning. The intonations of oral speech that are often found in the fable in no way take it out of the field of writing, verbal art.

Conclusion

Thus, having gone a long way in the footstepsfabulist, having studied 14 fables, we were able to determine whatartistic originality of I.A. Krylov.The artistic originality of Krylov's fables is the liveliness, brightness, accuracy of the language itself, the abundance of those characteristic folk colloquial words that give speech a special expressiveness.The main artistic technique of the fabulist is allegory, but we note how Krylov masterfully used metaphor and irony in his work. The purpose of the fable is to name a vice, to educate on a negative example. The moral in Krylov's fable is expressed briefly and concisely. Krylov's fables are poetic works containing a dialogue between acting characters.

List of used literature

1. Arkhipov V.A. I.A. Krylov. Poetry of folk wisdom. M.: "Moscow worker", 1974.

2. Gordin A.M. Ivan Andreevich Krylov in portraits, illustrations, documents. Edited by L.V. Denitsky. – M.: L.; "Enlightenment", 2005.

3. Krylov I.A. Fables. Prose. Plays. Poems. - L: Lenizdat, 1990.

4. Krylov I.A. Fables. - M .: Education, 1985.

5. Internet resources:

;

http://www.doklad-na-temu.ru/lyudi/krylov.htm.

Attachment 1

Name of the fable

Heroes

Morality

Allegory

Output

"Wolf in the kennel"

Wolf, Stalker

“With wolves, otherwise do not make the world,
Like skinning them off.”

Huntsman (Kutuzov) - prudent, experienced, wise.

Wolf (Napoleon) - cunning, treacherous, treacherous, cowardly.

The enemy must be defeated and destroyed so that there is no harm from him to anyone else.

"Wolf and Lamb"

Wolf, Lamb

"For the strong, the weak is always to blame."

The wolf is an angry, aggressive, arrogant, heartless, cruel person.

The lamb is a weak, defenseless, helpless person.

The lawlessness of a simple person before those in power. The one who is stronger wins, not the one on whose side justice is.

"A Crow and a fox"

Crow, Fox

“How many times have they told the world

That flattery is vile, harmful; but everything is not for the future, And in the heart the flatterer will always find a corner.

The fox is a cunning, hypocritical person.

A crow is a stupid, gullible person.

Don't lose your head over flattering words. We all treat flattery differently, but flattery should not cloud our minds!

"Mirror and Monkey"

Monkey, Bear.

“There are many such examples in the world:
Nobody likes to recognize himself in satire.

monkey - a person with high conceit, hypocritical who sees the shortcomings of only others. A bear is a wise, observant person who can see more from the outside and who gives the right advice.

Often people do not notice shortcomings in themselves, but they are willing to criticize others.

"Quartet"

Monkey, Goat, Donkey, clubfoot Mishka, Nightingale.

“To be a musician, you need skill and your ears are more tender.

Monkey- frivolous, fidgety, restless person. Goat- devoid of any musical ability, stubborn, obtuse person.

A donkey is a stubborn, stupid, short-sighted person.Bear is a clumsy, awkward, mediocre person.

Nightingale is a wise, talented, modest person.

Talent is necessary in all matters, as is a vocation. Hard work and training, not a manner of presenting yourself beautifully, which collapses in an instant.

"Lion and Wolf"

lion, wolf, dog

“My friend, in vain, looking at the dog, you thought that I would also give you a prank: she is still stupid, and you are no longer a puppy!”

The wolf is a stupid, frivolous person.

Leo is a leading, strict person who does not forgive mistakes.

No need to look at others and hope that you will be treated the same as others.

"Lion and Mosquito"

lion, mosquito

“Do not laugh at the powerless, and you cannot offend the weak! Sometimes powerless enemies take revenge: so don’t rely too much on your strength!

Leo is an uncultured, ill-mannered person with high conceit

Mosquito is a brave, brave person who does not tolerate insults in his address.

Do not offend the weak, think before you do something. Not everything is as it seems at first glance.

