Thanks to the fable, Krylov got the opportunity to talk with the reader without entering into a fruitless argument with him. Clever, precise, mocking fable itself reached the goal. For example, the reader of the fable "The Wolf and the Lamb" (1808) does not need to explain its meaning - it is transparent and undeniable. Krylov's fables are diverse in subject matter: large groups are political, philosophical, historical and moral fables.

To give the events described in the fable credibility and persuasiveness, Krylov introduces into it the laid-back and slightly ironic voice of the narrator, who conducts a confidential conversation with the reader. If morality or a saying of an instructive nature (maxim) is introduced into the fable, then the narrator refers to history, general opinion, common sense:

With the strong, the weak is always to blame:

That is why we hear a lot of examples in History,

But we do not write stories;

But about how they talk in Fables.

And crafty characteristics and epithets also suggest the social layer of the meaning of the fable: for example, the lamb calls the wolf “the brightest wolf”, trying to propitiate him, but at the same time, a hint appears in the fable - the brightest prince.

The range of plots and heroes of Krylov's fables is extremely wide, which is explained both by the inexhaustible creative imagination and observation of the author, and by careful adherence to the classic models of the plots of Aesop and La Fontaine, as well as the Russian fable tradition - A.P. Sumarokova, I.I. Dmitriev and others. Krylov's fables about animals are very vivid and memorable, because the author skillfully depicts their characters, conveys the features of their speech and behavior. Acquiring many human qualities in a fable, animals do not lose their natural features. From childhood we retain for life the impression of such wonderful fables and characters as "The Fox and the Grapes" (1808). "Dragonfly and Ant" (1808), "Elephant and Pug" (1809) and others. Expressive are the fables in which animals and people act, due to which bad morals and stupid behavior are revealed, for example, in the fable "The Cat and the Cook" (1812). Instructive is the moral of the fables about people, in which their weaknesses and vices are exposed; often philosophical reflections are the essence of fables about plants and objects.

The basis of the fable is always a certain story expressed in the plot. This feature of the fable, despite the fact that we almost always encounter fables in the form of poems, turns out to be decisive for determining the literary type of the fable - it belongs to the epic. The next characteristic of the fable is its allegoricalness, which consists in the fact that the story told in it should not be taken literally, that is, the purpose of the fable is not to tell about the episode in which the wolf ate the lamb, but to stigmatize arbitrariness strong. In the fable, the allegorical effect is enhanced with the help of allegorical images. None of the readers takes the action in the fable literally and sees the ruler in the lion, and the subject in the mouse. Finally, an almost obligatory structural element of the fable is morality, which performs the main function of the fable - to serve as a lesson to people. Morality is needed in a fable, and because it expresses the author’s thought, his assessment and opinion, morality emphasizes an important requirement that must be observed in the fable genre: it should not be ambiguous.

The language and verse of Krylov's fables are unique in their expressiveness and flexibility. Krylov chooses for his stories a predominantly colloquial style of speech with its mobile syntax, appeals, rhetorical questions, and exclamations. The vocabulary of fables tends to be colloquial, common folk, it is close and understandable to every reader. Names, nicknames, characteristics, definitions or are taken from folklore, or are stable: "Kuma Fox", "Naughty Monkey", "Clumsy Bear", "Jumping Dragonfly"; expressions are also colloquial, folk: “summer is red”, “winter rolls in the eyes”, “know it is strong”, “eyes and teeth flared up”. As a poetic size for his fables, Krylov resorts to a free, multi-foot iambic, which can range from one foot per line to six:

naughty monkey,

Donkey,

Goat,

Yes, clubfoot Mishka ...<...>

How does the music go? You don't sit like that.

You with the bass, Mishenka, sit down against the viola...

The varied iambic allows Krylov to convey lively speech, a real conversation between characters, intonations of the conversation between the narrator and the reader.

The main feature of Krylov's fables is their nationality. They have lived among us, in our culture for more than two centuries, and no doubt will live as long as our people exist. In total, Krylov wrote more than two hundred fables, many of them based on the plots of Aesop and La Fontaine, and many original fables were also written. However, even written on borrowed plots, Krylov's fables are perceived as national, Russian works about Russian life.

In order to turn to observations of the fate of genres, we use a specific example: the story of the fate of a fable in the literature of several centuries (section "From the history of a fable"). The fable is one of the most enduring epic genres. It is firmly preserved in school textbooks on literature. By the seventh grade, there are dozens of fables in the stock of student readers - and not only Krylov. It is this circumstance that makes it particularly expedient to turn not to the study of one or two more fables, but to an attempt to show the duration of existence and persistence of the fable, as well as the reasons for this extraordinary persistence.

The teacher can fully use the path we have proposed: to make a journey of the heroes of the fables of the Crow (Crow) and the Fox through different centuries. How to follow this amazing path of the genre, how to explain the reasons for the preservation of the plot and its characters? To do this, we propose to read and evaluate the fables of different authors, written at different times on the same plot. Before the students, Aesop's fable "The Raven and the Fox" (in prose), the fable of Jean de Lafontaine "The Raven and the Fox", the fable of Vasily Kirillovich Trediakovsky "The Raven and the Fox", the fables of Alexander Petrovich Sumarokov and Ivan Andreevich Krylov "The Crow and the Fox". This is only a part of the fables created by different authors in the literature of different countries and in different centuries on the popular story of the Crow and the Fox. How were they located in time?

Aesop - VI century BC.

J. de Lafontaine (1621-1695). XVII century.

V. K. Trediakovsky (1703-1768). XVIII century.

G. E. Lessing (1729–1781). XVIII century.

A. P. Sumarokov (1717–1777). XVIII century.

I. A. Krylov (1769–1844). XIX century.

As you can see, the journey turned out to be long - almost 25 centuries.

If we invite students to pay attention to these dates and ask how many centuries the journey of the Crow and the Fox lasted, then even such an elementary question will help the students to imagine the amazing vitality of both the plot and the genre. If fables with such a plot arose again and again over the centuries, it means that the plot remained alive, and the fable as a genre retained its strength.

Thus, we can affirm the general idea: if a work of a certain genre lives, then the characters and circumstances that gave rise to this plot are alive, and the reader or listener is satisfied with the form that this work takes.

How can this journey be organized in the classroom?

