Literary genre fable: allegory, Aesopian language, morality. Fable as a literary genre and its characteristic features
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.
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 found their place. Soviet Union. Their characters were endowed national traits 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. That is it 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, the fable has a very great importance. 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.
Goals:
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“Summary of a literature lesson on the topic: “Fable by I.A. Krylov“ Sheets and roots. Allegory and Morality.
Novik Nadezhda Grigorievna,
teacher of the Russian language and literature, SBEI JSC "Vychegodskaya SKOSHI".
Synopsis of a literature lesson on the topic:
“The fable of I.A. Krylov“ Sheets and roots. Allegory and Morality.
Type of lesson: a lesson in mastering new knowledge, forming and improving skills and abilities
Goals: introduce the fable "Leaves and Roots"; continue the development of the ability to understand the allegorical subtext of the fable and its moral.
Tasks:
educational:
develop the ability to find the necessary information;
identify the main idea of the fable;
emphasize the importance of morality composition element, which is the focus of the ideological content of the fable;
formation of the ability to analyze the plot and build a fable;
to fix the terms "allegory", "morality", "personification", "antithesis";
the formation of the skill of working with illustrations;
improve the skill of expressive reading, reading by roles;
improve reading comprehension skills;
developing:
develop students' speech;
activate cognitive activity in literature lessons, to develop interest in reading ;
develop communicative and informational competencies;
unleash the creative potential of students.
develop attention, the ability to perceive and evaluate the phenomena of fiction and form spiritual and moral qualities, aesthetic taste;
educational:
cultivate interest, respect for the subject, value attitude by the way;
formation and education of a spiritually developed personality;
to cultivate a negative attitude towards the vices and shortcomings of a person as boasting, arrogance
Visibility and equipment: portrait of I.A. Krylov, illustrations for fables, cards with words and phrases, recording of fables, textbook: Literature, grade 6. Textbook-reader for educational institutions. At 2 o'clock. V.Ya.Korovina and others - 5th ed. - M .: Education, 2009, illustrated book "I. Krylov's Fables".
DURING THE CLASSES
Epigraph: “I love where there is a chance to pinch vices!”
I.A. Krylov.
| Lesson stage | Teacher activity | Student activities |
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| Motivation for activity(inclusion in educational activities) | Psychological mood. Good afternoon! Our mood is great | Place educational materials in the workplace, demonstrate readiness for the lesson. Get involved in learning activities. |
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| 2 . | Homework survey. | What was given at home? What is a "fable", "allegory", "morality", "personification"? What are the characteristics of a fable? Teacher's word. In his instructive stories, under the guise of animals, birds, plants, he means people. Fables teach us to recognize ourselves, help us to detect shortcomings and tell us how to get rid of them. | Review literary terms. Fable - a short moralizing work, in which there is an allegory (allegory) and morality specially highlighted by the author. Fabulist - one who writes fables Allegory - an allegory, an image of an object behind which another object or person is hidden. moral b - moralizing conclusion. personification - Animals and inanimate objects speak, think, feel. Fable features: Short story, often in verse It is divided into 2 parts: main narrative and moral (moralizing conclusion), Allegory (allegory; image of an object behind which another object or person is hidden) personification (about inanimate objects spoken of as animate) Characters (heroes) - animals Dialogue (a conversation between two or more characters) Colloquial Mini quiz 1. Guess which heroes these words belong to: -Did you all sing? This business! So go dance. (Ant) - Dove, how good (Fox) -That's what gives me and the spirit That I, without a fight, can get into big bullies ”(Pug) 2. Continue the expression: 1. And the chest ... (just opened). 2. And Vaska listens ... (yes he eats). 3. And you, friends, no matter how you sit down ... (everything is not good for musicians). 4. The strong always ... (the powerless is to blame). 5. The cuckoo praises the rooster for ... (that he praises the cuckoo). |
| 3 . | Definition of the topic and purpose of the lesson. | 1. Introductory speech of the teacher. Today we will get acquainted with I. Krylov's new fable "Sheets and Roots". - What is your goal for this lesson? Who is I.A. Krylov and what a fable is, we learned. And now let's see and read what the genre of the fable is in the work of I.A. Krylova | Determination of the purpose of the lesson by the students themselves. We will get to know… We'll find out what it's about.. We must understand what allegorical meaning is contained in it. The fable genre in the work of I.A. Krylov: - The first fable of I.A. Krylov wrote at the age of 11; - Books of Krylov's fables were sold in huge editions, reprinted for 3-4 years. In the first collection there were 20 fables, in the last - almost 200. - The originality of Krylov's fables is that he did not just denounce human vices, but spoke about those that are in Russian people. - Characters of fables - animals, plants, objects - A feature of the language of Krylov's fables is the use of colloquial vocabulary; - Lines of different lengths, helps to convey colloquial speech. |