"Lion and Fox"

Fox, Lion

Fox - perceives everything at a glance, but having learned better, changes his mind.

You should not make hasty conclusions about a person and a situation, because everything can actually turn out to be completely different.

"The Fox and the Grapes"

Fox

We will not receive the expected benefits, it is natural for a person to blame circumstances for this, and not his own insolvency

The fox symbolizes a person who, if something does not work out, he blames the circumstances

Often, when something doesn’t work out for people, they blame everything and everyone except themselves for it. And you have to try and try, or ask for help.

"Monkey and Glasses"

Monkey, Glasses

“Unfortunately, the same thing happens with people:
No matter how useful a thing is, without knowing the price,
The ignoramus about her tends to get worse all the time;
And if the ignorant is more knowledgeable,
So he still chases her.”

Monkey - a stupid, ignorant person who does not want to understand the obvious.

Science glasses.

People who do not understand anything in science, far-sighted and vigilant, often with their ignorance will only make everyone around laugh. Ignorance, especially high-ranking officials, affects everyone around.

"Donkey and Nightingale"

Donkey, Nightingale

To judge without knowledge is absurd, and to take such judgments into account even more so.

Nightingale is a master of his craft.

Donkey - does not understand singing, but thinks he can judge it

If you do not understand the case, then do not judge. And if you are a master of your craft, then do not listen to those who are not strong in this.

"The Hermit and the Bear"

Hermit, Misha

"A helpful fool is more dangerous than an enemy."

Hermit is a lonely, gullible person.

The bear is a sincere but stupid person.

Don't trust everyone, you never know what might happen.

"Pig under the oak"

Pig, Raven, Oak

“The ignoramus also blindly scolds science, and learning, and all scientific works, not feeling that he eats their fruits.”

A pig is a rude, impolite, ill-mannered, ungrateful person.

Before any act and deed, you need to think and understand what it will lead to in the future.

"Dragonfly and Ant"

Ant, Dragonfly

"Did you all sing? This business. So come on, dance!”

Ant is a hardworking person who thinks about the future. Dragonfly - frivolous and windy, thinking only about entertainment

First you need to do all the necessary and primary things, and then think about rest

Appendix 2

Name of the fable

Idioms

Dialog

Metaphor

Irony

"Wolf in the kennel"

1) "You are gray, and I, buddy, are gray"

2) “I have known your wolf nature for a long time”

Between the Wolf (Napoleon)

and Lovchim (Kutuzov)

"In a minute the kennel became hell"

"My sly has gone
in negotiations"

"Mirror and Monkey"

Between the Monkey and the Bear

“I would have strangled myself with longing…”

"What is that mug over there?"

“What slick jumps she has! I would have strangled myself with melancholy if I had even a little bit of a resemblance to her!

"Quartet"

1) "To be a musician, you need skill."

2) "And you, friends, no matter how you sit down, you are not good at musicians."

Between members of the quartet and Nightingale.

“We will dance the forest and mountains!...”

The irony is that the animals, not knowing the notes and not knowing how to play instruments, thought that they did not get music just because they did not sit correctly.

"The Fox and the Grapes"

"Though the eye sees, but the tooth is numb"

Lisa Monologue

"Eyes and teeth flared up"

The irony is that the Fox really wanted to eat the grapes, but when she could not get them, she said that they were green and unripe.

"Monkey and Glasses"

2) "The fool who listens to all people's lies."

Monologue

He scolds in blindness, eats the fruits of the sciences

The main irony is in the text. The irony is that the ignorant cannot hide their simplicity and narrow-mindedness.

"The Hermit and the Bear"

"A helpful fool is more dangerous than an enemy"

“So rubbish is not taken out of the hut”

Misha's monologue

"About desert life..."

“What strength is there - to grab a friend with a stone in the forehead! The blow was so dexterous that the skull split apart, and Mishin's friend remained lying like that for a long time!

