Abstract: The social meaning of the fables of I.A. Krylova

Introduction

1. Translational fables and hidden subtext

2. Original works of social orientation

3. Public injustice and vices

Conclusion

Bibliography

Introduction

Who among us does not remember the children's fable "Dragonfly and Ant"? It seems that it can be more transparent than the plot underlying it:

Jumper Dragonfly

Summer sang red;

Didn't have time to look back

As winter rolls in the eyes ...

The fact that before us is an allegory and insects mean people, we understand. But let's think about whether the Dragonfly committed such a terrible crime? Well, she sang, danced, but no one was harmed by this. And the Ant, hardworking, dignified, fair, reasonable - a positive hero in all respects, turns out to be incredibly cruel towards the Dragonfly. For the frivolity, empty talk, short-sightedness of the "jumper" he punishes her with inevitable death!

So much for the "good-natured grandfather Krylov"!

What's the matter? Why is the conflict of labor and idleness decided by Krylov so ruthlessly and categorically? Why does an outwardly friendly conversation between godfathers and godfathers (as the Ant and Dragonfly call each other) give rise to eternal insoluble antagonism? ..

1. Translational fables and hidden subtext

By the beginning of the 19th century, by the time Krylov became an exclusively fabulist, he had already gone a long way. He was the author of comedies, comic operas, tragedies, a satirist-journalist and a poet. He had to change the types of literary activity because of the difficulty of passing his ideas through censorship. In the genre of fable, the greatest opportunities for this opened up.

In 1803, he wrote the "first" fable (of those included in his fable collections) - "The Oak and the Cane", and after it he "translated" from La Fontaine another one - "The Picky Bride". At its core, it was actually Krylov's work, independent in all respects - from the ideas and morals of the fable to its language. However, it was convenient to present one's own work as a translation. Translations “from the works” of a foreign-language author (traditionally encouraged in official circles) for many years became in Russian literature a favorite form of masking their own politically sharp and topical ideas by Russian writers (Pushkin, Nekrasov, etc.). But of course, Russian writers turned to translations and transcriptions not just for the sake of trying to circumvent censorship. There was also a desire to transfer thoughts, motives, plot twists and turns close to the author, images on native soil, to acquaint compatriots with them.

Krylov’s fable “The Picky Bride” is his reflection on the writer’s chosen career as a fabulist: Krylov connected his fate with such a literary genre, which by this time was considered insignificant and had exhausted its possibilities; In this spirit, the fable "The Old Man and the Three Young", written after the first two, was sustained. It contains a clear desire to justify the fact that, according to some, he took up a new business at a too late age - to grow a tree of fable poetry on Russian soil. The fable “Larchik”, written soon after, became a work of a programmatic nature.

In the fable "Casket" Krylov explains to the reader how to read his fables, how to understand them. In any case, one should not unnecessarily complicate the task, but first of all, one should try to solve it by the most elementary and accessible means, that is, try to “simply” “open the chest”.

Each of Krylov's fables is just such a "casket with a secret." Let us take, for example, the very first of his fables, which he decidedly did not come up with (he carefully corrected it, reworked it, obviously finding it difficult to pass his ideas through the tsarist censorship, as he would like), but which the writer especially cherished and therefore constantly returned to it. , - "Oak and Cane".

In the fable, the “proud Oak” is on a par with the Caucasus (in versions of the fable, it “obscures the sun to the whole valleys”). That's right: the king of forests and fields in his pride is not like the sun, as they say about kings, but, on the contrary, prevents the rays of the sun, deprives everything around him of light and heat. The raging wind (in the variants it is called “rebellious”) has not yet overcome the Oak, although Reed, and, perhaps with malice, assures that this is not forever. Her confidence was justified: in the end the wind

... uprooted

The one who touched the heavens with his head

And in the area of shadows he rested on his heel.

It remains to answer the question - who should be meant by a flexible cane? It is clear that not the people, whose spontaneous uprising the author sought to present in the form of a "rebellious" wind. She - Reed - the author himself, and more broadly - the intelligentsia, ideologically close to him. She bows before the rebellious wind, and does not oppose herself to it. But Oak does not ask for patronage, despite all his proposals to hide her in his "thick shade" and "protect from bad weather." The reed prophesies:

It is not for myself that I am afraid of whirlwinds; Though I bend, I do not break; So the storms do little harm to me...