| Physical education minute | We love literature, friends, We read Krylov's lines ... But we can't live without rest! Let's take a break in class: One, two, three, four, five… We won't get tired! Hands - up, then - to the right ... One, two, three, four, five… We enjoy relaxing! Hands - up, then - to the left ... Rested? Work boldly! | ||
| Work on the topic of the lesson. Fable "Leaves and Roots". | 1. Expressive reading of the fable by the teacher. What words do you not understand? 2. Reading a fable by students. - What words contain the moral of the fable? 3. Analytical conversation on the content. Game "Catch the question." Who are the heroes of the fable? What do the leaves say? What are the characteristics of leaves? Roots? What is the allegorical meaning of the fable? What does Krylov make fun of? Who is the opposite in this fable? -The opposition is calledantithesis. 4. The speech characteristics of the characters. What is the nature of the leaves? Whom did Krylov mean by depicting leaves? And what are the roots? Whom did he mean here? 5. Reading the fable by roles. Group 1: find the words of the leaves, when reading, convey boastfulness, arrogance, arrogance of the leaves. Group 2: find the words of the roots, when reading, convey restraint, dignified calmness, confidence of the roots. 6. Work on the expressive reading of the fable. | & Vocabulary work: Zephyr - warm, light breeze interpret - talk to say - say Haughty - arrogant Whom- which “Yes, just remember the difference between us: That with a new spring a new leaf will be born, And if the root dries up, - There will be no tree, nor you. Sheets, roots, narrator Human qualities - complacency, selfishness and social inequality & Vocabulary work: Complacent - full of self-love Selfishness - selfishness sheets and roots, power and people self-satisfied, capricious, arrogant high society, power, superiors hardworking, patient simple folks |
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| Summing up the lesson. | Our lesson is coming to an end, let's sum up our work. What did Krylov make fun of in the fable "Sheets and Roots"? What do the fables of I. Krylov teach us? | Negative Traits character (inability to negotiate, idleness, cruelty, unsubstantiated accusation of someone, senseless anger, etc.) The fables of I. A. Krylov teach to be kind, honest, fair. Although animals, birds or objects act in fables, we understand that we are talking about people. The author helps us evaluate their actions. |
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| Reflection | 1. It was difficult for me to understand…”. 2. I liked the lesson, because ....». 3. “I learned….” 4. “I value my knowledge…..because…” | Complete the self-assessment form. |
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| Homework | 1. Learn the fable "Sheets and Roots", prepare for expressive reading. | Open diaries, write down homework. |
Dictionary Ushakov
Allegory
allegory[ale], allegories, female (Greek allegoria).
1. Allegory, visual, pictorial expression of abstract concepts through a specific image ( lit.). This poem is full of allegories.
2. only units Allegorical, allegorical meaning. In every fable there is some kind of allegory.
3. only pl. Foggy, incomprehensible speech, absurdity ( simple.). “I made such allegories and equivocations that, it seems, a century would not have succeeded.” Gogol. Don't spread allegories for me, but speak directly.
Pedagogical speech science. Dictionary-Reference
Allegory
(Greek allegoria - allegory) - a trope (see tropes), which consists in an allegorical depiction of an abstract concept or thought using a specific life image. For example, in fables and fairy tales, cunning is shown in the form of a fox, greed - in the form of a wolf, deceit in the form of a snake, etc. A. is based on the convergence of phenomena according to the correlation of their essential aspects, qualities or functions and belongs to the group of metaphorical tropes. A. should not be confused with a symbol, the latter is more ambiguous and lacks the accuracy, certainty of an allegorical image.
The strength of A. is that it is capable of embodying the concepts of mankind about justice, good, evil, and various moral qualities for many centuries. The goddess Themis, whom Greek and Roman sculptors depicted with a blindfold and scales, has forever remained the embodiment of justice. Snake and bowl - A. healing, medicine. The biblical saying: "Let's beat swords into plowshares" is an allegorical call for peace, for the end of wars. Many A. owe their origin to ancient customs, cultural traditions (cf. coats of arms, emblems), folklore - mainly fairy tales about animals, Greek and Roman mythology, the Bible, etc.
Most often, A. are found in the visual arts (for example, the fresco "Fight of Foxes and Dogs" in Florence, depicting the struggle of the church with heretics). Verbal A. is common in riddles (for example, Hanging a sieve, not spun with hands (cobweb), proverbs (for example, Every sandpiper praises his swamp), fables (“Oak and cane” by La Fontaine, “Cobblestone and diamond” by I.A. Krylov), parables (almost all the parables with which Jesus Christ addresses his disciples are based on A., for example, the parable of the prodigal son, the parable of the talents, etc.), morality (edifying drama of the Western European theater of the XIV-XVI centuries. ) The main characters of morality were characters who personified various virtues and vices and fought among themselves for the soul of a person (the play "The Prudent and the Unreasonable", 1439, etc.). Separate allegorical figures were preserved in the plays of M. Cervantes ("Numancia "") and W. Shakespeare ("The Winter's Tale"). A. is most characteristic of medieval art, the art of the Renaissance, baroque, and classicism.
