Which Krylov fables ridicule flattery. What life situations are reflected in fables? Group Research Topic

The well-known fable “ Cuckoo and Rooster” written by Krylov on a specific occasion. Its publication in the collection was accompanied by an illustration in which the writers F. Bulgarin and N. Grech were caricatured, indecently praising each other in print. Now this fact is known only to specialists, and the everyday rule has adopted a refined formulation of human wisdom and decency:

“Why, without fear of sin,

Does the Cuckoo praise the Rooster?

Because he praises the Cuckoo"

(“The Cuckoo and the Rooster”) So decide whether this is good or bad.

But there is another side that limits the advantages of the allegorical genre - the multivariate interpretation of a specific plot, its duality both in depiction and in perception.

It turns out that even a very specific fable at first glance “ The picky bride”, describing a capricious beauty, has a second, more deep meaning. According to Krylov himself, he meant himself here. In the famous fable “ Quartet” was ridiculed supreme body Tsarist Russia - the State Council, established in 1810 and consisting of four departments. Its members could not fit into departments and were endlessly transferred from one to another.

fable A Crow and a fox” should not be understood only as praise for the cunning, resourcefulness and intelligence of the Fox, who understands very well that she cannot take away the cheese by force. That is why she decides to lure him away from Vorona by cunning and says “so sweetly, barely breathing.” And Crow, not a stupid bird at all, falls for shameless flattery:

My dear, how beautiful!

Well, what a neck, what eyes!

Telling fairy tales, really!

What feathers! what a sock!

The fox deftly and skillfully goes to the goal: “And, surely, there must be an angelic voice!” The author condemns not only the one who flatters, but also the one who succumbs to flattery, the one who “got his head turned” and “his breath was taken away from his goiter with joy.” Flattery reigns in society (“a flatterer will always find a corner in the heart”), and this is a fact, but you should not succumb to flattery, overestimating your strength (“after all, you would be our king bird!”, that is, you would be an eagle), no matter how tempting this flattery may be. The Fox at first seems to flatter plausibly, but then, speaking about her “angelic” voice, she simply mocks the Crow. Let us remember that in Russian the verb croak is used not only in the sense of “to make a sharp, guttural sound (about the cry of a crow)”, but also in figurative meaning- “to predict failure, misfortune.” The author does not comment on the denouement: “The cheese fell out - there was a trick with it.” Everyone knows “that flattery is vile and harmful,” a lot is said about this (“they have told the world so many times”), but people still fall into this trap to this day.

In the fable “ Crow” tells about the Raven in peacock feathers:

“she fell behind the Crows,

But it didn’t stick to Peahens (i.e., peacocks)”

and it became “Neither Pava nor Crow.” This phrase has become a phraseological unit and is used when they say “about a person who has moved away from his environment and does not associate with others.”

It was Krylov “as a man of genius who instinctively guessed the aesthetic laws of the fable” and “created the Russian fable,” as Belinsky noted. What allowed the critic to reach this conclusion? The most famous fabulist then was I.I. Dmitriev, who blessed the first experiments of the novice Krylov. Famous fabulists adhered to the classicist or sentimentalist tradition. Krylov went his own way, without entering into various kinds of discussions and polemics with his contemporaries. He freed the fable, on the one hand, from sweetness and rudeness, and on the other, from abstract moralizing. This is his historical merit.

Krylov's fables are replete with many specific details and interesting observations. So, for example, many poets described the singing of a nightingale, but no one managed to convey “a thousand modes” with such a vivid semantic range (here are verbs and adverbs) as given in Krylov’s fable “ Donkey and Nightingale”, when Nightingale “began to show his art”:

Clicked and whistled

On a thousand frets, pulled, shimmered;

Then gently he weakened

And the languid sound of the pipe echoed in the distance,

Then it suddenly scattered in small fractions throughout the grove.

Krylov’s peculiarity is that he does not teach, but observes his heroes and brings his observations to the reader’s judgment. Let’s take for example the fable “ Two boys” (1833), now almost forgotten, which is a shame, since it belongs to the category of fables that form moral character young man(cycle “philosophy of behavior”). The plot of the fable is extremely simple: two boys run to a tree to eat chestnuts, but the tree is very high, then one boy helps the other, but the one who ends up on the tree forgets about the other and eats the chestnuts alone. The plot is not a fable at all, and if it were not for the moral at the end, then one could consider this story a small story in verse from the lives of children, a private, isolated case. The moral is separated from the story and placed at the end of the fable, translating special case into the category of generalizations. The moral allows for no ambiguity, making it clear where the narrator stands. In addition, from the moral it becomes clear to the reader, firstly, that this is a real, but, unfortunately, not an isolated case (“I have seen Fedyush in the world”) and, secondly, that this applies not only to children, but also to adults too:

I have seen Fedush in the world, -

Which their friends

They diligently helped me climb up,

And after that, they didn’t even see the shell again!