"Dragonfly and Ant"

"The jumping dragonfly summer sang red"

Between Dragonfly and Ant

"Summer Red"

"Winter rolls in the eyes"

"Angry longing dejected"

"Clean field has died"

"Did you all sing? This is the case: so come on, dance!”

"Donkey and Nightingale"

Between the Nightingale and the Donkey

"He fluttered and flew far away fields"

“It’s a pity that you are not familiar with our Rooster. You would have been more sharpened if you had learned a little from him.

"Pig under the oak"

Between the Pig and the Raven, between the Pig and the Oak

"The ignorant in blindness", "eats the fruits."

“When you could lift your snout up, you would have seen that these acorns are growing on me”

"Lion and Wolf"

“She is still stupid, and you are no longer a puppy! ...”

Leo monologue

"The lion cleaned the lamb at breakfast"

"A Crow and a fox"

“God sent a piece of cheese to a crow somewhere”

"The crow croaked at the top of its throat"

Between Fox and Crow

The main irony is in the text. The irony is that the Crow succumbed to the flattery of the Fox and foolishly dropped the cheese.

"Wolf and Lamb"

"You're to blame for the fact that I want to eat"

"The strong always blame the weak"

Between the Wolf and the Lamb

"Lion and Mosquito"

“From Achilles suddenly becomes Omir!”

"... then he blows into the ears of the Lion! ..."

"... waved his tail at the trumpeter!"

"Lion and Fox"

“We are also afraid of something else, since we do not get accustomed to it”

“With passions, she remained a little alive!”

Appendix 3

Artistic originality, a feature of the fables of I.A. Krylov

1. spoken words, colloquial vocabulary (proverbs, sayings)

2. Allegory (allegory), metaphor, irony

3. Heroes are animalsendowed with human actions, thoughts, characters.

4. morality (moral)

5. Dialogue between actors

6. Fable - poetic works

Krylov's childhood passed in Tver, in a poor noble family, in close contact with the people. At cheerful festivities, the boy listened to sharp words and jokes, laughed at sarcastic anecdotes about bribe-taking officials, at stories about cunning peasants.

Very early, Krylov began his official service, back in his native city of Tver, and then continued it in St. Petersburg. At the age of fifteen, he began to "expose the vices" by writing the comic opera "The Coffee House", and in 1789, at the age of twenty, he began to publish his journal "The Spirit Mail".

Rich life experience, keen observation and huge poetic talent formed the basis of the work of Krylov the fabulist. His first fable, The Oak and the Reed, was published in 1806; soon small collections began to appear one after another. And since then, Krylov's fables have firmly established themselves in the reading of children.

The fable, as you know, belongs to the satirical genre, the origins of which are rooted in antiquity. Then the fable was a small moralizing story or parable, in which animals endowed with human features usually acted, less often people.

Krylov's fables contain a whole moral code on which children were brought up generation after generation. Of the many fables of Krylov, at least a dozen enter the memory from the earliest years. Basically, these are those of them, in the chased lines of which there are simple but important worldly truths. “And you, friends, no matter how you sit down, / You’re not good at being musicians” - what is it about? Yes, of course, about unlucky people who do not know the business, replacing it with fuss and chatter. Children in science - without annoying moralizing and fun.

Among contemporaries, fables were especially successful, where Krylov opened public ulcers. Democracy permeated the entire system of his views and determined the objects and problems of his satire. Krylov's artistic thinking is close in spirit to the traditions of oral folk satire.

In the fable "The Donkey", a riddle seems to be guessed: is it about growth or something else? The subtext of the fable is revealed directly in its final moral maxim: high growth or high rank will not save, if the soul is low. The fable “The Builder Fox” tells how Leo, in order to protect his chicken coop from thieves, instructed the great craftswoman, the Fox, to build it; the chicken coop is built for a feast for the eyes, but only the chickens are disappearing more than ever: the Fox “brought the structure down in such a way / So that no one would break into it in any way, / Yes, only she left a loophole for herself.”