In foreign realistic literature, many works have an allegorical, allegorical character. Thus, "Penguin Island" by A. Frans is a philosophical and allegorical novel in which the writer traces the main stages in the development of bourgeois civilization. The characters of the novel - penguins - the personification of human folly. Stupidity, hypocrisy, religious prejudices are their constant companions. Allegorical figurativeness underlies K. Capek's "War with the Salamanders", one of the first anti-fascist novels in foreign literature.
In Russian classical literature A. was a common technique in the satirical works of M.E. Saltykov-Shchedrin, in the work of A.S. Griboedova, N.V. Gogol (for example, the allegorical names of such characters as Skalozub, Molchalin, Sobakevich).
A. is widely distributed in poetic language, where the figurative meanings of words and phrases, often unusual and new, are used as artistic technique and give speech a special expressiveness, various shades of meaning.
A distinction is made between general language and individual author's.
General language alphabets are known not only in Russian, but also in other modern and ancient languages. So, deceit appears in the form of a snake, power - in the form of a lion, slowness - in the form of a turtle, etc. Any allegorical expression can be called A. For example, autumn has come can mean: old age has come, flowers have withered - happy days are over, the train has left - there is no return to the past, etc. Such A. also have a general language character, since their meaning is due to the tradition of their use in speech.
Individually-author's A.: for example, in the poetry of A.S. Pushkin A. underlies the figurative system of poems "Arion", "Anchar", "Prophet", "The Nightingale and the Rose", etc. M.Yu. Lermontov, the allegorical meaning is concluded in the poems "Pine", "Three palm trees", etc.
M.V. Lomonosov in the book Quick Guide to eloquence ”(1748) divided A. into “pure”, consisting only of words with a figurative meaning (for example, all riddles, proverbs like One is not a warrior in the field, He runs to the catcher and the beast, etc.), and “mixed”, built on a mixture of words with a direct meaning and words with a figurative meaning (proverbs such as Either a hay shred, or a pitchfork in the side, Or in a stirrup with a foot, or in a stump with a head, Or a chest in crosses, or a head in bushes, etc.).
M.V. Lomonosov warned: “Many are overly delighted with the allegorical calm and use this trope too often, and especially those who do not know the true beauty of the word, but are seduced by its feigned appearance. A moderately used allegory adorns and elevates the word, but without measure it is often introduced into the word, it darkens and disfigures. However, sometimes it serves to arouse fear, and in this case it is like a night, for the hidden is more frightening than the obvious.
L.E. Tumin
Allegory
(Greek allegoria - allegory). Trope, which consists in the allegorical depiction of an abstract concept with the help of a concrete, life image. For example, in fables and fairy tales, cunning is shown in the form of a fox, greed - in the guise of a wolf, deceit - in the form of a snake, etc.
Culturology. Dictionary-reference
Allegory
(Greek - allegory), a conditional form of utterance, in which a visual image means something "other" than it is, its content remains external to it, being unequivocally assigned to it by cultural tradition or the author's will. The concept of A. is close to the concept of a symbol, however, unlike A., a symbol is characterized by greater ambiguity and a more organic unity of image and content, while the meaning of A. exists in the form of some kind of rational formula independent of the image, which can be “embedded” in the image and then extract from it in the decryption act. For example, the blindfold on the eyes of a female figure and the scales in her hands are the essence of the European tradition of A. justice; it is important that the bearers of meaning (“justice does not look at faces and weighs each one with due measure”) are precisely the attributes of the figure, and not its own integral appearance, which would be typical for a symbol. Therefore, A. is more often spoken of in relation to a chain of images united in a plot or in another “collapsible” unity that can be divided; for example, if the journey is a frequent symbol of the spiritual "path", then the journey of the hero of the religious-moralistic novel by J. Bunyan "The Pilgrim's Progress" ("The Pilgrim's Progress", 1678-84, in Russian translation "The Pilgrim's Progress", 1878), which goes through the "Fair of Vanity", "Hill of Difficulties" and "Valley of Humiliation" to the "Celestial City" - the indisputable A.A. in the forms of personification, parable and fable is characteristic of archaic verbal art as an expression of pre-philosophical "wisdom" in its worldly, priestly, oracle-prophetic and poetic variants.Although the myth is different from A., on the periphery it systematically passes into it.Greek philosophy is born in a sharp repulsion from the wisdom of myth and the wisdom of poets (cf. attacks against Homer, Hesiod and mythology as such from Xenophanes and Heraclitus to Plato); since, however, the mythological plots and poems of Homer occupied too important a place in the whole of Greek life, and their prestige could only be shaken, but not destroyed, the only way out was allegorical skoe interpretation, so-called. allegory, which brought into myth and poetry such a meaning that a philosophically oriented interpreter needed. Already for Theagenes of Regius at the end of the 6th century. to i. e. Homer is the victim of a regrettable misunderstanding: the quarrels and battles of the gods he describes are frivolous if taken literally, but everything falls into place if the teaching of Ionian natural philosophy about the struggle of the elements is deciphered in them (Hera - A. of air, Hephaestus - A. of fire, Apollo - BUT. sun, etc., see Porph. Quaest. homer. I, 241). For Metrodorus of Lampsak at the end of the 5th century. BC e. Homeric plots are an allegorical fixation of several meanings at once: in the natural philosophical plane, Achilles is the sun, Hector is the moon, Helen is the earth, Paris is the air, Agamemnon is the ether; in terms of microcosm human body Demeter - the liver, Dionysus - the spleen, Apollo - bile, etc. At the same time, Anaxagoras, using the same methods, extracted the ethical doctrine "on virtue and justice" from Homer's poem (Diog. L. II, 11); this line is continued by Antisthenes, Cynics and Stoics, who interpreted the images of myth and epic as A. the philosophical ideal of victory over passions. The image of Hercules, who was chosen as the hero of moralistic A. (the motive of "Hercules at the Crossroads" - the theme of the choice between Pleasure and Virtue) underwent a particularly energetic rethinking. The search for A. as the “true” meaning of the image could be served by a more or less arbitrary etymology aimed at clarifying the “true” meaning of the name; this procedure (partly parodying the tricks of the sophists) is performed in Plato's Cratylus (e.g., 407AB: since "Athena embodies the mind and thought itself", her name is interpreted as "divine" or "moral"). Taste for A. spreads everywhere; although the Epicureans in principle rejected the allegorical interpretation of myths, this did not prevent Lucretius from explaining the torment of sinners in Hades as A. psychological states.