Option one . It is possible to pre-distribute among the students the reading of the fables proposed in the textbook-reader. In completing this preliminary task, the students will each read their own fable. Questions and tasks of the textbook will help to understand its content. By sharing their impressions, students will be able to collectively solve the question of why this story was alive and why it was embodied in a fable over the centuries.

Option two . The class organizes independent reading of fables by different authors. The task is one: to find similarities and differences in them. After some argument, everyone usually agrees that the plots are close and the characters and motives of their actions are similar. The result contains the answer to the question - why has this fable been preserved in everyday life for centuries?

Option three. Pupils get acquainted in detail only with Krylov's fable. All other fables are read by several students who previously received this assignment. After a detailed analysis of Krylov's fable, seventh-graders make messages, including lines from the read fables. The whole class, in the course of the conversation, decides on the reasons for the persistence of the described psychological situation, and also why this situation was embodied in the fable.

Option four. After discussing the question of the reasons why the fable of the Raven and the Fox is alive, questions are considered about the vitality, usefulness, and importance of the fable genre itself. In the process of this conversation, the fables of A. E. Izmailov “The Origin and Benefits of a Fable”, “The Goat-Fox” by D. I. Fonvizin, “Prometheus and the People” by Aesop, the Russian folk tale “Where the wind blows from” and even a funny parody can be used Kozma Prutkov "Shepherd, Milk and Reader". A special lesson can be devoted to the issue of a more detailed discussion of the specifics of the fable as a genre.

In the 19th century, the genre richness of literature increased, but even long-established genres retained their role in the art of the word. The class can be convinced of this by the example of another genre - ballads.

From Russian literature of the 19th century

Ivan Andreevich Krylov

5 o'clock

Lesson 14
Types and genres of literature. Fable, allegory, Aesopian language. The origins of the fable genre (Aesop, Lafontaine, Russian fabulists of the 18th century). I. A. Krylov: childhood, the beginning of literary activity

I. Checking homework
After a short articulatory warm-up, listen toexpressive reading Lomonosov's fables "Two Astronomers happened together at a feast ...",expressive reading Lomonosov's statements "Beauty, splendor, strength and wealth ..." and prepared statements-reasonings on a given topic.

II. Genera and genres of literature
Reading a theoretical textbook article(p. 53) , make notes in a notebook, for example:

Types of Literature

Genres

epic

Stories, novellas, novels

Lyrics

Poems, poems

Drama

Fairy tale play, drama

- What genres have we already studied? What type of literature do they belong to?

III. Fable, allegory, Aesopian language. The origins of the fable genre (Aesop, Lafontaine, Russian fabulists of the 18th century)
We activate the knowledge that children have by the 5th grade.
- What do you know about fables? What fables have you read?
As a rule, children already know what the moral of a fable is, they read the fables of I. A. Krylov "The Crow and the Fox", "The Pig under the Oak", "The Monkey and Glasses", "The Quartet", "The Man and the Bear" and some others. We invite those who have repeated the fables to read them by heart.
Fable - this is a short poetic or prose story of a moralizing nature, which has an allegorical, allegorical meaning.
Allegory - an allegorical image of an object, a phenomenon in order to visually show its main features.
Here are examples of allegory: a wolf is an evil person, a fox is a cunning person (students will continue this series).
What is the moral of the fable?
Moral of the fable - the initial or final lines of the fable with a moralizing conclusion.
teacher's word
The teacher will tell you that the fable is a very ancient literary genre. One of the most famous fabulists - Aesop - lived in ancient Greece in the VI century BC. He composed a lot of fables, which were later translated and processed by many fabulists. Aesop's fables were not poetic.
Prepared students read Aesop's fables .

AESOP
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 have become better than others king over birds, and he would, of course, if he also had a voice. The raven wanted to show her that he also had a voice: he released the meat and croaked in a loud voice. 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.” A fable is appropriate against a foolish person.

FOX AND GRAPES

The hungry fox saw a vine with hanging bunches and wanted to get to them, but could not; and, walking away, she said to herself: “They are still green!”
So it is with people, others cannot succeed due to the fact that there are no forces, but they blame circumstances for this.

OX AND AXIS

The oxen pulled the cart, and the axle creaked; they turned around and said to her: “Oh, you! We carry all the weight, and you moan?
So it is with some people: others work, and they pretend to be exhausted.

FOX AND DOGS

The fox stuck to the flock of sheep, grabbed one of the suckling lambs and pretended to caress him. "What are you doing?" - asked her dog. “I nurse him and play with him,” answered the fox. Then the dog said: "And if so, let the lamb go, otherwise I will caress you like a dog!"
The fable refers to a frivolous, stupid and thieving person.
Now we are talking about the language of fables, about the language of parables:Aesopian language . Briefly write from notebooks:
Aesop's language is the language of parables.
In the XVIII century. In France, the writer Jean de La Fontaine lived at the court of King Louis XIV. He realized that the fables that Aesop wrote 23 centuries ago continue to be important, relevant to people, and he also began to compose and rework fables. Lafontaine's fables are written in verse .

RAVEN AND FOX

Uncle Raven, sitting on a tree,
He held cheese in his beak.
Uncle fox, attracted by the scent,
I spoke to him like this:
"Good afternoon, noble raven!
What a look you have! what a beauty!
Right if your voice
As bright as your feathers -
Then you are the Phoenix of our oak forests!
Raven didn't think it was enough.
He wanted to shine with his voice,
He opened his beak and dropped the cheese.
The fox picked him up and said: “Sir,
Remember: every flatterer
It feeds on those who listen to it -
Here's a lesson for you, and a lesson is worth the cheese."
And the embarrassed raven swore (but too late!)
That he wouldn't need another lesson.

FOX AND GRAPES

The Gascon fox, or maybe the Norman fox
(They say different things)
Dying of hunger, suddenly saw over the gazebo
Grapes, so visibly ripe,
In ruddy skin!
Our friend would be glad to eat them,
Yes, I couldn't reach him.
And he said: "He is green -
Let them feast on every rabble!
Well, isn't that better than idly complaining?

SOCRATES SAID

Socrates once built a house
Everyone judged him in their own way:
To another the rooms seemed
Right, bad for such a master,
Another scolded the appearance, but that's all
It was said that the house is prohibitively small:
“Is this a house? There is nowhere to turn!” -
“Oh, if I had so many true friends,
to fill it up!" Socrates said.
And the wise man was right:
For such, his house was even too big.
Everyone calls himself a friend, but a fool who believes this:
To pass for a friend - nothing is easier
Being a friend is nothing less.