In his first book of fables, which was published in 1809, Krylov, for the only time in his life, managed to print an unconditional statement that the best form of government is "rule by the people." In the fable “The Frogs Asking for the King”, he argued that only in a fit of madness is it possible to refuse to “live in freedom.” The successive series of kings acquired by the frog society convinces the reader that only the very first can be the best - “ aspen "chunk", the king is completely inactive, but any other version of autocracy is a change from one tyranny to another; one bloody arbitrariness - even more cruel.

In another fable - "The Sea of Beasts" - the Lion is directly called the king and is shown in full agreement with other predators, strong "either with a claw or a tooth" in relation to a simple and defenseless people. When it comes to sins and their remission, all predators - led by Leo - turn out to be "on all sides Not only right, almost holy."

Both last fables were not included in the first book when the final text of all the fables was drawn up: their program was no longer literary and creative, but directly socio-political, with all the consequences that follow from their publication ...

This program - both literary and creative, and socio-political, clear to readers already in the first fables of the 1809 edition, was sustained by Krylov in all other books of his fables (as he began to call sections of his fable collections from now on). The fame of a remarkable fabulist was strengthened in the same year for Krylov by a laudatory review article by V. A. Zhukovsky.

2. Original works of social orientation

General recognition as a master of fables and a writer who expressed popular views on the Patriotic War of 1812 was brought to Krylov by his fables “The Wolf in the Kennel”, “Convoy”, “Crow and Chicken”, “Pike and Cat”, “Division”, “Cat and Cook”, “The Peasant and the Snake”, which have forever become the subject of special attention of readers, a special page in the history of Russian literature and social thought in Russia. Support for Kutuzov's strategy and disdain for Alexander I and the self-serving nobility are characteristic of these fables.

The most famous of them, "The Wolf in the Kennel", is about how Napoleon, trying to save his army from the final defeat, entered into negotiations with Kutuzov on the immediate conclusion of peace. Krylov, having written a fable, sent it to Kutuzov, and he read it aloud after the battle of Krasnoye to the officers surrounding him. At the words “you are gray, and I, buddy, am gray,” he, as eyewitnesses say, took off his cap and bared his gray head, showing that if the grinning Wolf is Napoleon, then the wise Huntsman, who knows wolf nature, is himself.

It goes without saying that these fables could not be "translated". Although Krylov created his fables from time to time on the basis of a formal translation, in the overwhelming majority of cases they are original in all respects, expressing Russian national and popular self-consciousness.

Until 1825, which brought defeat to the Decembrists, Krylov wrote most of his fables. After the tragedy of December 14, he, who saw with his own eyes everything that happened on the Senate Square, where he was in the midst of the people, almost completely stopped his creative activity for three years, and turning to it again, he created only three and a few dozen works in the twenty years of his remaining life.

However, the writer, who in his youth became close to Radishchev and was one of the most daring, radical satirists in Russia of the 18th century, did not change his program even after the collapse of hopes for democratic changes, unlike many who were disillusioned with educational ideals and reconciled with the meanness of the surrounding life. Even the latest of the fables created by Krylov - “The Nobleman” (and closing the last, ninth book of fables) directly echoes one of the first - “The Frogs Asking the Tsar”. The hero of the fable, a certain satrap, posthumously elevated to paradise for his inaction and stupidity, is rewarded as a benefactor of the people, the savior of the country from ruin and pestilence:

What if with such power

He got down to business, unfortunately, -

After all, it would destroy the whole region! ..

The destructiveness of autocracy in any of its varieties, enlightened or barbaric, is a cross-cutting theme of all Krylov's fabled creativity. Walking along the path of exposing autocracy more consistently and selflessly than many of his contemporaries, Krylov inevitably ran into obstacles erected by tsarist censorship and in some cases turned out to be insurmountable. The tsarist censorship did not let the fable "Motley Sheep" pass at all. Other fables had to be remade many times in accordance with the requirements of censorship.

So, for example, it was the case with the fable "Fish Dance". In it, in an artistically generalized form, he depicted a real historical fact: how the tsar, having met with the most cruel, destructive exploitation of the people, approved of his officials and complacently set off on a further journey.

“During one of his travels in Russia,” said an eyewitness, “Emperor Alexander I, in some city, stopped at the governor’s house. As he was getting ready to leave, he saw from the window that a fairly large number of people were approaching the house along the square. When asked by the sovereign what this meant, the governor replied that it was a deputation from residents who wanted to bring gratitude to His Majesty for the welfare of the region. The sovereign, hurrying to leave, declined the reception of these persons. After that, the rumor spread that they were going with a complaint against the governor, who had received an award in the meantime.