This same approach to traditional plots and authoritative texts has been widely applied to the Bible since the time of Philo of Alexandria. Philo was followed by Christian thinkers - Origen, the exegetes of the Alexandrian school, Gregory of Nyssa, Ambrose of Milan and many others. Only through A. faith in Revelation and the skills of Platonic speculation could be combined into a single system. A. played an important role in Christian exegesis: the doctrine of the Old and New Testaments as two hierarchically unequal stages of Revelation prompted t. and. typology - a look at the Old Testament events as A. New Testament events, their allegorical anticipation ("transformation"). In the medieval West, a doctrine is being formed according to which the biblical text has four meanings: literal or historical (for example, the Exodus from Egypt), typological (pointing to the redemption of people by Christ), moral (exhortation to leave everything carnal) and anagogical, i.e. mystical-eschatological (hinting the arrival in the bliss of the future life). The Renaissance keeps the cult of A., linking it with attempts to see a single meaning behind the diversity of religions, accessible only to the initiated: among humanists, who very widely use the names of pagan gods and goddesses as A. Christ and the Virgin Mary, these and other traditional Christian images can, in turn, be interpreted as A., hinting at this meaning (Mutianus Rufus, Der Briefwechsel, Kassel, 1885, S. 28). The philosophers of the Renaissance love to refer to ancient mysteries (cf. Wind E., Pagan mysteries in the Renaissance, L, 1968) and strive, as Ficino says, "to cover the divine mysteries everywhere with a veil of allegories" (In Parm., prooem.). Baroque culture gives A. the specific character of an emblem (SchoneA., Emblematik und Drama im Zeitalter des Barock, Miinchen, 1964), emphasizing the mystery of A., which is already important for the Renaissance. Voltaire's tales, Lessing's fables, etc.) - in principle, as it was with the ancient Cynics and repeated in the 20th century. in the work and aesthetics of Brecht (allegorization of life as its exposure, demystification, reduction to the simplest processes).
The role of A. in the history of thought has, therefore, two aspects. Firstly, the search for A. is the only possible conscious setting of reflection in the face of the legacy of mythopoetic thinking and the epic (in Europe - Homeric) tradition up to the discovery of the intrinsic value and self-legitimateness of the archaic. This discovery is planned only in the XVIII century. (Vico, iredromanticism) and was universally recognized in the 19th century. (romanticism, Hegelian historicism, etc.). Secondly, the history of culture knows at all times the outgoing and returning waves of attraction to A., associated with the enlightening, didactic and revealing attitude of thought in the face of reality.
Sergei Averintsev.
Sophia-Logos. Dictionary
Catholic Encyclopedia
Allegory
(Greekάλληγορία - allegory), in exegesis - a method of interpreting the texts of Holy Scripture that goes beyond their literal understanding.
The allegorical method of interpreting texts originated in Ancient Greece in the philosophy of the pre-Socratics, who denied a literal understanding of mythology, and flourished in the Stoic comments on the poems of Homer and Hesiod. Ignoring the ist. the context of these works, commentators saw in their heroes the personifications of physical or mental phenomena, and their episodes were interpreted as allegorical presentations of later philosophies. concepts. In the writings of Philo of Alexandria, A. is widely used in the interpretation of the books of the Old Testament (the events of sacred history are reinterpreted as the vicissitudes of the life of the soul, striving to know itself and God). According to Philo, A. was not only the property of pagan philosophy, but was also practiced in the rabbinical schools of Palestine. NT writers often interpret OT quotations allegorically. The word A. itself occurs in Gal 4:24, where Hagar and Sarah mean Israel and the Church.