In Russia, writers of the 18th and 19th centuries also wrote fables. Write fables and poets of our time. But the most famous Russian fabulist was Ivan Andreevich Krylov.
IV. I. A. Krylov: childhood, the beginning of literary activity
We read a textbook article dedicated to the life and work of I. A. Krylov(p. 56-58) .
We emphasize that it was reading that helped Krylov become one of the most educated people of his time.
Homework
Prepare a story about I. A. Krylov(2nd task, p. 58) .
Leading homework
Take a collection of Krylov's fables from the library, read fables, prepare for the quiz (for lesson 18, see below).

Lesson 15
"Wolf in the kennel". Reflection of historical events in a fable. Patriotic position of the author

I. Checking homework
In this lesson, we will expressively read the fable. Therefore, we first conduct an articulation warm-up. Then we listen to the stories of students about the life and work of I. A. Krylov (according to the textbook article).
II. "Wolf in the kennel"
In a real situation of independent reading, the student, as a rule, reads the text of a work of art without preliminary comments, and only then is interested in the history of its creation.
We suggest that the teacher first read the fable “The Wolf in the Kennel”, conduct a conversation with the students to identifyprimary perception works, find out the depth of direct understanding of the fable, and only then conduct a conversation about its historical content.
In what situations can this fable serve as a lesson?
III. Reflection of historical events in a fable. Patriotic position of the author
The teacher can tell the story of the creation of the fable "The Wolf in the Kennel", he can invite students to read a short article of the textbook "Each Krylov's fable has its own story"(p. 58) . After that, you can read the fable again (one of the students will successfully do this) and think about how the lines of the fable resonate with the events of the war of 1812(1st question, p. 60) . The fable can be interpreted as follows.
The situation described in the fable by I. A. Krylov quite accurately reflects the events of the Patriotic War of 1812. The line: “A wolf at night, thinking to climb into a sheepfold, // Got into a kennel” - tells us that Napoleon easily conquered all the major states of Europe like a wolf easily grabs harmless sheep. He thought that conquering Russia would be just as easy. But he was mistaken: “In a minute, the kennel became hell ...” - writes Krylov. The whole people rose to fight the invaders, both the army and partisan detachments from the peasants fought with Napoleon's detachments. Phrase: "Fire! - shout, - fire! - can be understood as an allegory about a fire in Moscow. It was in burning Moscow that Napoleon felt driven into a corner and realized that his army was close to death, that he would have to answer for all the evil and misfortune brought by him.
From Moscow, Napoleon sent to St. Petersburg, which was then the capital of the Russian Empire, a letter to Emperor Alexander I asking for peace. "Friends! Why all this noise? / / I, your old matchmaker and godfather ... ”The commander-in-chief of the Russian army, Mikhail Illarionovich Kutuzov, an old, experienced commander, did not believe Napoleon's assurances. Krylov in the fable calls Kutuzov the Huntsman: “Here the Huntsman interrupted in response, - // You are gray, and I, buddy, are gray ...”
From Moscow, Napoleon decided to withdraw with the army to the south of Russia, but Kutuzov's troops forced him to retreat along the Smolensk road, which Napoleon destroyed during the offensive. Hounds are dogs that chase a running animal. “A pack of hounds” Krylov calls the army that pursued the retreating French, and partisan detachments of peasants who attacked enemy units when they least expected an attack.
- What features in the behavior of the Huntsman and the Wolf emphasized Krylov?
The wolf shows deceit, treachery, cunning and cowardice. Huntsman - experienced, wise, prudent, he knows the habits of the Wolf and does not believe his tricks.
- “No matter what a predator dresses up, he remains a predator. This is the popular perception of Napoleon Krylov conveyed with his fable. Do you agree with this statement?(3rd question, p. 61.)
The wolf is a predator, and even if he offers peace negotiations, he still remains a predator. The people understand and feel this well. Krylov in his fable conveys the popular perception of Napoleon as a predator who must be expelled from his native land.
IV. vocabulary work
Learning to expressively read a fable can begin when students understand the meaning of each of its expressions. Since the fable was written almost two hundred years ago, its language requires additional attention. In the textbook(p. 61) given questions and tasks for working on the language of the fable.
The expression "hit the kennel", in addition to the literal, has an additional meaning. Firstly, the word “hit” carries a hint of surprise, and a kennel is not a sheepfold, dogs can protect themselves.
“The yard has risen ...” means that the whole people began to fight with the Wolf. Feeling, understanding the insidious intentions of the invader, "the dogs burst into barns", that is, in the literal sense, they barked loudly, figuratively - after a long retreat from the border to Smolensk and further towards Moscow, the army wanted a battle: "and they are eager to fight ".
The direct meaning of the phrase “and in a moment the gates to lock” is supplemented by a figurative one: the Russian army, having made a maneuver and reached the Kaluga road, closed the escape route for Napoleon in the area where there were food supplies.
The wolf huddled in a corner, "bristle wool, / With his eyes, it seems he would like to eat everyone ...". The Russian people have a proverb: "The eye sees, but the tooth is dumb." Wolf-Napoleon wants to conquer all of Russia, but he cannot. His possibilities are less than his desires.
The wolf's turn comes to "comb for the sheep." After the liberation of Russia, the Russian army made a foreign campaign, freeing all the European countries that Napoleon had captured. Napoleon understood that if he did not conquer Russia, he would not be able to hold on to other conquered countries.
“I started negotiations” means “began negotiations”. "Started" - in this case, a synonym for the word "started." But "launched" sounds more expressive. "Let's establish a common mood" means "we will conclude a peace treaty." Wolf-Napoleon offers the Russian Tsar to become his ally and "squabble", that is, fight on the side of Russia.
"Do not make peace" means not to conclude a peace treaty. "Release a flock of hounds on the Wolf" - give the army a command to pursue the retreating French in order to drive them out of the country.
- What words of the fable sound like winged expressions, proverbs?
Some expressions from the fable have become proverbs or winged expressions: “I got into the kennel”, “instantly locked the gate”, “with his eyes, it seems like he would like to eat everyone”, “started negotiations”, “not to make peace”, “released on A flock of wolf hounds.
- Consider A. Laptev's illustration for this fable. Do you think it corresponds to the nature of Krylov's text?
- What illustrations for the fable would you like (could) draw?
v. Expressive reading fables
Schoolchildren learn to expressively read the fable "The Wolf in the Kennel". The teacher makes appropriate comments and achieves good reading, including reading by roles.
Homework
Prepareexpressive reading memorize the fable "Wolf in the kennel."
Individual task
Draw an illustration for the fable.