Black ingratitude in this fable is merely stated, but not condemned in any way, although it is completely clear whose side the author (poor Senya) is on. This follows from the description of the actions of Fedya, who, having climbed a tree, found many chestnuts there:

Not only can you not eat all the chestnuts there, -

Don't count it!

There will be something to profit from,

But Fedya began to eat them alone, forgetting about his friend:

“Fedyusha was not dozing at the top

I picked the chestnuts myself by both cheeks” (in the draft version)

“Fedya started eating chestnuts,

He filled both his mouth and his pockets” (in the draft version).

The final version remains:

“Fedyusha himself was harvesting chestnuts upstairs,

And he threw only shells from the tree to his friend.”

Sena had to make an effort to help his friend:

“Puffed, sweated all over

And Fedya finally helped him climb up.”

The drafts describe these efforts in more detail than the final version. Apparently, Krylov wanted to show that it was not the intensity of these efforts that mattered, but the very desire to help a friend. Senya expected that he would be rewarded for his efforts, but was deceived in his expectations:

Well! For Sena, the profit from that was small:

He, poor thing, was only licking his lips on the bottom;

Fedyusha himself was harvesting chestnuts upstairs,

And he threw some shells from the tree to his friend.

Thus, without condemning either one or the other hero, Krylov shows readers whose side he is on and which of the heroes is doing wrong. Krylov is a defender of universal morality, a moral judge.

The uniqueness of the fabulist’s work is that the author-storyteller is always next to his characters, but not above them. Even when his characters do obvious stupid things, the author does not directly condemn them, but only shows the absurdity of their behavior. But this does not mean that Krylov sympathizes equally with all his heroes. His position is socially charged. He supports ordinary people, living in a world of natural values, sympathizes with his heroes, without idealizing or embellishing them, but does not become touched or lisp. It is this sobriety of analysis that makes the fabulist a teacher and mentor. Thanks to the characteristic details, we immediately imagine Krylov’s heroes: and the capricious beauty of the bride (“ The picky bride"), and funny Trishka (“ Trishkin caftan"), and poor Fokus (" Demyanova's ear"), and other heroes.

The structure of the fables is varied. But morality is a necessary component of the fable, which Krylov places either at the beginning

“It doesn’t happen very often for us

And work and wisdom to see there,

Where you just have to guess

Just get down to business"

(“Chest”)

or at the end of the fable

“Envious people, no matter what they look at,

They will bark forever;

And you go your own way:

They’ll bark and leave you alone”

(“ Passersby and Dogs")

Most often, a fable is built in the form of a dialogue, where the author and characters each speak their own language. This was the discovery of the fabulist, in which his previous experience as a playwright helped him. The dramatic structure of the fables made them more lively and vibrant, conveying the intonations of a casual, lively conversation.

“Gossip, this is strange to me:

Did you work during the summer?” -

Ant tells her.

“Was it before that, my dear?

In the soft ants we have Songs, playfulness at every hour,

So much so that my head was turned.” -

“Oh, so you...” - “I sang the whole summer without a soul.” -

“Did you sing everything? this business:

So come and dance!”

(“Dragonfly and Ant")

Everyday details seem to unobtrusively lead the reader to an understanding of the social character of the hero and, behind a particular case, allow him to see the system of social relations. So, for example, in the fable “ Peasant and Death“The plight of peasants in Russia is easily guessed from the characteristics of the main character:

“How poor am I, my God!

I need everything; besides, a wife and children.”

And then it goes famous phrase: “And there is poll tax, boyars, rent...”, which specifically and accurately takes the reader to post-reform Russia early XIX c., when the serfs were crushed by numerous exactions.

“And has there ever been a day in the world

At least one happy day for me?” - asks the peasant.

“In such despondency, blaming fate...

He calls Death...”

Laconically, with just a few strokes, the fabulist depicts the unbearably difficult fate of the peasants. Krylov's peasant in this fable is not a conventional image symbolizing old age, but a social type. This is a typical Russian serf peasant, crushed by various exactions. Finding no way out, the Peasant calls on Death, which “appeared in an instant.” The specificity of the image is so great that it is with Krylov that one can trace the beginning of a realistic depiction of reality in Russian literature. Here is another example from the fable “ Raven"".

“Just take it, take it,

Or even get your claws dirty!”

“What did you do with the merchant Chernyaev, huh? He gave you two arshins of cloth for your uniform, and you stole the whole thing. Look! You’re not taking it according to rank!”

Already from the first collections of fables, the range of problems that attracted the attention of the fabulist was clearly identified. Universal human shortcomings and vices are ridiculed, but the way they are depicted and their manifestation immediately reveals the makeup of the Russian mind, the Russian character. It was the nationality of fables that allowed Krylov to make the cosmopolitan fable genre almost the leading one in Russian literature. half of the 19th century V.