They demanded from Krylov that he finish the fable with the words that he condemned his criminal officials and dealt with them. And Krylov redid the end. But on the other hand, he changed the title: instead of "Fish Dance" - "Fish Dances" If such dances are not an isolated case, as some readers might think, but a constant occurrence, then the exception is a fair decision of the king. Then, in the first edition, the words "king", "sovereign" were written with a lowercase letter, and in the second - with a capital letter. This was once again emphasized that we are talking about human society.

On the contrary, the role of an official who oppresses the people, in the second edition, is played not by a faceless headman-man, but by a predator-voivode - the Fox. In general, the fable turned into a lesson to the Tsar (tsars) how to rule (as opposed to how Alexander I actually ruled). It can be seen that the Tsar-Lion punishes the Governor, but not in the name of justice, but simply "could not bear more ... obvious lies." Moreover, the fate of the "fish" is not clear. They, apparently, were given the opportunity by Leo to “dance” in the pan as before, but only “to the music.”

3. Public injustice and vices

The picture of society, recreated by Krylov in his fables, has a distinct social character. If we are talking about Sheep, then next to them - as if specifically to stop their existence - live Wolves and other predators ("Motley Sheep", "Wolves and Sheep", "Sheep and Dogs", etc.). If the conversation comes about Breams, then Pikes breed side by side with them, and the master, in whose pond Breams were found, specially releases Pike to them, explaining this by the fact that he is not at all a “bream hunter” (“ Breams”). The relationship between the strong and the weak, predators and their prey is irreconcilable. The fierce struggle for existence is not for life, but for death.

Seeing the fate of the serfs, Krylov in the fable "The Peasant and Death" showed that only death can be worse than such a life. Extreme exploitation, widespread robbery of the people are vividly depicted in such fables as "The Lady and the Two Maids", "The Peasants and the River", "The Wolves and the Sheep", "The Worldly Gathering", "The Wolf and the Mouse", "The Bear with the Bees". In the fable "The Peasants and the River", for example, it is said about such a ruin of the peasants, in which they finally "lost their patience", and went "to ask for justice" from the highest authority. But, having understood, we came to the conclusion:

What are we going to waste our time on?

You won’t find control over the younger ones there,

Where they share with the elder in half.

In such fables as “Leaves and Roots”, “The Pig under the Oak”, the exploiters of the people not only parasitize at his expense, but also treat him with disdain and condescension.

A typical face of the bribe-taking tsarist administration in Russia has always been a judge. Wrong judgment is depicted by Krylov in many fables. Especially characteristic are "Wolf and Lamb", "Pike", "Peasant and Sheep". In making their wrong sentence, the judges, first of all, did not forget themselves: “Execute the Sheep, and give the meat to the court, and take the skin to the plaintiff!” The peasantry in this fable (The Peasant and the Sheep), as in many others, is traditionally depicted as sheep. In other cases, the people are allegorically represented in the form of small fish, frogs...

The widespread decay of the tsarist bureaucracy is shown in the fable "The Fox and the Marmot", "The Mirror and the Monkey". Moral of the first one:

Even if you can't prove it in court

But if you do not sin, you will not say:

That he has fluff on his stigma -

like the moral of almost all of Krylov's fables, it became a proverb - in other words, it returned to the people.

Recreating the bestial manners and customs of his contemporary society by means of a fable, Krylov makes it clear to his reader that even in those cases when the tsarist government and its administration act as if “out of good intentions”, nothing good for the people usually comes out of this - as a result of dishonesty, ignorance, arrogance, inconsistency with its purpose, or even simply stupidity. This is discussed in the fables "Quartet", "Swan, Pike and Cancer", "Donkey and Peasant", "Elephant in the Voivodeship". The last of these fables tells how the Elephant, appointed to the province, without knowing it, out of the best of intentions, gave the Sheep to the brutal reprisal of the Wolves. And the author in the final part of the fable (in the moral) states:

Who is noble and strong

Yes, not smart

So bad if he has a good heart.

With the fable "Quartet" Krylov responded to the transformation of the State Council in 1810. Krylov said to the heads of all his departments: “You, friends ... are not good at musicians” - and mockingly depicted their dispute over places instead of a real case.

An unsightly picture of society is made up of Krylov's well-aimed characteristics of the classes and estates operating in Russia. Krylov compares the illegality of the privileges of the nobility with the claims to the nobility of the Geese, whose ancestors supposedly "saved Rome." The author adds:

Leave your ancestors alone

The honor was right for them;

And you, friends, are only good for roasting.