Lesson 16
"Pig under the Oak", "Crow and Fox". Ridicule of vices: greed, ignorance, ingratitude, cunning, stupidity

I. Checking homework
After the articulatory warm-up, we listen to the reading by heart of the fable "The Wolf in the Kennel".

II. "Pig under the Oak". Ridicule of ignorance and ingratitude
The teacher reads the fable "The Pig under the Oak". Perhaps she is already familiar to the students. Then it is important to make sure that the children see in the text what they did not understand before.
- Which one describes Krylov the Pig?
Krylov describes the Pig without sympathy. The pig is stupid, ignorant, narrow-minded, lazy, selfish. She thinks only of her own pleasure.
- Describe how you imagine the other characters in the fable.
What lines contain the moral of the fable? In what life situations can these lines be used?
The moral of this fable can be used when a negligent student does not want to study, scolds school and studies, but does not understand that he uses what has been done with the help of science.
In this fable, true enlightenment is opposed to ignorance. Ignorance is indicated by the position of the Pig, which does not want to understand where the acorns come from:

“Let it dry,” says the Pig, “
It doesn't bother me at all;
I see little use in it;
Even if you don’t be a century, I won’t regret it at all,
If only there were acorns: after all, I get fat from them.

The caring words of the Raven speak of true enlightenment:

“After all, it harms the tree, -
Raven says to her from Oak, -
If you expose the roots, it may dry up.

- Remember what an allegory is.
- What phenomenon of life allegorically describes the fable?
The fable "The Pig under the Oak" allegorically describes a situation in which the main character does not understand where the cause is and where the effect is. The pig does not understand that the acorns she eats grow on the Oak. Because of her ignorance, she begins to undermine the roots of the oak, that is, to destroy what gives her food. Such situations in life can happen very often. The proverb says about them: "Chop the branch on which you sit."
Let's consider and discuss with the students an illustration to the fable of G. Kupriyanov(p. 62 of the textbook) , ask:
- What would you depict if you yourself drew an illustration for this fable?
The answer to this question is very important: it helps to make a "storyboard" of the fable, to clearly understand which of the characters appears on the stage in a given situation. This work will prepareexpressive reading by roles.
So, a few illustrations could be drawn for this fable.
First: The pig under the Oak eats acorns.
Second: The pig sleeps under the Oak.
Third: The pig mindlessly undermines the roots of the Oak.
Fourth: Raven reproachfully addresses the Pig from the branch of the Oak.
Fifth: The Pig smugly replies to the Crow.
Sixth: The Oak itself indignantly addresses the Pig.
. Expressive reading and reading the roles of the fable "Pig under the Oak"
Before reading by roles, we will read the fable expressively several times, practicing the intonations of various replicas. The heroes of the fable utter short lines, but the children need to be explained that even in one line you can show the character of the hero if you find the exact intonation. After the preparatory work, we will ask three students to read the fable in roles. Let us focus on collective interaction: voices should be approximately the same in volume, each participant in the reading should enter in a timely manner, not earlier, but not later than necessary. If possible, we will try to achieve a harmonious sound of all three reciters.
III. "A Crow and a fox". Ridicule of vices: greed, cunning, stupidity
The teacher reads the fable for the first time.
This fable does not need detailed comments: children understand it and stage it with pleasure. So let's just ask a few questions:
Who are the main characters in the fable?
What lines contain the moral of the fable?
- How do you understand the wordflattery ? What is the fox's flattery?
- With what words does the author describe the state of the Crow, which hears flattering words?
- How does the author feel about the Crow and the Fox? How does he convey it?
- What qualities does the author condemn and ridicule?
- Remember Aesop's fable "The Raven and the Fox". (The teacher can read it again.) What is the difference between Aesop's fable and Krylov's fable? Which of the fables seems more expressive to you?
- How are the characters of the fable depicted in E. Rachev's illustration? What hint does such an image contain?

Expressive reading fable "The Crow and the Fox". Dramatization of a fable
We will devote the rest of the lesson to expressive reading of the fable: correct intonation, logical stress, pauses, speech tempo. Then we will think over the movements that the Fox and the Crow make. The work of searching for intonations and movements can even be reckless, different students can offer different interpretations of the lines. It is not necessary to invite girls to the role of the Fox - sometimes boys do an excellent job with it. Turning the classroom into a creative workshop is a worthy goal for this lesson.
Homework
Prepareexpressive reading by heart (staging, reading by roles) of one of the fables: “The Pig under the Oak” or “The Crow and the Fox”.
Individual task
Draw an illustration for one of the fables you read.

Lesson 17
Fable genre. Story and moral in a fable

Speech development lesson

I. Checking homework
After the articulatory warm-up, listenexpressive reading , reading by roles and dramatization of the studied fables. Reviewing and discussing student drawings.
II. Fable genre. Story and moral in a fable Independent creative work
So, let's repeat once again what a fable is and what elements it consists of.
Fable - a short story of a moralizing nature. Used in fablesallegory (allegory). There are usually few characters - two or three. The author talks about the event and summarizes, i.e. formulatesmorality .
We give students the task of writing a prose fable.
At the end of the lesson, if individual students managed to cope with the task, we listen to the fables written by schoolchildren. We ask you to write the most successful fables on a separate album sheet and illustrate. If the students did not have time to cope with the task, let's sum up the creative work in the next lesson - the lesson of extracurricular reading.
Homework
Read Krylov's fables.
Prepare for an extracurricular reading lesson (see Lesson 18 below).
The teacher will think over the lesson plan for extracurricular reading in accordance with the possibilities of the class and concretizehomework .