A fable does not require an original plot. As a rule, it is traditional and comes from Antiquity, but when developed by individual authors, the plot can be transformed. Krylov has many fables with such a traditional plot: this and “ A Crow and a fox", And " Dragonfly and Ant", And " Wolf and Lamb", And " Fox and Grapes", And " Peasant and Death”, and many others. Special group fables are fables with an original plot. Some of them were written under the influence of the most important historical events, which the writer himself witnessed. Thus, during the period of Napoleon’s invasion of Russia, Krylov creates two fables - “ Wolf at the kennel" And " Crow and Chicken”, dedicated to the most tragic episodes of the Patriotic War. The fabulist understood the peculiarities of the historical situation and acted as a “chronicler” of terrible events. Researchers recognize the fable “ Wolf at the kennel” is one of the outstanding achievements of the fabulist. “This most amazing of Krylov’s fables has no equal either in the overall emotional impression it produces or in the external structure to which it is subordinated. There is no morality or conclusions in it at all,” wrote L.S. Vygotsky in “Psychology of Art”.

The reason for writing a fable “ Wolf at the kennel” were inspired by events related to the attempts of Napoleon, who was at that time in defeated Moscow, to enter into peace negotiations. These attempts were made both by Napoleon himself and through his intermediary Lauriston, but they were rejected by M.I. Kutuzov. Soon after this, Kutuzov defeated the enemy troops at Tarutino (October 6).

This is how S.N. describes it. Glinka wrote about this event in his “Notes on 1812”: “Neither the weapons of the sons of Russia, nor the prayers and tears of mothers saved Moscow. We saw the entry of the conqueror’s regiments into it, we saw the fire of Moscow, we also see the grief of the giant of our century. He asks for a truce and peace. Lauriston, his ambassador, is conferring with Kutuzov. And our smart leader, amusing Ambassador Napoleon with dreams of peace, is waiting for the auxiliary troops sent by northern nature, waiting for the frosts and winter storms. He is also waiting for new regiments from the banks of the quiet Don” (“1812 in Russian poetry and memoirs of contemporaries”).

Fable “ Wolf at the kennel” was written in early October 1812 and published in the magazine “Son of the Fatherland” (1812, part 1, no. 2). The topicality and relevance of the fable required immediate publication. This was the first response to events of such historical importance, which subsequently worried more than one generation of Russian people. The author understood this very well and deviated from his rules: he usually did not publish his fables right away, but worked for several years to improve the text. In this case, permission from the censorship committee had already been obtained

October 7th. But work on the text of the fable continued even after publication. The result of this painstaking work were changes to the printed text, published in the same magazine (No. 4, part 1 of the same year). This is a unique case. But Krylov did not stop there, continuing to work on the text. Reprinted in a separate edition of the fables in 1815, this fable also underwent certain changes. Krylov continued to work on it after that. The text was finally formed only in the 1825 edition.

The plot basis of the fable is the dialogue between the Hunter and the Wolf. The fable begins with the author's narration: “The wolf, at night, thinking of getting into the sheepfold, ended up in the kennel.” This is an exposition of a fable. Vivid emotional remarks from the hounds heat up the situation. The hounds shout: “Wow, guys, thief!” This phrase appeared later (1815-1819).

The description of the worst enemy of the hounds - the Wolf, the gray “bully” - is remarkable. The epithet gray is a traditional characteristic of a wolf in Russian folk tales: it is a constant epithet. The antithesis gray - gray-haired did not appear to the author immediately, but as a result of hard work on the text - only in 1825, when the great commander was no longer alive (Kutuzov died in 1813). Before this, the Wolf had the epithet old, which, of course, was less impressive. In Krylov’s fables, the fairy-tale tradition in relation to the wolf, known to us from childhood, is preserved, but here, among other things, he is also cunning and impudent. Even backed against the wall, “pressed with my butt in the corner,”

With his eyes, it seems like he would like to eat everyone.”

The wolf still hopes to get out (“I came to make peace with you, not at all for the sake of a quarrel”) through peaceful negotiations, empty, false promises

“And not only will I not touch the local herds in the future,

But I’m happy to fight for them with others”

The wolf, over whom mortal danger hangs, is still trying to maintain the appearance of greatness, promising protection in words, but in reality it has already been hunted down by dogs. But who will believe the “wolf oath”? In any case, not the gray-haired, wise Lovchiy, in whom contemporaries recognized the famous people's commander Kutuzov. Recognition of his merits in this war in wide public circles directly opposed official version, which attributed the glory of victory to Alexander I.

The description of the kennel is remarkable (surprisingly capacious and laconic, but extremely specific), which “in a minute” “became hell”:

“They run: another with a club,

Another with a gun"- i.e. they run with clubs, stakes, sticks.