This fable could be explained more -

Yes, so as not to annoy the geese.

It was impossible to pronounce the word "nobles" more directly, asserting their uselessness.

As for how Krylov imagined the moral qualities of the owners of the "million", there is no doubt after his fable "The Merchant", which speaks of merchants and those who are "higher than shops":

Almost everyone has the same calculation in everything:

Who better to lead

And who will deceive whom cunningly.

And in the fable "Funeral" it is said even more sharply and categorically:

There are many rich people whose death is one

Good for something.

The unexpected receipt of untold wealth is depicted in a number of fables. In the fable "The Poor Rich Man" it "flows like a river"; in "Fortune and the Beggar" chervonets rain down "rain"; in the fable "The Miser" a person can, without counting, spend from a huge treasure, and the stingy man in the fable "The Miser and the Hen" has a chicken laying and laying golden eggs; in the fable “The Farmer and the Shoemaker”, the shoemaker receives a bag of gold pieces for living... One way or another, but the flow of enrichment did not bring even the simplest luck to anyone. Happiness returned to the Shoemaker only when he gave the Farmer his gold with the words:

"... I don't need a million for songs and for sleep."

For Krylov, happiness is not in personal enrichment, it is generally impossible outside of society. First of all, this is contentment from the awareness of the benefits that a person brings to people, to society (“Crow”, “Frog and Ox”).

Today in our life there is not even a trace of those historical phenomena that were the immediate reason for writing this or that particular fable by I. A. Krylov. But the fabled creativity of the writer outgrew the concrete historical boundaries of the era that it represented and expressed, went beyond the limits of simple political allegory. This showed the true greatness of the brilliant Russian fabulist.

Conclusion

The plots and characters, motifs and images of Krylov's fables are universal. And not only because they reveal the "eternal problems" of good and evil, friendship and deceit, truth and lies, achievement and cowardice in their abstract manifestations. Not only because they crystallized the folk wisdom of centuries of views on the nature of human society and human characters. Krylov's fables are an example of extremely capacious formulas of acutely political thinking, which have acquired artistic independence and aphoristic completeness.

That is why Krylov's ideas and images, applied to a new political situation, to new political types, events, etc., take on a new life each time.

Lenin brilliantly used Krylov's well-aimed characteristics and his catchphrases in his journalism, finding unexpected political applications for them.

With his fables, Krylov entered everyday speech, into the life of the people. In a variety of situations and occasions in life, Krylov's images and aphorisms come to mind. However, not only in this multitude of expressions and well-aimed phrases sparkling with wit and irresistible logic is the modern meaning of the great fabulist. In addition to them, we have a large work of art by Krylov, drawing a whole panorama of social life in its most diverse manifestations - his, as they say, the Main Book.

Krylov did not write fables in the last years of his life; from 1843, he took up, as he considered, a much more difficult matter - he prepared for publication a collection of his fables in nine books. From separate books of fables, he compiled one - a single whole work with his own composition, with such an arrangement of fables that their alternation and proximity did not interfere with their understanding, but, on the contrary, in especially difficult cases, gave, according to his will, correct explanations.

The book was the result of his literary activity, the result of his whole life, his appeal to readers, to the people. Immediately after the death of the great fabulist, many Petersburgers received as a gift a book of his fables with a printed inscription: “An offering in memory of Ivan Andreevich. At his request, St. Petersburg, 1844 November 9 at 8 o'clock in the morning. The latest information is the date of his death. This gesture, calculated in advance by the fabulist, is a gift to close people and at the same time something different, more. He used his very death to canonize and preserve for the people the book of his fables the way he wanted to see it himself.

What kind of book is this, about which such care was needed, we must understand by reading the best fables of the great Krylov.

Bibliography

1. Aleksandrov, I. B. Ivan Andreevich Krylov - fabulist / I. B. Aleksandrov // Russian speech. - 2004. - No. 6. - S.3-6

2. Arkhipov, V. A. I. A. Krylov (Poetry of folk wisdom) / V. A. Arkhipov. - M. : Moskovsky worker, 1974. - 288 p.

3. Desnitsky A.V. Ivan Andreevich Krylov. M., Enlightenment, 1983. - 143 p.

4. Ivan Andreevich Krylov. Problems of creativity / Serman I. Z. - M .: Publishing house "Nauka", 1975. - 280 p.

5. Stepanov, N. L. Fables of Krylov / N. L. Stepanov. - M. - Publishing house "Fiction", 1969. - 112 p.

Introduction

Who among us does not remember the children's fable "Dragonfly and Ant"? It seems that it can be more transparent than the plot underlying it:

Jumper Dragonfly

Summer sang red;

Didn't have time to look back

As winter rolls in the eyes ...