Developing the traditional features of the genre (the allegorism of the characters, the semantic duality of the narrative, the conflict of the situation, the moral maxim), Krylov turned his fables into small artistic masterpieces with a flexible rhythm, lively colloquial language, and humor. In addition, they allegorically, but sharply depicted specific vices of reality, which made them artistic journalism. “Each fable of Krylov was a response to contemporary events. This was precisely its new aesthetic function.

Reality clearly emerges in such well-known, textbook fables by Krylov as "Trishkin's caftan", "Demyanova's ear", "Swan, Pike and Cancer", "Wolf and Lamb", "Dragonfly and Ant", etc.

Belinsky spoke of "an inexhaustible source of Russianisms" in Krylov's fables. The capacity of the word, conciseness, naturalness of speech bring their language closer to the aphorism of folk proverbs. Many well-aimed phrases and expressions from Krylov's fables have entered colloquial use along with proverbs: "A helpful fool is more dangerous than an enemy", "And Vaska listens and eats", "Thin songs of a Nightingale in the Cat's claws", etc.

At the same time, a truly folk language - accurate, flexible, bright - was perfectly embodied in the poetic size that Krylov wrote. He perfectly mastered iambic - this main size of Russian versification of the 19th century - and made it the basis of his fables. This required, in addition to a unique talent, a creative "cunning": Krylov refused an equal number of stressed syllables in each line. And although Sumarokov should rightly be considered the founder of the Russian fable, who created both the genre form (a live everyday scene) and the poetic one (“free”, multi-footed verse), the fable under the pen of Krylov reached a high artistic perfection.

The fabulist created paintings full of not only wisdom and authenticity, but also bright colors. “In form, most of Krylov's fables are miniature plays with all the features of a dramatic action. Let us recall at least the fables "The Wolf and the Lamb" or "Demyanov's Ear". They contain an accurate depiction of characters, a lively and witty dialogue, a rapid development of the action, and the words from the author resemble stage directions explaining the course of the action. Therefore, they have often been staged for almost two centuries.

Some of his fables are genuine paintings, full of vivid colors. His pen was compared to the master's brush: "Painting in the sounds themselves!" - admired Zhukovsky. “Everything is picturesque with him, from the depiction of nature, captivating and formidable, and even dirty, to the transfer of the slightest nuances of conversation ...,” wrote Gogol.

It was easy for artists to illustrate Krylov's fables. Many of his fables are complete pieces of music, sonorous, richly instrumented, free and easy to pronounce.

Perhaps that is why composers were so eager to set them to music. Most of the fables are excellent one-act miniature plays: sharp, vivid characters of the characters, lively, witty dialogue, rapid development of the action. Words from the author resemble stage directions, that is, explanations of actions. Aren't his "Dragonfly and Ant", "Wolf and Lamb", "Crow and Fox", "Fox and Grapes" little plays?

“The talent of a teacher is felt in all his fables. They instill love for the fatherland, inspire a sense of civic duty, teach honesty, nobility, disinterestedness, respect for work, for the people. These are the lessons of life, the practical transfer of the experience and wisdom of generations.”

And therefore his fables served, serve and will serve eternal educational purposes, they are "instructive", like all advanced Russian literature.

Any of his fables is satire, and all the more powerful satire, as the writer Bestuzhev-Marlinsky said; "that it is short and told with an air of innocence."

The appearance of each new Krylov's fable was a holiday for contemporaries. The new fable sounded so simple, natural, familiar, as if everyone had known it since childhood, and at the same time it was so fresh that a person who reread it for the tenth time found more and more colors in it. It seemed like an amazing mystery, some kind of magic. The usual word under the pen of a fabulist seemed to come to life: either it became heavy, like a heavy stone, or it turned into something weightless, like the breath of a light breeze. The word became the obedient instrument of his thought; he played with them, smashed, pricked, destroyed, caressed, unlived. “None of the poets knew how to make his thought so tangible and express himself so accessible to everyone as Krylov,” Gogol testified.

Even Lomonosov praised the beauty, sonority, accuracy and brilliance of Russian speech. Already Derzhavin penetrated the secrets of "sound-writing" and created poems similar to music. But only Krylov revealed to us all the richness of his native language.