Krylov uses the collective noun dubyo. Isn’t this where Tolstoy’s “club” arose? people's war”!? “Fire! - they shout, “fire!” It is known that wolves are afraid of fire. Here the fire performs another function - it illuminates the kennel: “They came with fire.” Before this, the Wolf was not visible, only one could hear how “the dogs were flooded in the barns and were eager to fight.” When they came with the fire, they saw that the Wolf was “sitting with his butt pressed into the corner.” Then again auditory associations:

“Clicking teeth and bristling wool,

With his eyes, it seems like he would like to eat everyone.”

It is worth paying attention to the fact that there is no moral in this fable - required component every fable. This is explained by the fact that the action-packed narrative is so specific and vivid and at the same time simple and unambiguous, the characters of the characters are extremely clear that no comments are required, the author seems to withdraw himself. Art speech characteristics Krylova takes on a bright, sharpened form in this fable. The irony of the old Hunter - “you are gray, and I, friend, am gray” - as well as the end of his speech:

“And therefore my custom is:

There is no other way to make peace with wolves,

Like skinning them off,”- reinforced by action: “And then he released a pack of hounds on the Wolf,” as if replacing morality and giving the author’s assessment of what was happening.

Krylov’s wolf is proud and majestic - “he came to make peace with you not at all for the sake of a quarrel” - he has not yet been defeated. He offers friendship (“let’s establish a common harmony”) and promises in the future not to touch the “local herds” and even to protect them. The Wolf's speech is solemn and sublime. Krylov's brilliant insight was that Napoleon had not yet been defeated at that time. He was in Moscow, which he occupied. But the outcome of events was already clear to the fabulist - “And he immediately released a pack of hounds against the Wolf.”

According to contemporaries, the fable “ Wolf at the kennel“Krylov rewrote it in his own hand and gave it to Kutuzov’s wife, who sent it to her husband in a letter. Kutuzov read the fable after the battle of Krasny to the officers gathered around him and, at the words “and I, friend, am gray,” took off his cap and shook his bowed head. “All those present were delighted with this spectacle, and joyful exclamations were heard everywhere,” wrote the first commentator of Krylov’s fables, V. Kinewich, in “Bibliographical and historical notes to the fables of I.A. Krylov” (1878).

This fable was unanimously recognized by all researchers as one of the best in Krylov’s creative heritage.

Also in 1812, the fable “ Crow and Chicken" This was a period of enormous patriotic impulse of the entire Russian people. Let us cite just one excerpt from “Notes on 1812” by S.N. Glinka: “The Russian spirit fully came to life in the second cherished twelfth year.<...>If Russian eyes cry, then they surely cry at the same time with their souls.<...>The thunder of the invasion aroused from the Russian soul sadness for the Fatherland, and along with it, self-denial, unconditional, boundless, flew out of it; the matter was then “to be or not to be the Russian land on the face of the earth.” In our twelfth year, no condition even occurred to anyone; there was only one condition: either die for the Fatherland, or live for the Fatherland and give everything to the Fatherland. In the first twelfth year, the year of our ancestors, there were conditions not about saving personal life, but about who will save the existence of Russia?”

It was during the period of such patriotic upsurge that the fable “The Crow and the Hen” was created. In it, Kutuzov is called the “Prince of Smolensk,” from which it follows that the fable was written after the battle of Krasnoye, when he received this honorary title, i.e. November 6, 1812 The reason for writing the fable, apparently, was a note in the magazine “Son of the Fatherland,” which said that the French went hunting every day to shoot crows and could not boast enough about their aux corbeaux soup.

Now we can give up the old Russian proverb: “I got caught like chickens in cabbage soup,” or better to say: “I got caught like a crow in French soup.” This issue of the magazine was accompanied by a cartoon by I.I. Terebenev’s “French Crow Soup”, which depicted four ragged French grenadiers tearing a crow apart. The fable begins with the words:

“When the Smolensk prince,

Arming myself against insolence with art...”