So much for the "good-natured grandfather Krylov"!

Translational fables and hidden subtext

... uprooted

The one who touched the heavens with his head

And in the area of shadows he rested on his heel.

It is not for myself that I am afraid of whirlwinds; Though I bend, I do not break; So the storms do little harm to me...

It tells about one people who “to the shame of the earthly tribes” were so “hardened in their hearts” that they armed themselves against heaven itself. But the Lord of the earth and the sky says: "Let's wait." If these people do not calm down in their militant disbelief and persist, then they, by themselves, "are executed by their deeds."

Vladimir Odoevsky, uttering a toast on February 2, 1838 at a historic dinner dedicated to the 50th anniversary of I.A. Krylov, said: “I belong to the generation that learned to read from your fables and still reread them with new, always fresh pleasure.” This is said about the generation to which many Decembrists belong, and the sovereign Nikolai Pavlovich, and Alexander Pushkin. It was probably not without reason that Nicholas I once presented a bust of the fabulist to his heir on New Year's Eve.

The Optina elders revered the fables of Ivan Krylov and more than once instructed their spiritual children with sayings from them. So Archimandrite Agapit (Belovidov) in the biography of the Reverend Elder Ambrose of Optina writes that in the elder's hut, in the room of his cell-attendant, there was a book of Krylov's fables.

Father Ambrose often in the middle of the day, during the reception of many people, would enter the room of his cell-attendant father Joseph and have a hasty dinner here. At the same time, he asked to read aloud one or two of Krylov's fables. Read those who were present here at this time - a visitor or a visitor. Batiushka loved Krylov's fables, finding them moral, and often resorted to them to teach his wise advice. So he ordered one visitor, a nun from the Shamorda monastery, to read aloud a fable entitled:

How many streams flow so quietly, smoothly
And so sweetly murmur for the heart,
Only because there is not enough water in them!

And in 1877, the Monk Anatoly Optinsky (Zertsalov) wrote to one of his spiritual children: “Remember the young horse Krylov: he could not understand not only others, but himself. And as he began to push with something - then to the side, then to the back, - well, he showed dexterity, for which the master's pots paid off. This is the horse from the fable:

As in people, many have the same weakness:
Everything seems to be a mistake to us in another;
And you will take care of the matter yourself,
So you will do twice as bad.

On another occasion, the Monk Anatoly wrote in Yelets to one youth who was his spiritual child and was going to a monastery: “And Krylov, a secular writer, said his message not to you alone and not to me, but to the whole world, that is, whoever dances summer, it will be bad for him in winter . Whoever in the prime of life does not want to take care of himself, he has nothing to look forward to when his strength is depleted and in the presence of an influx of infirmities and illnesses.

Deep Christian thought lies in the fable, where the Writer, who ...

... thin poured poison in his creations,
Instilled disbelief, rooted depravity,
Was, like a Siren, sweet-voiced,
And, like the Siren, he was dangerous, -

received after his death in hell a greater punishment than a highway robber. And the writer shouts in the midst of torment that ...

... with glory he filled the world
And if I wrote a little freely,
That is too painful for that;
That he did not think to be a sinful robber.

However, if the sinful deeds of the Robber ended with his death, then the “poison of creations” of the Writer “not only does not weaken, // But, spilling, it grows fierce from century to century.”

This is why he received a harsher sentence:
Look at all the evil deeds
And the misfortunes that you are to blame!
There are children, the shame of their families, -
Despair of fathers and mothers:
By whom is the mind and heart poisoned in them? - by you.

Reading Krylov's writings, you involuntarily think about the fact that, perhaps, it is the Christian meaning of his fables that makes his works immortal. So let us more often touch this "non-stolen wealth."

Elena Dobronravova

Parish Herald of the Church of the Holy Great Martyr and Healer Panteleimon
Panteleimonovsky Blagovest, No. 2(180)

Goals:

show the role of the fable in the literature of different times and peoples, the denunciation in the fable of unjust social orders and the shortcomings of people;
to consolidate what has been studied in the theory of literature: fable, morality, allegory, metaphor, irony;
to form expressive reading skills, attention to artistic detail;
promote the development of figurative and analytical thinking, develop creative imagination.