Lesson 18
Fables of I. A. Krylov

Extracurricular reading lesson

I. Expressive reading and dramatization of fables
Two or three initiative groups can prepare a reading by roles or staging of the fables of I. A. Krylov, for example, "Quartet", "Swan, Pike and Cancer", "Two Barrels". The speech may end with a brief analysis of the fable: highlighting the moral, the allegorical meaning of the fable, a brief description of the characters. The illustrations prepared by the students will enliven the lesson.
If the fables written by students were not read at the previous speech development lesson, then at the extracurricular reading lesson, those who wish can present their own fables.

II. Literature and fine arts
Consider the illustrations given in the textbook(p. 65-66) and answer the questions:
- What fables did the artist E. Rachev illustrate? What is the moral of each of these fables?
"Donkey and Nightingale". Moral: "God deliver us from such judges."
"The Wolf and the Lamb". Morality:

"The strong always blame the weak":
That's why in history we hear a lot of examples,
But we don't write stories
But about how they talk in fables.

"Swan, Pike and Cancer". Morality:

When there is no agreement among comrades,
Their business will not go well,
And nothing will come out of it, only flour.

The moral in the fable "The Quartet" is said by the Nightingale:

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

III. Quiz
Questions for a quiz can be prepared by a teacher or an initiative group of students. It is possible that each student will prepare and write two or three questions on separate pieces of paper.

Sample Quiz Questions 1) From what fables are the words?
a) "... So come on, dance!"
b) "...God deliver us from such judges."
c) "... I didn't even notice the elephant."
d) "... There is no beast stronger than a cat!"
2) From which fables is the moral?
a) It often happens to us
And work and wisdom to see there,
Where you can only guess
Just get down to business.
b) It’s good to say to speech here,
But without touching anyone's face,
What's the matter, without bringing the end,
No need to brag.
c) The world is full of such friendship.
It’s easy to talk about current friends without sinning,
That in friendship they are all almost the same:
Listen - it seems they have one soul, -
And just throw them a bone, so your dogs!
d) The ignorant judge exactly like this:
What they don’t understand, then everything is a trifle with them.
3) What fables are these heroes from?
a) Elephant, sheep, wolves.
b) Peasant, Tree, Snake.
c) A man, a geese, a passer-by.
d) Dog, Lion, Wolf, Fox.

Answers 1) a) "Dragonfly and Ant"; b) "Donkey and Nightingale"; c) "Curious"; d) Mouse and Rat.
2) a) "Cabin"; b) "Titmouse"; c) "Dog friendship"; d) "Rooster and Pearly Seed".
3) a) "Elephant in the province"; b) "Tree"; c) "Geese"; d) "Lion on the hunt."

Homework
Repeat the fable (for those who have not yet read the fable by heart).

Krylov Ivan Andreevich (1769-1844), Russian writer, fabulist, academician of the St. Petersburg Academy of Sciences (1841). He published satirical magazines "Mail of Spirits" (1789) and others. He wrote tragedies and comedies, opera librettos. In 1809-43 he created more than 200 fables imbued with a democratic spirit, distinguished by satirical poignancy, bright and accurate language. They denounced social and human vices. N.V. Gogol called Krylov's fables "... the book of the wisdom of the people themselves."

Father - Andrey Prokhorovich Krylov - an army officer who had risen from the ranks. During the Pugachev rebellion, he led the defense of the Yaitsky town (he owns the anonymously published note “Defense of the Yaik Fortress from the Rebel Party”, the journal “Domestic Notes”, No. 52-53, 1824). In the Yaik town, Krylov spent his early childhood, during the riot he was with his mother, Maria Alekseevna, in Orenburg. In 1775, Andrei Prokhorovich retired from military service and entered the chamber of the criminal court of the Tver viceroy. The family was constantly in need, besides, the father soon died (1778). Krylov, out of mercy, studied with the home teachers of the Lvov family, took French lessons from the tutor of the governor's children.

From adolescence, the future writer, helping a family that had lost its breadwinner, served in the Kalyazinsky Zemstvo Court, then in the Tver Magistrate. Krylov moved to Petersburg in 1782 with the Lvovs. Since 1783 he served in the Treasury Chamber in St. Petersburg, actively engaged in self-education. In addition to French, he learned to read and write German and Italian. He played the violin well, learned music theory, understood mathematics. At the Lvovs and, possibly, at the playwright Ya. B. Knyazhnin, Krylov met almost everyone, a rather narrow circle of writers and art connoisseurs of that time, including G. R. Derzhavin and his wife, who patronized Krylov.

No documents have been preserved from most of the events of Krylov's life, they are restored according to the memoirs of contemporaries, much can be said only presumably.

He began his literary career as a playwright (the comic opera The Coffee House, 1782, the tragedies Cleopatra, Philomena, the comedies The Mad Family, The Writer in the Hallway, etc., 1786-1788). Contrary to the overwhelming majority of the plays of that time, the last two were based on contemporary Russian material by the author. In the "Mad Family" violent love passions were ridiculed (an unsafe subject, given the well-known temperament of Catherine II), and in "The Writer in the Hallway" - a writer, humiliatedly groveling before the powers that be. Krylov became close to the leading actor of the Russian St. Petersburg troupe I. A. Dmitrievsky, playwright and actor P. A. Plavilshchikov. But in the late 1780s. Krylov composed the comedy "Pranksters", where, under the name of Rifmokrad, he ridiculed the playwright Ya. B. Knyazhnin and his wife, the daughter of A. P. Sumarokov. For this pamphlet, Krylov was excommunicated from the theater at the request of Knyaznin. In 1788, Krylov retired from the Mountain Expedition, leaving public service for many years.

He starts doing journalism. As a journalist and publisher, Krylov continued the traditions of N. I. Novikov, as a thinker, the traditions of the philosophers of the Enlightenment. Krylov established friendly relations with the publisher I. G. Rakhmaninov, in whose printing house the collected works of Voltaire were published, magazines in which Krylov began to collaborate. In 1789, Krylov began publishing the satirical magazine Spirit Mail in Rachmaninoff's printing house. In the journal, in the form of correspondence of gnomes, sylphs and other spirits, a broad satirical picture of Russian society in Catherine's time was given. The magazine was banned (last issue - March 1790), perhaps because of increased strictness due to the revolution of 1789 in France, and, perhaps, because of the persistent pedaling of the dangerous theme of the "old coquette". Together with Dmitrievsky, Plavilshchikov and the playwright A. I. Klushin, in 1791 Krylov founded a book publishing company, which, with the assistance of Rachmaninoff, published the Spectator magazine in 1792, and St. Petersburg Mercury in 1793. Here he also acted as a debunker of the damaged mores of society, but in a milder form, from satire he passes to moralizing. The company also opened its own bookshop. The magazine was banned due to general censorship strictness, and there is evidence that the empress herself spoke with Krylov.