What kind of “art” did Kutuzov arm himself against Napoleon’s “insolence”? The famous Denis Davydov in his notes “Did frost destroy the French army in 1812?” shows that no, it was a famine, since Kutuzov forced the French to leave Moscow the same way they entered it, i.e. along a devastated edge, and not “along an unharmed edge and abounding in food supplies, and to be pursued by our army from the rear, and not from the side, as happened.” The French army was forced to return along the path it had devastated, on which only devastated and robbed villages were encountered. The French army, surrounded by Russian cavalry, which exterminated everything that dared to separate from the main road, died from cold and hunger. And then D. Davydov continues: “What is the reason for this? The point chosen for the camp at Tarutin,<...>removing the enemy army from a region abounding in food supplies, forcing him to go along the Smolensk devastated road, taking enemy convoys with food with our light cavalry, surrounding the French columns from Maloyaroslavets to the Neman, not allowing a single soldier to leave the main road to find food for himself and shelter." This is the “net” the commander laid out for the “new Vandals,” i.e. barbarians, destroyers. In just a few lines, the fabulist shows the national-patriotic feelings of the Russian people, when Muscovites (“all residents, both small and large”) left their cozy city, “without wasting an hour,” and compares the city to a hive left by bees. This happened according to the plan of Kutuzov, who, “against the insolence” of Napoleon, armed himself with “art,” hoping that cold and hunger would not allow robbers and destroyers (“new vandals”) to stay in Moscow for a long time. A description of this tragic event can be found in the epic novel JI.H. Tolstoy’s “War and Peace”, which picks up and expands the comparison of Moscow, abandoned by its inhabitants, with a disturbed hive. It is interesting that for some the French are enemies, adversaries (remember Natasha Rostova), for others they are guests. “This whole anxiety” seems funny to some people, they look at it from the outside, going about their daily activities (“cleaning your nose” is a very characteristic crow gesture). But it turns out that they don’t just look “calmly”, they intend to use the tragic situation “when our adversary is on the doorstep” to their advantage:

So to me [crow. - R.K.] it’s not hard to get along with guests,

Or maybe you can still make some money

Cheese, or a bone, or something.

The enemies in the fable are called adversaries. Now this is archaic, but in XIX literature V. this word was used quite often. For example, from Pushkin:

Where can you compete with me?

With me, with Balda himself?

What a foe he sent!

Wait a minute for my little brother.

(“ The Tale of the Priest and his Worker Balda ”, 1830)

Following the historical truth, the fabulist philosophically notes:

So often a person is blind and stupid in his calculations.

It seems that you are on the heels of happiness:

How will you actually get along with him?

Caught like a crow in soup!

The moral is clear and simple, it begins with a philosophical maxim and ends with a comparison of a domestic nature(“like a crow in soup”). The moral of this fable is generalized to the limit: “so often a person...” - mind you, any person, - therefore further: “it seems that you are rushing on the heels of happiness” (you, that is, every person, including the author and the reader ). According to K. Batyushkov, “in the army they read all fables by heart.” It was an unprecedented success. Another contemporary, S.N. Glinka wrote: “In our extraordinary year and under the pen of our fabulist Krylov, living fables turned into living history” (“Notes on 1812”).

A cycle of fables about Patriotic War 1812 - Krylov’s greatest service to the entire nation. The innovation of the fabulist lies in the fact that he gave the story a scale unusual for the fable genre and, in addition, introduced a real historical figure into the number of fable characters - the Russian commander Kutuzov, who carried out the historical mission of saving the state from invaders and acted as an exponent of the patriotic spirit and moral strength of the Russian army and of the entire Russian people.

Krylov was one of the most widely read authors of the 19th century. During his lifetime he became famous, and after his death he became a legend. Almost all his contemporaries appreciated the moral and educational role of his fables, which were constantly included in the circle of home (family) reading. “His parables are the heritage of the people and constitute the book of wisdom of the people themselves,” wrote N.V. Gogol. Krylov created his fables for a wide range of readers: for children and adults, for people of different classes, they were interesting to everyone. Already in the 19th century, children memorized his fables by heart: Krylov was for them an attractive interlocutor and mentor in moral issues. Krylov's fables are also a book of social morality for us, to put it modern language, a moral code of human behavior. He became a popularly known and beloved fabulist, but he was never a court poet, despite all the efforts of the royal court.

Each publication of his fables became a notable event in the spiritual life of Russia. He was called a great teacher, “the sage of the people” (A.V. Nikitenko). How did Krylov deserve such a high title? People of all classes acted in the fables - nobles, gentlemen, men, peasants. Or their masks - wolves, bears, lions, eagles, foxes. Fables, continuing the folklore tradition, exposed the same thing as satirical folk tales, punishing evil and allowing good to triumph, understanding it as a simple person would perceive it. The perception of animals in his fables is determined by the emotional coloring, the mask that is constantly assigned to each of the heroes. These were realistic scenes, as if seen with the eyes common man, but there was nothing cruel, vulgar, rude, immoral in them. People, animals, plants (roots, leaves, flowers) and even inanimate objects (stone, diamond, damask steel, kite, etc.) that acted in the fables spoke in a clear and understandable language, colorful and rich. “Common people” is created through the choice of plot, development of action, its comprehension and evaluation. But the master’s hand is felt everywhere: Krylov’s forms of expression and style are bright and individual. Lightness and simplicity are purely external. The merits of Krylov’s fables are especially clearly revealed when comparing fables written by different authors on the same plot (for example, the fable “ A Crow and a fox”was translated and revised in Russia by many fabulists). Krylov does not have bookish, archaic, solemn forms of high style, since the fable genre did not require this. Krylov was perhaps one of the first to understand this and strictly adhered to this rule, despite accusations of deliberate “common people.” In his fables the voices of real Russian life are heard. Krylov does not have different stylistic elements in one fable, i.e. elements of high and low styles do not collide either in the lexical composition or in grammatical forms. The apparent ease of style, the form of speech expression, the emotional coloring - all this is very organic for the fabulist. By apt expression Academician V.V. Vinogradov, “it seemed that the Russian language itself became the main character of Krylov’s fables.” “The poet and the sage merged into one,” as Gogol noted. It is the perfection of fables, their naturalness and organic nature that make them so ordinary, familiar, and recognizable. The mindset of the Russian person, his lively and lively mind, his sorrows and joys, misfortunes and sorrows, all the originality of the Russian character is reflected in the heroes of Krylov’s fables.