Equipment: portrait of I.A. Krylov, illustrations for Krylov's fables by the artist E. M. Rachev, a sculptural image of Aesop, a portrait of Lafontaine by Nicolas Largillière.

Dictionary: allegory, rhetoric.

During the classes

I. Organizational moment.

II. Message topic, goal, lesson.

Conversation.

Today we have the final lesson on fables. Let's talk about the history of the fable, about what you learned in previous lessons, listen to the expressive reading of Krylov's fables.

What is a fable?

(A short entertaining story in verse or prose with an obligatory moralizing conclusion).

What is morality? Why do fabulists include her in a fable?

(Moral - moralizing, teaching. The fable contains morality so that the author can show his own attitude to what is told in the fable, convey the author's idea to the reader).

In the fable, as in the fairy tales about animals, the main characters are animals. How are fables different from animal tales?

(In the fable, animals do not have their own names; people with their characters and shortcomings are hidden behind their generalized images).

When did the fable appear?

(6th century BC, in Ancient Greece).

II. The main part of the lesson.

1. The story of the first fabulist.

Almost no information has been preserved about the life of Aesop. It is known that Aesop was a slave. Thanks to his mind, he achieved freedom. Even the rulers of Greece listened to his advice, expressed in allegorical form. In his fables, under the guise of animals, Aesop ridiculed the stupidity, greed and other vices of people. Many took it personally. To take revenge on Aesop, the people offended by him put a golden bowl stolen from the temple into his knapsack.

According to legend, when Aesop was captured, he had to either be executed, or he again had to recognize himself as a slave - and then the owner would pay a fine, and Aesop would save his life. Aesop did not want to lose his freedom and chose the death of a free man.

Thanks to Aesop, the expression "Aesop's language" appeared in everyday life. What does this expression mean?

(Allegorical expression of thoughts).

Why did poets use Aesopian language?

(Aesopian language, understandable to a sophisticated reader, made it possible to avoid persecution by the authorities and express forbidden thoughts using various techniques).

What methods did fabulists use to express their thoughts?

(Allegory is an allegory; metaphor is the use of words in a figurative sense to determine an object based on the similarity of meaning, assimilation; irony is a hidden mockery, allegory).

2. Reading Aesop's fable.

Listen to Aesop's fable and say with which Krylov's fable it can be compared.

Raven and fox.

The raven took away a piece of meat and sat on a tree. The fox saw, and she wanted to get this meat. She stood in front of the raven and began to praise him: he is already great and handsome, and he could be better than others to become king over birds, and he would, of course, if he also had a voice. The raven wanted to show her that he had a voice: he released the meat and croaked. And the fox ran up, grabbed the meat and said: “Oh, raven, if you also had a mind in your head, you wouldn’t need anything else to reign.”

What is the name of Krylov's fable with a similar plot?

(A Crow and a fox).

What human vice is the fabulist ridiculing in this fable?

(Stupidity, foolishness).

3. The story of Lafontaine (1621-1695).

The name of another famous fabulist, the Frenchman, Lafontaine has already been mentioned in our previous lessons.

Jean Lafontaine lived at the court of Louis XIV in France. He, like Aesop, wrote fables about animals, in which contemporaries easily distinguished people with their vices. 12 books of fables were created by Lafontaine over a period of 26 years. The public types of that era, from peasants to the king himself, appeared before readers in the images of animals. La Fontaine was an unusually brave man, and King Louis did not like this, so La Fontaine was expelled.

Here is one of Lafontaine's fables about the woodcutter.

Woodcutter and death.

The woodcutter is tired and exhausted. In the forest he calls death. When she arrives, he refuses her services and asks her to put a bundle of brushwood on his back. This man overcame a momentary weakness and passed the test.

“Both of them,” Pushkin wrote, comparing La Fontaine with Krylov, “will forever remain favorites among their contemporaries and descendants.”

4. Quiz.

Unlike the fables of Aesop and La Fontaine, Krylov's fables are well known to you from early childhood. Now we will conduct a quiz on the knowledge of Krylov's fables.

Guess from which fables the lines are taken (selectively: name the moral of the fable and the human qualities ridiculed in the fable).

1. Did you sing all the time? this business:
So come on, dance.

("Dragonfly and Ant"). Laziness, stupidity are ridiculed. Moral: to get something, you have to work.