In 1794, apparently because of the story with the magazine, Krylov moved to Moscow (and his friend Klushin went abroad). From the autumn of 1795 he was forbidden to live in the capitals (but there is only indirect evidence of this), his name disappears from the pages of the press. In 1797, Krylov became a personal secretary to General Prince S. F. Golitsyn. After the general's sudden disgrace, Krylov voluntarily followed his master into exile and until 1801 was a companion of the exiled family, giving Russian lessons to his younger children and their friends. From October 1801 to September 1803, Krylov was the governor of the office of Golitsyn, who was appointed governor-general of Livonia after the accession of Alexander I. The departure from literary activity for "external" reasons coincided with a deep internal fracture experienced by Krylov: from now on, he no longer believes in the possibility of remaking a person Literature, while maintaining devotion to the ideas of the Enlightenment, prefers practical peasant experience to bookish ideals.

In 1800, for the amateur theater of the Golitsyns, the "joke tragedy" "Podshchipa, or Trumph" was written - a parody of both the "high" tragedy of the Enlightenment and Karamzin's sentimentalism, which was beginning to come into fashion. The play satirically depicts the conflict between Western civilization (in the person of Trumpf) and Russian patriarchy, and the author ridicules and rejects both. "Podshchipa" was submitted by the author to censorship in 1807, but banned, however, without publication, becoming one of the most popular Russian plays, spreading in the lists. In 1800, Krylov began the verse comedy "Lazy" (not finished), in which he declares conscious non-participation in public life - the author's cherished position.

After Riga, Krylov moved to Moscow, and his new plays were staged here and in St. Petersburg (Pie, 1802; in 1807 - the comedy Fashion Store, Lesson for Daughters). The plays were a resounding success and remained in the repertoire until the middle of the 19th century. They are devoid of any didactics, although in the spirit of the times they ridicule the passion for everything foreign, excessive sentimentality.

The first publication of the Krylov fables (The Oak and the Cane, The Picky Bride) took place in 1805. These were translations from La Fontaine. In 1806 Krylov moved to St. Petersburg, where he participated in the production of his plays. A close relationship connected him for several years with the actress A. I. Belle. He became a regular at the salon of A. N. Olenin, served under him in 1808-10 in the Mint Department, from 1812, when Olenin became director of the Public Library, Krylov was appointed assistant librarian, from 1816 - librarian with an apartment at the library. An archaist in his literary views, a participant in the “Conversations of the Lovers of the Russian Word” A. S. Shishkov, a supporter of classicism and the heir to the fabulists of the 18th century. (A.I. Sumarokova and others), Krylov is at the same time the creator of the realistic fable, and - more broadly - together with Griboedov and Pushkin, stands at the origins of the literature of Russian realism.

In 1809, the first book of Krylov's fables was published. In total, he wrote about 200 fables (the last and most complete edition, a collection in 9 books, was released in December 1843, entered the book trade later, and part of the edition was distributed free of charge at the writer's funeral). Many works (for example, Dragonfly and Ant, Wolf and Lamb, etc.) go back to models borrowed from Aesop, Phaedrus, La Fontaine. However, the realistic persuasiveness of the images, the severity of the conflict between the requirements of morality and hypocrisy, self-interest, cruelty, cowardice, as well as the realism of the language, make us see in Krylov an original artist, a reformer of the fable genre. Krylov's fable is devoid of dry moralizing, the moral conclusion contained in it is an expression of common sense, embodied in the forms of a living colloquial language. Thanks to these qualities, many sayings from Krylov's fables entered the Russian language as sayings [“But the Casket just opened” (“Casket”), “You are to blame for the fact that I want to eat” (“The Wolf and the Lamb”), “Yes, only things are still there ”(“ Swan, Pike and Cancer ”) and many others. etc.]. The convergence of Krylov's works with lively speech was facilitated by his use of free Russian iambic (with the exception of the fable "Dragonfly and Ant" 1808, written in four-foot trochaic).

Many of Krylov's fables relate to the most significant events in the social and political life of Russia ("Quartet", 1811, "Swan, Pike and Cancer", 1816 - responses to malfunctions in the activities of the State Council; "The Cat and the Cook", "The Wolf in the Kennel", " Crow and Chicken "and others - on the events of the Patriotic War of 1812; "Dog Friendship", 1815 - on disagreements among members of the Holy Union, etc.).

The satirical pathos of Krylov's fables was noted by the Decembrist A. A. Bestuzhev (Marlinsky); V. Zhukovsky and A. S. Pushkin spoke about the natural originality and national character of Krylov's work, comparing him with La Fontaine; V. G. Belinsky mentioned the enrichment of the genre possibilities of Krylov’s fable (“... this is a story, a comedy, a humorous essay, an evil satire ...”, Poln. sobr. soch., 1955, p. 575).

V. A. Zhukovsky (1809) responded to the first collection of fables with an extensive article in the Vestnik Evropy. Highly appreciating the innovation of Krylov's language, Zhukovsky nevertheless reproached him for using "rough" turns of speech. However, for many contemporaries, from Pushkin to the Bulgarian, it was the "rough" language, combined with the "simple" view of things, that was evidence of Krylov's radical transformation of the principles of Russian poetics. Krylov's fables quickly gained wide popularity, already in 1824 a two-volume edition of his fables was published in Paris, translated into French and Italian. This was followed by translations into most European languages.

Krylov himself, the further, the more he was perceived by his contemporaries as a kind of literary character. The writer himself pointedly distanced himself from all social events, in society he deliberately emphasized his vices (laziness, gluttony, slovenliness, enthusiasm for cards). Already in the 1820s. he became the character of numerous jokes, however, always benevolent. Until old age, however, he continued to educate himself: he studied ancient Greek, took English lessons. He was appreciated and accepted in the most distant literary circles in their views. According to some reports, Pushkin was with Krylov shortly before the duel, he, according to contemporaries, was the last to say goodbye to the body of the great poet at the funeral.