The tradition of allegorical interpretation of the texts of the NT and OT was developed by representatives of the Alexandrian theological school (Clement of Alexandria, Origen, etc.). Origen mainly followed the concept of Philo; he spoke of three meanings of Scripture: bodily, or literally historical, mental, or moral and edifying, and spiritual, i.e. allegorical. Origen pointed to A. as the most adequate way to interpret Scripture.
The attitude of representatives of various theologians. schools to the allegorical method was ambiguous. So, Irenaeus of Lyon associated A. with the heretical teachings of the Gnostics, who, in his opinion, resort to it because they do not understand the true meaning of Scripture or have the intention to distort it. The legitimacy of the allegorical understanding of the Bible. texts became the subject of a long controversy between the Alexandrian and Antiochian exegetical schools, which began in the 4th century. by Eustathius of Antioch against the extreme allegorism of Origen.
The history of exegesis knows many cases of interpreters combining the allegorical method with other ways of interpreting Scripture. So, in a commentary on the Song of Songs, Ambrose of Milan says that the image of the Bride symbolizes both the Church of Christ (in this case, a typological connection is established) and a person. soul with its desire for the Bridegroom-Christ (classical A.). In the works of Augustine, whose exegetical concept was formed under the influence of the sermons of Ambrose, Ambrose is also used along with other exegetical devices. Late Antique and Middle Ages. the authors (beginning with Hilary of Pictavius, John Cassian, Rufinus of Aquileia) accepted Origen's classification of the 3 meanings of Scripture and singled out the spirit within. meaning 2 aspects - actually A. and anagogy (from Greekάναγωγή - ascent). This is how the concept of 4 levels of the meaning of the Scriptures was formed, i.e. the direct meaning of the text (the basis for all other meanings); allegorical, when some events are considered as designations of other events (for example, the images of the OT refer to the life of Jesus Christ); moral, which concerns the life of every Christian; anagogical, which refers to eschatological or eternal realities (cf. Thomas Aquinas, Summa theologiae I a 1, 10; Dante, Pier II, 1) This scheme is expressed in the famous couplet of Nicholas of Lyra (c. 1336): “Littera gesta docet, quid credas allegoria, moralis quid agas, quo tendas anagogia" ("The letter teaches facts; what to believe, teaches allegory; morality teaches what to do; what to strive for, teaches anagogy").
Protest. exegetical concept, osn. the principle of which is the understanding of Scripture "from Scripture itself", denies the allegorical method. The tradition of the Catholic Church admits the fundamental possibility of an allegorical interpretation of Scripture in the present. time.
Lit-ra: Bychkov V.V. Aesthetica Patrum. M., 1995, p. 35–52, 215–251; Nesterova O.E. Typological Exegesis: A Debate over Method // Alpha and Omega 4 (1998), 62–77; Writings of ancient Christian apologists / Ed. A.G. Dunaev. SPb., 1999, p. 463–480; Grant R.M. The Letter and the Spirit. L., 1957; Popin J. Mythe et allOgorie: Les origines grecques et les contestations judOo-chrOtiennes. P., 1958; Formen und Funktionen der Allegorie / Hrsg. W. Haug. Stuttgart, 1979.
Y. Ivanova
Dictionary of linguistic terms
Allegory
(other Greek άλληγορία).
allegory; expression of an abstract concept by means of an image. A. as a path is used in fables, parables, morality. In the last decade, she has become more active in a journalistic style, where she moved from oral public speech; The “popularity” of A. as a trope in modern journalism is due to the fact that A. is such a “method of narration, in which the literal meaning of a holistic text serves to point to a figurative one, the transmission of which is the true purpose of the narration” [Culture of Speech, 2001 , S.272].
Terminological dictionary-thesaurus on literary criticism
Allegory
(Greek allegoria - allegory) - the disclosure of an abstract idea (concept) through a specific image of an object or phenomenon of reality. In contrast to the many-valued meaning of the symbol, the meaning of the allegory is unambiguous and separated from the image; the relationship between meaning and image is established by analogy or adjacency.
Rb: language. Visual and expressive means
Genus: trails
Genre: fable, parable, fairy tale
Ass: symbol
Example: In fables and fairy tales, cunning is depicted in the form of a fox, greed - in the guise of a wolf, deceit - in the form of a snake, etc.
* "Many allegories owe their origin to ancient customs, cultural traditions (cf. emblems, emblems), folklore - mainly fairy tales about animals (the fox is an allegory of cunning, the wolf is malice and greed, etc.)" (L.I. Lebedev).
"A poetic image, each time it is perceived and animated by the understanding, tells him something different and more than what is directly contained in it. Thus, poetry is always an allegory, an allegory in the broadest sense of the word" (A.A. Potebnya ). *
Dictionary of forgotten and difficult words of the 18th-19th centuries
Allegory
, And , well.
Allegory, fiction.