Crow and Fox Farmer and Shoemaker”), “From the Fire into the Fire” (“ Mistress and two Maids"), "Don't spit in the well - you'll need to drink the water" (“ Lion and Mouse”, etc. He himself also creates his own aphorisms. These idioms completely assimilated into the Russian language, allowing them to be used in completely different contexts and even time parameters of the life of the language. Taking fables away from specific everyday situations, they are easily superimposed on the events of the life of even a modern person.

“The trouble is, if the shoemaker starts baking pies,

And the boots are made by the pie,”

Here is the everyday rule set out by Krylov in the fable “ Pike and Cat”, applied to Pike, who decided to catch mice with the Cat and asked to go hunting with him. And now this aphorism is applied to people who mind their own business. Another example: the specific story of Trishkin’s caftan, which is endlessly altered to the ridicule of others, turns out to be easily applicable to all everyday situations when a person tries to change something not radically, but through minor alterations. A single specific situation described in a fable as a special case is generalized, i.e. an allegory, framed in the form of a maxim, turns into an aphorism.

In Krylov's fables there is almost no outdated words, and those that occur are easily understood from the context. So, in the fable “ Cat and Cook“The “literate” cook runs away from the cookery to the tavern. The word povarnya is an archaism; in modern Russian it is synonymous with kitchen. But the modern reader of the fable understands this archaism due to the fact that the nest with this root is very fully represented in the modern Russian language: cook, cook, cook, cook (cook's cap), cook (cookbook), ladle, cook and some others. The word rhetorician is also familiar to modern man in relation to the noun rhetoric (theory of eloquence, oratory) and the adjective rhetorical (rhetorical question), but Krylov does not use this word neutrally: it has a slight ironic connotation:

There was no end to the moralizing. The Cat and the Cook”), etc. Sometimes it’s just the ending of a fable: “And the Chest just opened” (“ Chest") or

“Ay, Moska! know she's strong

What barks at the Elephant!”

(“Elephant and Moska”)

In some cases, the very name of the fable becomes an aphorism: “ Trishkin caftan”, “Demyanova's ear”, “Swan, Pike and Crayfish" This is an allegory, which is a necessary element of a fable.

During the solemn celebration of the centenary anniversary of Ivan Andreevich Krylov on February 2, 1868, His Eminence Macarius, Archbishop of Kharkov, later Metropolitan of Moscow, said: “What did he say? He said what a man of the most common sense, a practical sage, and especially a Russian sage, can say. Brothers compatriots! Should we say what else the immortal fabulist bequeathed to us? He bequeathed love, boundless love for everything domestic, for our native word, to our native country and to all the beginnings of our national life... So, develop your young strengths and abilities, educate and strengthen them in everything beautiful, enrich yourself with diverse knowledge, wherever it comes from, try to assimilate for yourself all the fruits of the pan-European, universal education. But why? Then, remember, so that all this good that you have acquired can be sacrificed to her - your own mother, Russia.”

Krylov's fables are an excellent school of observations of life, phenomena, characters. Fables are interesting both because of their dynamic plots and their portrayal of characters. characters, in particular animals, insects, birds. Every fable you read causes a person to think.

Reading the fable “Demyan’s Ear”, you understand: the story that the author tells is not at all about specific Demyan and Fok, and not about ear and excessive hospitality. Demyan personifies such traits as obsession, pickiness, importunity, inability to treat with respect

To the desires of another person. And the fable also teaches: beautiful intentions are not always good consequences.

Inability to work collaboratively while caring for common cause, and not about their own tastes, are personified by the characters in the fable “Swan, Pike and Cancer”. The last line of this fable - “But only a cart is still there” - became a catchphrase. Sometimes these words are used to characterize the state of affairs of a person who is unable to complete what he started. The fable helps to understand: before taking on any business, you need to carefully weigh both your capabilities and the capabilities of your accomplices. Otherwise, what will come out of this case is “only flour.”