2. Hey, Pug!
Know she's strong
What barks at the Elephant.

("Elephant and Pug"). People who, using other people's authority, are ridiculed, are trying to gain weight in society. A petty person, hiding behind the back of a powerful person, is trying to draw attention to himself.

3. Sing, little light, don't be ashamed!

("A Crow and a fox"). Stupidity, rotozeystvo, cunning is ridiculed.

4. With the strong, the powerless is always to blame.

("Wolf and Lamb"). Malignity, dishonesty, hypocrisy are ridiculed; the truth is on the side of the force, and this is unfair.

5. You are gray, and I, buddy, are gray.

("The wolf in the kennel"). The events of the war with Napoleon are reflected. Hypocrisy is ridiculed; shows the superiority of wisdom, intelligence and life experience over hypocrisy and malice.

6. When there is no agreement among comrades,
Their business will not go well.

("Swan, Cancer and Pike"). Inconsistency in actions is ridiculed.

7. And you, friends, no matter how you sit down,
You're not good at being musicians.

("Quartet"). Stupidity, self-confidence, ignorance are ridiculed.

8. If only there were acorns: after all, I get fat from them.

("Pig under the oak"). Ignorance is ridiculed: the ignoramus scolds learning, not realizing that he is eating its fruits. Proverb: do not cut the branch on which you sit.

5. Work at the blackboard.

An allegory of what human qualities are these animals in fables? Choose the correct answer, connect with arrows.

		Answers:
		bravery
		cowardice
		ignorance
		industriousness
Dragonfly	defenselessness	frivolity
		viciousness
	frivolity	defenselessness
		cunning
	rotosity	stubbornness
		rotosity

While working at the blackboard, the class solves a crossword puzzle:

An allegory of what human qualities are these animals in fables?

Words for reference: cunning, stubbornness, rotozeystvo, courage, cowardice, ignorance, spitefulness, frivolity, diligence, defenselessness.

If you correctly insert the words into the cells, then in the selected cells vertically you will read one of the techniques used by fabulists to create an image.

(The resulting word is an allegory).

6. Expressive reading.

In order to show those qualities that the poet makes fun of in fables, one must be able to expressively read a fable. I suggest reading the fable by heart by role.

Pig under the oak.

What is the image of the Pig in the fable? Why does Krylov introduce images of a raven and an oak into the fable?

The image of the Pig is a self-confident ignoramus, the image of the Oak and the Raven, who do not live so long by chance - are wise, worldly experienced people. The author expresses morality through the lips of the author: ignorant people are short-sighted, they often "cut the branch on which they sit."

What sound in the speech of the Pig is repeated most often?

S, r, o, f: grunting and chomping of a pig, the process of chewing, eating acorns; her lack of culture is emphasized.

Quartet.

The author's irony is expressed in the words of the Nightingale. In addition, in other statements: the naughty Monkey, the clubfoot Mishka, to captivate the world with their art, sat down decorously in a row. The irony is visible in the selection of the musicians themselves with their musical ignorance. Irony - mockery, allegory.

Unfortunate musicians evoke feelings in readers that are completely opposite to what they conceived, expected. The reader does not admire their talent, but laughs at their stupidity, self-confidence, ignorance.

What is the moral of the fable?

The moral is that any business, and even more so art, requires skills and abilities, and amateurs look ridiculous and ridiculous.

Wolf and Lamb.

How many characters are in this fable?

The speech of the Wolf - an impudent predator, confident in his unlimited power and impunity, can be arrogant, arrogant, threatening and at the same time hypocritical. After all, the Wolf at first pretends to be offended and offended, as if playing with the Lamb, trying to give his predatory intentions a “legitimate appearance”, disguise them, allegedly wanting revenge and justice. However, at the end of the fable, he throws off the mask of the victim, he is "tired" of pretending and reveals his true essence - evil and unprincipled.

In the speech of the Lamb, there is fear, surprise, a timid hope that the Wolf can explain something, to prove that justice will prevail. The naive Lamb believes the Wolf, believing that he is simply mistaken. But, despite the fact that the smart Lamb destroyed his hypocritical system of accusations, he will still be eaten. Neither innocence nor logic saved him. After all, power and brute force are on the side of the Wolf.

Questions after listening: who managed to convey the character of the character most convincingly?

III. Summing up the lesson.

Consolidation. Test.

Specify the correct answer.