The official recognition of Krylov by the court can only be compared with the recognition of Karamzin and Zhukovsky: in February 1812 he was granted a life pension, in 1820 he received the Order of St. Vladimir IV degree, in 1838 - Stanislav II degree, in 1830, in violation of the rules (Krylov did not have a university education and did not pass the exam), the writer was awarded the rank of state councilor. In 1838, Krylov's anniversary was solemnly celebrated by the authorities and the public - the 70th anniversary of his birth and the 50th anniversary of his literary activity. In 1841, Krylov left the service and settled with the family of his "adopted goddaughter" (most likely his own daughter).

Krylov became the first writer to whom a monument was erected in Russia by subscription: on May 12, 1855, a monument by P. K. Klodt “Grandfather Krylov” was erected in the Summer Garden in St. Petersburg.

The evolution of the fable genre in Russian literature of the late 18th - early 19th centuries.

The fable is one of the most widespread genres in all world literature, which has ancient and strong roots not only in the literatures of Western European peoples, but also in the East, in China, India, and Arab countries. Editors-compilers of the dictionary of literary termsJI. I. Timofeev and S. V. Turaev give the following definition of a fable: “A fable is a short story, most often a poetic one, in which there is an allegorical meaning. In an instructive fable plot, the characters are most often conditional fabled animals. (57, p.29).

The great French fabulist Jean Lafontaine called fables a lengthy, hundred-act comedy played out on the stage of the world. This definition successfully conveys the satirical nature of the fable, which it received from Lafontaine himself and from Krylov. V.A. Zhukovsky in his article “On the fable and fables of Krylov” wrote: “A fable is morality in action; in it, the general concepts of morality, drawn from common life, are applied to a particular case and, by means of this application, become more tangible. The world that we find in a fable is, in a certain way, a pure mirror in whichthe human world." (24, vol. 4, p. 402). Gogol called the fable "the book of the wisdom of the people themselves." (11, p. 392). But, before becoming a "hundred-act comedy", "a pure mirror in which the human world is reflected" and "a book of the wisdom of the people itself", the fable has come a long way.

The popular, democratic beginning of the fable was the reason for its wide popularity among all peoples. The fable grew up on the basis of folklore, having strong roots in fairy tales, proverbs and sayings - these inimitable formulas of folk wisdom. The fable was born and began to develop from primitive myths about animals, as a work of folk fantasy. The fable became a fact of literature only when it was written down. The ancient Greek fables of Aesop were of particular importance in the development of the world fable. They were created in ancient Greece inVI – Vcenturies BC. Retold in verse at the beginning of a new era by the Roman poet Phaedrus, they spread throughout Europe. In Russia, Aesop's fables were translated back in the Petrine era, and then, starting from the middleXVIIIcentury, became one of the most popular books.

Collection of ancient Indian fables - "Panchatantra" (III – IVcentury), in an Arabic retelling called "Kalila and Dimna", widely spread throughout the countries of the East, and in Russian translation inXVcentury became known in Russia ("Stephanit and Ikhnilat"). These are independent short stories, the heroes of which, in the course of action, tell fables that usually illustrate this or that teaching.

Ancient Greek and ancient Indian fables scattered all over the world; they were the richest fund from which subsequent fabulists drew their plots, applying these plots to the present in their own way, rethinking them. In the ancient fable, however, only an allegorical depiction of the plot is given, there is no disclosure of characters.

“The ancient fable was a parable, a moralizing allegorical story, an example illustrating moral truth. This determined the conventionality of her images, the didactic straightforwardness of her morality. Moral truth, moralizing determined its artistic structure, gave the key to its allegorical images. Therefore, the characters of the ancient fable were mostly conditional personifications, devoid of an individual character, ”wrote M. L. Gasparov (16, p. 46).

A special place in the world fable tradition is occupied by the fables of Lessing, who returned to the ancient brevity and simplicity of the story, turning the fable into a philosophical allegory.

Before Krylov, this genre reached its peak in the work of the great French fabulist Lafontaine, who gave the conditionally allegorical ancient fable tradition a vital national character, filled the fable with subtle and sharp humor. By definition, V.I. Korovin “The fable belongs to the so-called animal epic, in which the characters were animals, and not gods and people. The general in the fable is embodied in a particular case, and human relations are translated into pictures from the life of animals. This translation is necessary in order to look at human life from a distance.” (35, p. 341). According to Phaedrus, the fable is a genre that served to enable the oppressed to speak about their situation and express their opinions (49, p. 21). In his definition of the fable, A. Potebnya noted that: “The generalization of a particular case can go without interference to the highest levels. A fable apart from application in this respect is like a point through which an infinite number of lines can be drawn. Only the application of a fable to a particular case determines which of its features must be preserved in a generalization if this generalization is to retain its connection with the fable itself. This again indicates that first the fable and its application, and then the generalization and moralizing” (45, p. 118). Hegel in his "Lectures on Aesthetics", defining the fable genre, noted the need for a close connection of the fable with reality, with life, for its ideological and artistic usefulness: "... Aesop's fable," Hegel wrote, "is an image of some state inanimate and animate nature or a case from the animal world, which are not invented arbitrarily, but are told according to what happened in reality, according to correct observations, and, moreover, are toldSo, that from them one can draw a general lesson regarding human existence, or, more precisely, the practical side of this existence, regarding the prudence and morality of actions.First the requirement that we make of a fable must, therefore, be that the particular case which is to give us the so-called moral should be not onlyfictional but mainly in that it was not fictionaldisgusting the form and nature of the actual existence of phenomena in nature. And then this requirement is that,Secondly, the story must tell the incident not in a general way, but in the way that this case is in external reality the type of all such incidents, it must tell it in its specific details and looks like some real event” (18, p. 86).

The history of the Russian fable clearly testifies to its national identity. The Russian fable absorbed the experience and achievements of the ancient and European fable and at the same time was a new and original phenomenon, entirely grown on national soil.

The fable in Russia was created on the basis of folk art, which enriched the ancient genre tradition with its wisdom, its poetic and linguistic colors. In Russian literature of the 18th and early 19th centuries, the fable was a satirical genre, especially fully reflecting reality. Russian literature in the 18th century became more and more a conductor of new ideas, more and more fully aware of its social purpose. This largely explains the fact that, along with the "high" genres of classicism in the literature of the 18th century, satirical genres, in particular the fable, occupied such a large and important place. Belinsky spoke about this satirical trend in Russian literature, emphasizing that "... since the time of Kantemir, the satirical trend has become a living stream of all Russian literature" (8, vol. 14, p. 86).