And the Neukovs are exposed by Krylov in the fable “The Monkey and the Glasses.” Some people are very similar to the character in the fable: unable to understand some phenomenon, they deny or prohibit it. Many of the characters in Krylov’s fables seem to have come from folk tales. Their “characters” are well known, but the author creates situations in which their essence is revealed.

The fox is a character in many fairy tales. This image is used when it is necessary to portray cunning or deceit. In the fable “The Crow and the Fox,” it is cunning that helps the Fox get a piece of cheese. But the fable condemns not guile and cunning, but sycophancy and those who believe any words so that only they are pleasant. Krylov's fables expose various flaws in human characters and teach the art of living with dignity.

Common and different aspects of Krylov’s fable “The Wolf and the Lamb” and Aesop’s fable of the same name

It is known that the plots of many fables arose in ancient times, but fabulists different countries use them to write new works.

How a new work arises based on a well-known plot, let's try to explore this using the example of the fables of Aesop and Krylov.

Aesop is a legendary poet who is considered the founder of the fable genre. Aesop's fables are prosaic, narrative, laconic. The main attention is paid to the clash between carriers of certain traits or different life positions. In the fable "The Wolf and the Lamb" the characters' personalities are clearly defined: the Lamb personifies defenselessness, the Wolf - strength. The moral that emerges from this is that just defense has no effect on those who intend to do injustice.

Unlike Aesop, Krylov placed the moral of his fable at the beginning, but the development of events in the fable is not perceived as a simple illustration of the moral. In Krylov, the wolf becomes the embodiment of the inexorable evil force, cruelty and self-will, and the development of the plot before our eyes reveals the mechanism of action of this cruel force. Readers become witnesses to everything that happens to the characters.

At the beginning of the fable, the Lamb is not afraid of the Wolf, because he does not harm anyone and does not violate the established rules. The senseless accusations that the Wolf makes are easily refuted by the Lamb. There is a sense of self-worth in Lamb's responses. For a moment, it even seems to readers that the Lamb has driven the Wolf into a dead end, because the predator has no more arguments to accuse. But it does not at all follow from this that after the meeting with the Wolf the Lamb will remain unharmed. Just the opposite. Each worthy answer from the Lamb annoys the Wolf even more. Finally, the willful predator gets tired of looking for the imaginary guilt of his victim and he shows his essence. The last words of the fable: “He said - and in dark forest The Wolf dragged the Lamb” - at the same time expected and unexpected. The reader knew from the very beginning that this was going to happen, but, watching the development of events, he hoped that the Lamb would eventually prove his innocence.

The fables of Aesop and Krylov have in common the plot, characters and even morality. Aesop's fable is written in prose, and Krylov's in poetry. But, in my opinion, the most important thing that distinguishes these two fables is the reader’s perception of the works. Aesop's fable appeals, so to speak, to the reader's mind. And Krylov’s fable goes to his heart.

Krylov's fables are an excellent school for observing life situations, realities, and characters. They involve you with their dynamic plot, most interesting description characteristic features the main characters, who are mainly all kinds of animals: insects, birds. The works of I. Krylov force the reader to plunge into thought. For example, in “Demyan’s Chowder” it is not at all about Fok and Demyan and immeasurable hospitality. Here such character traits as importunity, excessive intrusiveness, and disrespect for the wishes of the guest are ridiculed. The fable also shows that good intentions do not always have a favorable outcome.
“Swan cancer and pike” speaks of an inability to work together. To achieve success, you should worry about the common cause, and not about your own tastes. It is necessary to carefully weigh the abilities and capabilities of potential participants, and only then begin any work. Thanks to this, you will get excellent results and general action Don't turn into a torment. In "The Monkey and the Glasses" the ignorant are ridiculed. The fable talks about people who are unable to understand certain phenomena, as a result of which they simply reject and prohibit them. Many of the current characters are quite reminiscent of characters from children's fairy tales. We know their nuances and features, and in his works I. Krylov reveals their essence.
The fox in many fairy tales is the personification of cunning and tricks. The fable about the crow and the red cheat tells how the fox, with the help of tricks, got the treasured piece of cheese. main idea the fables are not about cunning and cunning, but about sycophancy. Some stupid people can believe in any flattery, so that only the words will please them pleasantly.
The works of the great fabulist are directed to the mind and feelings of readers. They reveal and expose all possible shortcomings of human characters, teach them to live with dignity and wisely get out of various life situations.

Krylov was certainly observant and smart person, which is capable of processing information and creating wonderful creations. These very creations remained in our literature for years and decades, for centuries. In addition, Krylov is simply an excellent storyteller, which makes his fables simply interesting. We read them not because he is a classic, but simply because they are interesting to read.

Do you want to experience new sensations with friends or loved ones? Sea cruises to different countries and interesting places- This is what you need. They are the ones who will fill life with colors, and you and your loved ones with positive emotions.