* But for a long time he fastened just now in a tavern, wrung such allegories and equivocations. // Gogol. Auditor //; How did I come up with such an allegory, and it was not at all necessary!// Chernyshevsky. What to do // *
Gasparov. Entries and extracts
Allegory
♦ S.A.: a symbol and an allegory are like a word and a phrase, an image and a plot: the first blooms with the whole set of dictionary meanings, the second is contextually unambiguous, like a shaft cut from this flowering trunk.
Philosophical Dictionary (Comte-Sponville)
Allegory
Allegory
♦ Allegory
The expression of an idea through an image or an oral story. Allegory is the opposite of abstraction; it is a kind of thought made flesh. From a philosophical point of view, allegory cannot serve as proof of anything. And, with the exception of Plato, not a single philosopher has managed to use allegory without seeming ridiculous at the same time.
Design. Glossary of terms
Allegory
ALLEGORY (Greek allegoria - allegory)- the image of an abstract idea (concept) through an image. The meaning of the allegory, in contrast to the multi-valued symbol, is unambiguous and separated from the image; the connection between meaning and image is established by similarity (lion - strength, power or royalty). As a trope, allegory is used in fables, parables, morality; in the visual arts it is expressed by certain attributes (justice is a woman with scales). Most characteristic of medieval art, Renaissance, Mannerism, Baroque, Classicism.
Aesthetics. encyclopedic Dictionary
Allegory
(Greek allegoria- allegory)
a rhetorical figure of allegory, consisting in the speech or pictorial use of a specific image for a more vivid, intelligible, impressive expression or explanation of an abstract idea, an abstract, speculative principle. Allegory allows you to discover and bring to the fore hidden meaning or an idea that is not obvious due to its particular complexity through an indirect description. Masters of eloquence are able to create whole garlands of allegories when interpreting ancient epic, religious, philosophical and artistic texts. So, in ancient culture, allegorical interpretations of ancient myths, the poems of Homer and Hesiod were widespread.
In allegory, the emotional-figurative, painting principle balances the rational, abstract-speculative principle. Aspiring to each other, they mutually highlight certain meaningful facets in each other and show some new integrity, where the efforts of the senses and the mind are combined into a single vector of aesthetic perception and the process of understanding that accompanies it. The allegorical beginning was fixed in such genres as parable, fable, fantastic utopia, dystopia.
The allegorical method is used in the interpretation of the Bible to rationally clarify its content. It is most often expedient in cases where a literal interpretation of a certain content-semantic fragment seems inappropriate for some reason. The advantage of allegorical interpretations is that they allow us to see new, additional meaningful facets and implicit semantic shades in biblical ideas and images. Thanks to them, the literal meaning can not only expand and deepen, but also transform. But here the interpreters face a serious danger: one can imperceptibly cross the border that is allowed by the content of the text. And then a false interpretation may arise, which does not bring closer, but leads away from understanding the true biblical meanings.
The advantage of the allegorical method is that it allows you to move away from naive literalism in the interpretation of multifaceted biblical truths and images. This method was used in the interpretation of the Old and New Testaments by Philo of Alexandria, Clement of Alexandria, Origen and other theologians. So, Philo of Alexandria saw in the Old Testament history evidence of the wanderings of the human soul, trying to comprehend God, His plans and understand himself. Origen distinguished three ways of interpreting the Bible - literal, moralistic and spiritual-allegorical. At the same time, he considered the latter method to be the most suitable for the peculiarities of Holy Scripture.
Irenaeus of Lyon looked at the allegorical method from a different angle and saw in it a negative principle, allowing the enemies of the Church to distort the true meanings of Holy Scripture, and those who are far from their true understanding, cover up their misunderstanding with colorful images.
In medieval literature, allegory was used quite widely as an artistic device. A typical example is Prudent's poem " psychomachy”(end of IV - beginning of V centuries), painting pictures of battles between Virtues and Vices. In the XII century. allegorical poems by Bernard Sylvester are published (" On the universality of the world, or Cosmography”) and Alan of Lille (“ Against Claudius"). In the XIII century. appears allegorical " Romance of the Rose» Guillaume de Lorris and Jean de Meun.
In the field of painting, artists who needed to depict the meanings of the indescribable sayings of Jesus Christ came to the aid of the allegorical method. As a result, there appeared visual images, corresponding, for example, to the commandments of the Sermon on the Mount, including “Love your enemies” (Matt. 5, 44), etc. In Germany, during the Reformation period, engravings-allegories called “God’s Mill” were distributed. They depicted God the Father sitting on the clouds, and below Jesus Christ in the form of a miller, pouring the four evangelists into the mill funnel. There was also an inscription: “The mill stood idle for a long time, as if the miller had died.” The purely Protestant meaning of the allegory was obvious: Catholic Church did not fulfill its destiny, but now through Christ, the evangelists, through the entire New Testament, the path to the truth has opened.
In the XV-XVI centuries. in England and France, in line with allegorical aesthetics, an independent genre of didactic drama has developed - morality. The viewer was presented with allegorical characters personifying sins and virtues. Between them, scenes of a struggle to strangle the hero were played out. At the same time, the stage scene could act as a small model of the universe, and the main character could symbolize the entire human race, restless in moral contradictions and dramatic conflicts between good and evil.