He abandoned the artificial division of the language into high, medium and low syllables, as required by the supporters of classicism, he abandoned the refined, harmonious style of Karamzin and the archaic "true Russian" vocabulary of Shishkov. In Krylov's fables, as in life, various linguistic styles merged together. With amazing skill, he conveyed the slightest shades of human relations, the most diverse types and characters.

"Saint Petersburg Vedomosti" wrote: "Krylov is gone. A truly original poet, when our literature was still living on imitation, a predominantly folk poet, when the very word “nationality” was not yet used ... Krylov always had success, which none of our other poets enjoyed, because Krylov was a purely Russian poet - Russian in mind, sound, bright and powerful, Russian by unchanging good nature, Russian by playful, harmless irony, so characteristic of our people - irony, which is always accompanied by a smile of benevolence. In numerous of his works, he spoke truths to everyone and everyone, always accurate, always bitter, not offensive to anyone, precisely because they were sealed with the seal of goodwill, that there was not a drop of bile in his mockery.

It lies in the deepest nationality of Krylov's fables. Born by the wisdom and spirit of the people, they returned to the people again. “In his fables, as in a clean, polished mirror, the Russian practical mind is reflected, with its apparent slowness, but with sharp teeth that bite painfully; with his sharpness, sharpness and good-natured sarcastic mockery; with his natural fidelity to the view of objects and the ability to express himself briefly, clearly and curly at the same time. They contain all worldly wisdom, the fruit of practical experience, both their own and bequeathed by the fathers from generation to generation, ”wrote V.G. Belinsky.

V.A. Zhukovsky rightly noted that Krylov “tells freely ... He has a flexible style that he always applies to his subject: either he rises in a majestic description, or touches us with a simple image of tender feeling, or amuses with a funny expression or turn. He is skilled in painting - having the gift of imagining his subjects very vividly, he also knows how to transfer them to the reader's imagination; each person acting in the fable has a character and image that is decent to him alone; the reader is definitely mentally present at the action that the poet describes.

A fable is a literary genre whose heroes are animals endowed with character traits inherent in people. The manner of narrating the plot is satirical in nature, where the vices of the characters, their wrong behavior, bad character traits, as well as the result to which this can lead, are ridiculed and directly indicated in an allegorical form. The moral of the fable is a direct moralizing.

In contact with

The emergence and development of the fable genre

According to sources that have survived to this day, the author of the first fables was slave Aesop from the island of Samos. According to some sources, his owner was called Iadmon, according to others - Xanth. Aesop became famous for centuries for his extraordinary mind and the fact that for his wisdom and ability to give important advice to his master, he was granted freedom. A feature of Aesop's fables was that he in an allegorical form described to his master the situation that was exciting and the correct way out of it.

Aesop's fables have not survived in their original form. But they were passed down by people from mouth to mouth, from generation to generation, and were later artistically processed and written down in Latin and Greek by poets of our era (Phaedrus - I century, Babrius - II century and Avian - V century).

Fable literary genre in Europe

Beginning in the 16th century, poets and prose writers in Europe were fond of translating ancient literature. From the beginning of the 17th century, the fable in Europe received its rapid development and passed into the category of a literary genre.

Famous European fabulists are People: German poets G. Lessing and H. Gellert, French poet J. La Fontaine, English poet T. Moore. They were fond of ancient literature and imitated Aesop in style.

Fable in Russia

In the XVII-XVIII centuries. In the past, many poets and writers of Russia, paying tribute to European fashion, also engaged in translations of ancient literature, as well as translations into Russian of the works of European fabulists. Among them are: S. Polotsky, A. Sumarokov, I. Khemnitser, A. Izmailov, I. Dmitriev, A. Kantemir, V. Trediakovsky. Very moralizing fables for children were written by L. Tolstoy. Thanks to the efforts of the listed great Russian poets and writers, a new genre appeared, developed and established itself in Russian literature - fable.