Fable:
A) moral instructive conclusion;
B) figurative exaggeration;
C) a short story with a mandatory moral conclusion.
Morality:
A) the construction of a work of art;
B) opposition;
C) moral instructive conclusion.
Allegory - ...
A) allegory;
B) exaggeration;
B) opposition
Metaphor - ...
A) a short story with a mandatory moral conclusion;
B) the use of words in a figurative sense;
C) a kind of folklore and literature.
Irony - ...
A) moral instructive conclusion.
B) hidden mockery;
C) a short saying containing folk wisdom.
The first fabulist is...
A) La Fontaine
B) Aesop;
B) Krylov.

Answer options: 1-c, 2-c, 3-a, 4-b, 5-b, 6-b.

Students, graduate students, young scientists who use the knowledge base in their studies and work will be very grateful to you.

Introduction

1. Translational fables and hidden subtext

2. Original works of social orientation

3. Public injustice and vices

Conclusion

Bibliography

Introduction

Who among us does not remember the children's fable "Dragonfly and Ant"? It seems that it can be more transparent than the plot underlying it:

Jumper Dragonfly

Summer sang red;

Didn't have time to look back

As winter rolls in the eyes ...

So much for the "good-natured grandfather Krylov"!

1. Translational fables and hidden subtext

... uprooted

The one who touched the heavens with his head

And in the area of shadows he rested on his heel.

It is not for myself that I am afraid of whirlwinds; Though I bend, I do not break; So the storms do little harm to me...

2. Original workssocialfocus

What if with such power

He got down to business, unfortunately, -

After all, it would destroy the whole region! ..

They demanded from Krylov that he finish the fable with the words that he condemned his criminal officials and dealt with them. And Krylov redid the end. But on the other hand, he changed the title: instead of "Fish Dance" - "Fish Dances" If such dances - not an isolated case, as some readers might think, but a constant phenomenon, which means that the exception is a fair decision of the king. Then, in the first edition, the words "king", "sovereign" were written with a lowercase letter, and in the second - with a capital letter. This was once again emphasized that we are talking about human society.

3. Public injustice and thenOki

What are we going to waste our time on?

You won’t find control over the younger ones there,

Where they share with the elder in half.

In such fables as “Leaves and Roots”, “The Pig under the Oak”, the exploiters of the people not only parasitize at his expense, but also treat him with disdain and condescension.

The widespread decay of the tsarist bureaucracy is shown in the fable "The Fox and the Marmot", "The Mirror and the Monkey". Moral of the first one:

Even if you can't prove it in court

But if you do not sin, you will not say:

That he has fluff on his stigma -

like the moral of almost all of Krylov's fables, it became a proverb - in other words, it returned to the people.

Who is noble and strong

Yes, not smart

So bad if he has a good heart.

Leave your ancestors alone

The honor was right for them;

And you, friends, are only good for roasting.

This fable could be explained more-

Yes, so as not to annoy the geese.

It was impossible to pronounce the word "nobles" more directly, asserting their uselessness.

As for how Krylov imagined the moral qualities of the owners of the "million", there is no doubt after his fable "The Merchant", which speaks of merchants and those who are "higher than shops":

Almost everyone has the same calculation in everything:

Who better to lead

And who will deceive whom cunningly.

And in the fable "Funeral" it is said even more sharply and categorically:

There are many rich people whose death is one

Good for something.

"... I don't need a million for songs and for sleep."

Conclusion

That is why Krylov's ideas and images, applied to a new political situation, to new political types, events, etc., take on a new life each time.

Lenin brilliantly used Krylov's well-aimed characteristics and his catchphrases in his journalism, finding unexpected political applications for them.

What kind of book is this, about which such care was needed, we must understand by reading the best fables of the great Krylov.

Bibliography

1. Aleksandrov, I. B. Ivan Andreevich Krylov - fabulist / I. B. Aleksandrov // Russian speech. - 2004. - No. 6. - S.3-6

2. Arkhipov, V. A. I. A. Krylov (Poetry of folk wisdom) / V. A. Arkhipov. - M. : Moskovsky worker, 1974. - 288 p.

3. Desnitsky A.V. Ivan Andreevich Krylov. M., Education, 1983. - 143 p.

4. Ivan Andreevich Krylov. Problems of creativity / Serman I. Z. - M .: Publishing house "Nauka", 1975. - 280 p.

5. Stepanov, N. L. Fables of Krylov / N. L. Stepanov. - M. - Publishing house "Fiction", 1969. - 112 p.

Abstract: The social meaning of the fables of I.A. Krylova

Introduction

Translational fables and hidden subtext

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