In the modern Christian world, Protestant theology, in contrast to the Catholic one, which allows allegorical interpretations of the Bible, avoids resorting to this form of exegesis and insists on the need to find the meaning of Scripture in itself, and not in secondary associative trains of thought and outbursts of the imagination.
◘ Lit.: Losev A. F. Shestakov V. P. History of aesthetic categories. - M. 1965 1 chapter "Allegory"); Popova M. K. Allegory in English literature middle ages. - Voronezh, 1993.
Westminster Dictionary of Theological Terms
Allegory
♦ (ENG allegory)
(Greek allegoria - description of one thing through the image of another)
conveying the meaning of the narrative by attributing to its elements or images a meaning that is not seen in a literal reading. It can also be defined as a common metaphor, where each element of the narrative is a symbol of meanings that go beyond the scope of the narrative.
encyclopedic Dictionary
Allegory
(Greek allegoria - allegory), the image of an abstract idea (concept) through an image. The meaning of the allegory, in contrast to the multi-valued symbol, is unambiguous and separated from the image; the connection between meaning and image is established by similarity (lion - strength, power or royalty). As a trope, allegory is used in fables, parables, morality; in the visual arts it is expressed by certain attributes (justice - a woman with scales). Most characteristic of medieval art, Renaissance, Mannerism, Baroque, Classicism.
Ozhegov's dictionary
ALLEG ABOUT RIA, And, well.(book). Allegory, expression of something. abstract, what. thoughts, ideas in a concrete way. Speak in allegories (It is not clear, with obscure allusions to what.).
| adj. allegorical, oh, oh.
Dictionary of Efremova
Allegory
well.
The form of allegory, which consists in expressing an abstract concept through
specific image.
Encyclopedia of Brockhaus and Efron
Allegory
Artistic isolation of abstract concepts through concrete representations. Religion, love, justice, strife, glory, war, peace, spring, summer, autumn, winter, death, etc. are depicted and presented as living beings. The qualities and appearance attached to these living beings are borrowed from the actions and consequences of what corresponds to the isolation contained in these concepts, for example. the isolation of battle and war is indicated by means of military tools, the seasons - by means of their corresponding flowers, fruits, or occupations, justice - by means of scales and blindfolds, death - by means of clepsydra and scythes. Obviously, allegory lacks the full plastic brightness and fullness of artistic creations, in which the concept and image completely coincide with each other and are produced by creative imagination inseparably, as if fused by nature. A. oscillates between the concept that comes from reflection and its cunningly invented individual shell, and as a result of this halfness remains cold. A., corresponding to the image-rich way of presenting Eastern peoples, occupies a prominent place in the art of the East. On the contrary, it is alien to the Greeks with the wonderful ideality of their gods, understood and imagined as living personalities. A. appears here only in the Alexandrian time, when the natural formation of myths ceased and the influence of Eastern ideas became noticeable. Stronger her dominance in Rome. But most of all it dominated the poetry and art of the Middle Ages from the end of the thirteenth century, at that time of fermentation, when the naive life of fantasy and the results of scholastic thought touch each other and, as far as possible, try to penetrate each other; so - with most troubadours, with Wolfram von Eschenbach, with Dante. "Feuerdank", Greek poem XVI century, which describes the life of Emperor Maximilian, can serve as an example of allegorical-epic poetry. A. has a special use in the animal epic. It is very natural that different arts have essentially different relations to A. It is most difficult to avoid it. contemporary sculpture. Being always doomed to depict the individual, it is often forced to give as an allegorical isolation what Greek sculpture could give in the form of an individual and complete lifestyle of a god.
Russian language dictionaries
« No, sir, there are different books to books. And if, between us,
I was appointed censor
I would have leaned on fables. Oh, fables are my death!
Eternal ridicule over lions, over eagles!»
A.S. Griboyedov
Introduction to the quiz
The subject of our conversation is a fable. The fable belongs to the oldest literary genres. Works of this kind were passed from mouth to mouth, copied cleanly, so that each subsequent generation would not forget about the simple truths set forth in them. From childhood, we know about the Crow and the Fox, the Elephant and the Pug, and other characters. What is a fable? Today's quiz is dedicated to this interesting genre.
Quiz on the topic "Fable" contains 15 questions. All questions are answered.
Quiz Maker Iris Revue
1. What is a fable?
Answer: A fable is a short story, most often in verse, mostly of a satirical nature, consists of an introduction, events and morality.
2. Man fable writer, is named...
Answer: fabulist
3. Who are the characters in the fable usually?
Answer: Animals endowed with human qualities, plants, things
4. What famous people who turned to the fable genre, you know?
Answer: Aesop, Phaedrus, Lafontaine, Lessing, Sumarokov, Chemnitzer, Kantemir, Trediakovsky, Izmailov, Dmitriev, Krylov, Demyan Bedny, Mikhalkov and others
5. What kind of fabulist are we talking about?
Who has not heard his living word?
Who in life has not met his own? ..