The main master of the Russian fable in poetic form is Krylov Ivan Andreevich. His characters are realistic, alive and recognizable; ridiculed vices and shortcomings are inherent not only to a single individual, but are characteristic of large groups of people and even society as a whole; their morality is endowed with centuries-old folk wisdom, which makes them understandable and relevant for all times and peoples.

In Soviet literature, the fable continued to occupy its significant niche in a number of literary genres. The "father" of the Soviet fable was Demyan Bedny. His themes were revolutionary, he ridiculed the remnants of the bourgeois mentality, opposing to it the new socialist way of life and its inherent values.

In later Soviet literature, the successor of the fable genre was Sergei Mikhalkov. His characters were of a sharply pronounced satirical nature, aimed at exposing servility, sycophancy and other morally low deeds that flourished in society at that time.

In Soviet literature, fabulists of various nationalities and nationalities that inhabited the territory of the Soviet Union found their place. Their characters were endowed with national features and specific color, were relevant and instructive.

Signs of the fable genre

The fable genre has several signs and features that distinguish it from other literary genres.:

How to distinguish a fable from a fairy tale

Fable, fairy tale and parable are consonant with each other. They have much in common, but there are also very significant differences between them, which make it possible to accurately determine which particular literary genre they belong to.

Fables, fairy tales and parables have the following common features:

• are instructive;
• can be in prose and in verse;
• animals and plants endowed with human traits can act as the main characters;
• The story is told in allegorical form.

Differences:

As an example, let's recall A. S. Pushkin's "The Tale of the Dead Princess". The story begins with the death of the king's first wife, from whom he has a little daughter. After a year of longing and sadness, the king marries another. Over time, the daughter grows into a beauty, and then events begin to unfold related to the female jealousy of the stepmother for the stepdaughter. And so on, up to the moment when Tsarevich Elisha finds her in a crystal coffin and awakens her from a long sleep with a kiss. I mean, it's a long story.

In fables, a separate small episode of some event is described. As an example, let's take I. Krylov's fable "Elephant and Pug". We do not know anything about this event: what kind of Elephant it is, where and why it was brought from, how long the Elephant stayed in the city. We only know that Moska jumped out of the crowd of onlookers and barked at this important visiting guest. That's the whole plot, but morality is clear to everyone, and it has not lost its relevance to this day.

Significance in parenting

In the upbringing of a child, a fable is very important. Acquaintance with her in a child occurs at the age when the first books begin to be read to him. Not yet comprehending all the deep meaning, the child begins to distinguish the bad behavior of some characters from the good behavior of others, to understand the allegorical forms of the characters, to understand humor and draw the first conclusions for himself. The best perception of the plot is served by illustrations and the child learns to visually perceive and distinguish the described images.

I.A. Krylov, the great fabulist of the first half of the 19th century, stops his gaze on the fable, a folk, understandable and entertaining genre, only after many literary trials in dramaturgy, comedy, and journalism.

The peculiarity of his fables was the "muzhik" look at the reality surrounding him. Making fun of human shortcomings, Krylov most often showed various animals in his fables. But contemporaries knew that specific historical figures were hiding under the masks of Oslov, Volkov, Lisits. They annoyed the author with their stupidity, meanness, greed. The author himself took the side of the weak and oppressed. About the lawlessness of the powerful of this world, Krylov writes in the fable "The Wolf and the Lamb":

The strong is always the fault of the powerless!

The last phrase so accurately expressed the character of the authorities that it became winged.

Krylov's innovation

Under the pen of Krylov, the fable genre has changed. The fabulist brought the fable closer to the big genres: comedy or romance. The structure and laws of such a text remained the same: a story and a moral lesson. Characters create a world that is immediately condemned. The story is filled with details, the characters are endowed with characters, instead of the author there is a narrator in the text.

Author and narrator

Showing an objective view of the problem, the author does not express himself directly in the text. The narrator comes to the fore, who is next to the characters, imbued with their feelings, knows them firsthand.