Start Russian fable associated with names cantemira, Lomonosov and Trediakovsky.This is a period of searches, attempts to master variousgenres, which for the first timewidely included in Russian literature.FirstAntioch was a Russian fabulistCantemir.Although the fable does not occupy a significant place in his work, butshe isalready perceived assatirical genre. At Cantemira fable for the first timeperforms in Russia as a poetgenre,since before that only prosaic retellings of Aesop's fables were known.Followingfor Kantemir, Lomonosov, Trediakovsky, Sumarokov turned to the fable,AT.Maykov, Khemnitzer and many other writers. In the system of genre hierarchy of classicism, when allliteraturewas subject to the "rules" of rhetoric, the fable was considered a "low" kind. Butthis is whatand made the fable genre the most vital, democratized it, brought the language of the fable closer to colloquial vernacular, folklore.

Lomonosov, although he rearranged Lafontaine and introduced details into the fables, nevertheless followed Aesop'straditions. fables Lomonosov deprived comedy and emphaticallyserious. He preferred calm storytelling. Lomonosov's fable is devoid of author's intonation, dramatization of the story. "Lomonosov in fables -enemy and high style,and rudely colloquial" - rightly noted V.I. Korovin (35, p. 349).

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

Warehouse of fables should be playful, but noble,

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

As de Lafontaine reasonably showed

And glorious in the light became a fable verse,

Filling from head to toe all the parables with a joke ... (35, p. 349).

Sumarokov rises in fables against the ignorance and moral licentiousness of the nobility, against the arbitrariness of nobles and officials. Sumarokov declared himself a supporter of La Fontaine. For him, the main thing in the fable was a satirical joke, and not moralizing. He abundantly introduces coarse vernacular into the fable. In his fables, the stupidity of the characters is exaggerated and brought to the point of grotesque comedy.H. JI. Stepanov reasonably wrote: “For Sumarokov, the fable was a “low” comic-burlesque genre, where the author allows himself to talk about rude things with disdainful superiority, and draws the plots themselves from the common people, peasant life” (55, p. 25). Sumarokov also has the merit of creating a special multi-footed verse, which was used in the future by many Russian fabulists up to Krylov.

A new stage in the development of the Russian fable of the 18th century is associated with the name of I.I. Khemnitser. His fable loses the features of comedy, and moralizing only exposes the sad moral results of reflections. “Khemnitzer is an ironic skeptic who conveys the universal triumph of stupidity and vice” (35, p. 351). The language of Chemnitzer's fables is a simple, colloquial style that differs from both vernacular and book stiffness.

At the beginning of the 19th century, the followers of Karamzin, the sentimentalists, entered the literary arena. They rejected the cult of reason, carried a new understanding of reality, affirmed, first of all, the value of feeling, the emotional beginning, as opposed to the logically harmonious, static "norms" of classicism. The struggle for these principles is reflected in the fable. By the time Krylov first spoke with his fables, the main antagonist authors in the fable genre were D.I. Khvostov and I.I. Dmitriev. Tails in his fables referred to the authority of Aesop. He believed that in the modern fable, the story replaced morality, while the allegory spread to other genres, which led to the decline of the fable. According to him

In my opinion, a fable should have a serious moral purpose and not deviate from it, so a fable needs a logical clarity of composition, and fable characters should personify strictly defined properties of people. The strength of the fable was that the same qualities were clearly and clearly assigned to the animals. Tails in his fables pursued one goal: "to shame vice and exalt virtue" (35, p. 353). The meaning of Khvostov's theoretical reasoning and fable practice is to return to the traditions of Aesop and Sumarokov. However, his mediocre fables, full of aesthetic bad taste, replete with absurdities and mistakes, making him the target of endless parodies, discredited both Khvostov's "theory" and "practice".

I.I. Dmitriev chose a different way of transforming the fable. His fables, devoid of a satirical orientation, turned into lyrical poems. He creates the image of a narrator - a pleasant conversationalist, secular, sentimental and philosophically minded person, very sweet and humane. In order for moralizing to appear in a mild form, Dmitriev, most often, wraps it in lyrics or dissolves it in a story. The life of fable characters is rather far away for him, and he does not want to plunge into it, to get closer to the heroes.

P. Vyazemsky went the other way. His fables ridicule the spiritual limitations and insignificance of the servile bureaucracy. His fables almost turn into biting, witty epigrams.

Already after the release of the first fables of Krylov, A.E. turned to this genre. Izmailov. His first book of fables was published in 1814. He created a household version of the fable. They contain "natural" everyday scenes showing drunken merchants, provincial quarters. Worldly wisdom did not interest Izmailov. The fable plot is needed only to remind the general situation, in which incidents or incidents from modern life easily fit. Izmailov dissolved the fable in comedic details, and its satirical focus became shallow and narrow.

So by the time the fables of Krylov appeared, the main directions in the development of the fable were completed. As early as 1831, during the heyday of Krylov’s activities, the Teleskop magazine wrote that “after Dmitriev and Krylov, the fable has become a reserved treasure of our poetry, which is dangerous to touch with unreliable mediocrity” (55,p25).

Indeed, numerous imitators of Krylov - M. Maykov, A. Mazdorf, A. Zilov, K. Masalsky and others, did not leave any noticeable trace in the history of the fable.

From Aesop to Krylov, the fable has always responded to the demands and events of its time, mercilessly smacked inertia, bureaucracy, and philistinism. According to Belinsky: “The fable, like satire, has been and will always be a wonderful kind of poetry, as long as people with talent and intelligence will appear in this field” (8, vol. 12, p. 576).

Thus the fable owes its appearance to folklore; having strong roots in fairy tales, in proverbs, in sayings. The fable has come a long way from the legendary Aesop to the Russian fable of Krylov. Thanks to Krylov, the fable passed from a low genre into the realm of true poetry. The fabulist touched with his pen all aspects of life, penetrated into its very depths, he recreated the picture of the Russian national world, revealed the most colorful national types, enriched the Russian literary language, opened new horizons of development for literature.