He knew everything and saw the inquisitive mind of the singer,
Just wanting one thing the most,
To live a free and happy life
His people and his homeland.
Answer: about Ivan Andreevich Krylov
6. What is the moral of the fable?
Answer: the moral of a fable is a brief moralizing conclusion, an instructive conclusion from the main narrative, which is given at the beginning or at the end of the fable
7. What is the structure (composition) of the fable?
Answer: in the most general case - the plot, the development of the action, the climax, the denouement. Sometimes an item may be missing.
8. Is there always a moral in a fable?
Answer: usually yes. But morality cannot always be presented explicitly. Sometimes, it is read "between the lines", as if "dissolved" in the fable.
9. What is the main purpose of the fable?
Answer: Purpose: fables - opening and designation of human vices, shortcomings and flaws public life. A reminder of old truths.
10. In a fable, as a rule, human actions and social relations. What is an allegory?
Answer: An allegorical depiction of an object or phenomenon in order to most clearly show its essential features. Allegory - allegory - the image of an abstract concept through a specific image.
I wrote a fable to those people as a warning,
That around the authorities wind endlessly,
Ready for your order
Count a normal sneeze
superior person.
Answer: S. Mikhalkov
12. From which fables of I.A. Krylov are these phrases?
“And you, friends, no matter how you sit down, you are still not good at musicians”;
Answer:"Quartet"
“The cheese fell out - there was such a cheat with it”;
Answer:"A Crow and a fox"
“Yes, did you work in the summer, so go and dance”;
Answer:"Dragonfly and Ant"
“Since then, not a foot to Demyan”;
Answer:"Demyanov's ear"
“And Vaska listens and eats”;
Answer:"Cat and Cook"
“The Cuckoo praises the Rooster for praising the Cuckoo”;
Answer:"Cuckoo and Rooster"
“When you could lift your snout up, you would have seen it.”
Answer:"Pig under the Oak".
13. What is personification?
Answer: Personification - endowing animals with human qualities, reviving objects, natural phenomena.
14. What is the "Aesopian language"?
Answer: Aesopian language (named after the Greek fabulist Aesop) - the ability to disguise the main idea.
15. Why do we, the inhabitants of the XXI century, need to study fables?
Answer: vices in society have not disappeared. Fables have not lost their relevance in our days.
A fable is an allegorical composition of small size, which is instructive in nature. These are the main features of the fable as a separate literary genre.
Fable as a literary genre
In addition to them, the fable is characterized by the image of only one event from the life of the hero and their short duration of action, only two or three characters and a narrative way of presentation. Basically, the fable is in poetic form, but there are fables of a different kind.
A fable necessarily has an instructive part, so the construction of this artwork special and different from others. The fable is known as one of the most ancient types of literary genre, since the most famous fables were written by Aesop in the 5th-6th centuries. BC. in Ancient Greece.
Allegory
Allegory called conditional image some abstract concepts, and the image occurs through an artistic image or dialogue. Initially, allegory was used in folk art, parables and fables. Therefore, it is considered one of the main means of depiction in a fable. Allegory is characterized by the representation of certain concepts through the images of plants, animals, mythological characters and other inanimate objects.
In this case, these items are figurative meaning, in which the main idea of \u200b\u200bthe fable is embedded. For example, such concepts as love, war, justice, peace, soul, honor, greed and generosity are depicted as living beings. They are revealed through the qualities of living beings, through the features of their behavior and actions, sometimes through their appearance.
Aesopian language
The expression "Aesopian language" came from the name of the most famous fabulist - Aesop. So it is customary to call any kind of allegory. This work deliberately disguises main idea author, as he uses allegory to convey the moral of the fable to readers. In addition to allegory, Aesopian language is characterized by irony, allusion and paraphrase.
Morality and morality
The moral characteristics of people and their qualities in the fable are shown through allegories. But it is important to understand what is the main intention of the author, what did he want to say with this little allegory, what did he want to teach? No wonder fables are required to be studied at school, and especially for young children.
There is always a moral in a fable, which the author defines at the end of the fable, when it becomes clear how the problem raised in the fable was resolved. The moralizing in the fable is its basis, and this is its main purpose. Through moralizing, children receive a useful life lesson that helps them grow up correctly and on time. But moralizing in a fable is useful not only for children, adults also have something to learn.
personification
Personification means the attribution of certain properties and characteristics of animate objects to inanimate ones. And most often, the personification is attributed to the image of nature, which is specially endowed with human features. Personification is inherent not only in fables and allegory, it is also found in other literary genres.
Humor and satire
Humor is defined as the ability to notice their comic side in different phenomena, and often this happens through the contradictions of the surrounding world. As a means of expressing the author's attitude and as an artistic device, humor applies not only to fables and parables, but also to many other literary forms.
For example, humor is often used in satire in order to dilute frank criticism of the work, and so that satire does not look exclusively like moralizing and preaching. And satire is a humiliating denunciation of phenomena with the help of various comic means. It can be sarcasm, grotesque, irony, hyperbole, parody, allegory.
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