Asni Krylova is an excellent school of observations of life, phenomena, characters. Fables are of interest both because of their dynamic plots and the depiction of the characters of the characters, in particular animals, insects, and birds. Every fable you read causes a person to think.

Reading the fable “Demyan’s Ear”, you understand: the story that the author tells is not at all about specific Demyan and Foka and not about ear and excessive hospitality. Demyan personifies such traits as obsession, pickiness, importunity, and inability to respect the desires of another person. And the fable also teaches: good intentions do not always have good consequences.

The inability to work together, caring about the common cause, and not about one’s own tastes, is personified by the characters in the fable “Swan, Pike and Cancer”. The last line of this fable - “But only a cart is still there” - became a catchphrase. Sometimes these words are used to characterize the state of affairs of a person who is unable to complete what he started. The fable helps to understand: before taking on any business, you need to carefully weigh both your capabilities and the capabilities of your accomplices. Otherwise, what will come out of this case is “only flour.”

Krylov exposes the ignorant and ignorant in his fable “The Monkey and the Glasses.” Some people are very similar to the character in the fable: unable to understand some phenomenon, they deny or prohibit it. Many of the characters in Krylov’s fables seem to have come from folk tales. Their “characters” are well known, but the author creates situations in which their essence is revealed.

Common and different aspects of Krylov’s fable “The Wolf and the Lamb” and Aesop’s fable of the same name

It is known that the plots of many fables originated in ancient times, but fabulists from different countries use them to write new works.

How a new work arises based on a well-known plot, let's try to explore this using the example of the fables of Aesop and Krylov.

Unlike Aesop, Krylov placed the moral of his fable at the beginning, but the development of events in the fable is not perceived as a simple illustration of the moral. In Krylov, the wolf becomes the embodiment of an inexorable evil force, cruelty and self-will, and the development of the plot before our eyes reveals the mechanism of action of this cruel force. Readers become witnesses to everything that happens to the characters.

At the beginning of the fable, the Lamb is not afraid of the Wolf, because he does not harm anyone and does not violate the established rules. The senseless accusations that the Wolf makes are easily refuted by the Lamb. There is a sense of self-worth in Lamb's responses. For a moment, it even seems to readers that the Lamb has driven the Wolf into a dead end, because the predator has no more arguments to accuse. But it does not at all follow from this that after the meeting with the Wolf the Lamb will remain unharmed. Just the opposite. Each worthy answer from the Lamb annoys the Wolf even more. Finally, the willful predator gets tired of looking for the imaginary guilt of his victim and he shows his essence. The last words of the fable: “He said - and the Wolf dragged the Lamb into the dark forest” - at the same time expected and unexpected. The reader knew from the very beginning that this was going to happen, but, watching the development of events, he hoped that the Lamb would eventually prove his innocence.

“Biography of Krylov” - Upon returning to St. Petersburg, Krylov’s fables were published for the first time. Ivan Andreevich Krylov (1769 - 1844) - Russian poet, fabulist. Swan, crayfish and pike. Biography of the writer. Since 1812, Krylov has served as a librarian, collecting books and compiling indexes. What a neck, what eyes! A Crow and a fox. Works by I.A. Krylov.

“The Work of Krylov” - Everyone is not fit to be a musician.” IN creative path Krylov, two qualitatively different ones are clearly distinguished. Illustrations for the fable “The Crow and the Fox.” In 1775, the father retired and the family settled in Tver. Application Fable Themes. Analysis of the fables “Quartet” and “Swan, Crayfish and Pike.” The second stage in Krylov’s work.

“Dragonfly and Ant” - In our soft grass. The immortal creations of Krylov Every year we love more and more (M. Isakovsky). On November 9 (21 n.s.) 1844 at the age of 75, Krylov died. Item - literary reading. Choose the tone of reading: the speech of the characters, morality and explanations of the author. Emphasize with intonation the ironic attitude towards the heroes of the fable.

“The Life and Work of Krylov” - What other fables did I. A. Krylov create? Why are I. A. Krylov’s fables still relevant in our time? What fables teach: Fables ridicule: - Flattery - lies - stupidity - laziness - immorality - ignorance - boasting. In Russia, I.A. Krylov is considered the best. What fables do you know? “Dragonfly and Ant” “Crow and Fox” “Quartet” Monkey and Glasses.”

“Ivan Krylov” - February 13, 1769 - Ivan Andreevich Krylov was born. A Crow and a fox. Father - Andrei Prokhorovich. 1809 Vladimir 4th degree. January 12, 1823 Monument to I.A. Krylov is installed in the Summer Garden. That's what the author himself wanted. Ivan Krylov studied literacy, arithmetic and prayers at home. Since the mid-1820s, Ivan Krylov's Fables have been translated into French and Italian.