Narrator Behavior:

pretending to trust the characters;

allows you to speak out and take actions;

conveys their point of view.

At the end, the sly narrator leads the heroes to complete disgrace, as he knows all their weaknesses and virtues.

The theme of fables

For a long time, the fable taught people the rules of behavior in society, so they ridiculed the vices of man and the shortcomings of public life:

cunning;

greed;

cowardice;

stupidity;

ignorance.

The language of fables is simple and intelligible.

Labor Theme

Krylov believed that a normal life in society depends on work, professionalism and harmony. What the lack of professionalism leads to is said in the fable "Quartet". Unfortunate musicians were looking for a reason in the fact that you need to sit down correctly:

And sat down on the meadow under the limes

Captivate the world with your art.

Only the nightingale nightingale revealed the real truth of the failure of the orchestra:

To be a musician, you need skill

And your ears are softer ...

The fable "Swan, Pike and Cancer" also speaks of a common cause that requires consent. The animals did not want to listen to each other, so the cart, which they pulled in different directions, did not budge.

The theme of the contradiction of the strong and the weak

Openly and boldly, Krylov directed his sting of satire against the rulers, who were "rich in either a claw or a tooth",

against a lion and a tiger, a greedy wolf and a cunning fox, meaning by the masks of these animals robbers of nobles, corrupt officials, judges-bribe takers:

That Klimych is not clean at hand, everyone knows this ...

Violence and bribery

The theme of violence sounds in the fable "The Pestilence of Beasts", in which rapists repent. Each of the animals grabs prey according to its position:

what is possible for the great Lion, then it is impossible for the Wolf and the Fox (the fable "Lion on the hunt").
.

The elephant governor is engaged in crimes in the service, allowing subordinate wolves to “skin off” a sheep (“Elephant in the Voivodeship”).

Corrupt Court

The peasant in Krylov's work "The Peasant and the Sheep" turns to Judge Lisitsa with a complaint about the Sheep, suspecting her of stealing chickens because she was in the yard. Witnesses-neighbors claimed that they did not see in it "neither theft nor knavery", the sheep "does not eat meat at all." However, the judge decides:

All rogues, of course, are skillful.

And consequently to execute the Sheep...

Fables of the household cycle

Krylov ridicules human vices in the fables of the domestic cycle:

servility in the fable "The Cuckoo and the Rooster";

boasting - "Elephant and Pug";

cowardice - "Mice";

ingratitude - "Wolf and Crane";

hypocrisy - "Crapping";

lie - "Liar";

ignorance - "Monkey and Glasses".

Human actions peep through the masks of animals, and the reader can easily recognize the vices that the fabulist ridicules.

Image system

The fable widely uses personification, since it violates the logic of the relationship between the living and the inanimate. Along with the person in the text live and act:

animals endowed with character;

plants;

Houseware;

natural phenomena (rivers, clouds).

Krylov usually uses an antithesis, so his characters represent a couple:

strength-impotence ("The Wolf and the Lamb");

stupidity-mind ("Crow and Fox").

The antithesis is also included in the title of the fable.

Aphoristic fables

The language of Krylov's fables is aphoristic, close to folk colloquial speech. Many phrases have become so popular that they have turned into proverbs and sayings, have become winged:

“And the casket just opened”;

“And Vaska listens and eats”;

"Hey Moska! know she is strong that she barks at the Elephant!

Written in the 19th century, the fables are still relevant today. After all, even in the 21st century, people have not got rid of human vices: they also lie, do their own thing, do not hear the opinions of others, those in power do lawlessness.

To whom are Krylov's fables addressed? Isn't it for us? People of the past, present and future. After all, laughter at all times educated people, showed those shortcomings that must be eliminated at all times.

Krylov still teaches us, “that deeds, without bringing the end to an end, do not need to boast” (the fable “Tit”). Popular expressions of I. Krylov can be applied in many situations. They help us not to lie, not to litter in vain with words, to be able to understand people, not to become famous as a flatterer and not to accept flattery ourselves.