Our country is currently experiencing terrible crisis. There is a decline in morality in the country. Sometimes it happens that the truth is on the side of those who have power and money; there are still people-"animals". Children are the first to suffer from this.

World material items, reflected in the mind of the child, gives rise to a certain attitude towards them, creates a need for them, criteria for their evaluation. This leads to its objective inclusion in social life apart from their desires and aspirations. Seemingly, this feature human existence does not give grounds to talk about the possibility of the formation spiritual world according to the given model. However, people in the process of creating wealth objectify their goals and will in them, enter into relationships with other people, i.e. act in accordance with established norms social communication. Accounting for this is one of important conditions development of the concept of personality formation, its spiritual world.

The problem of morality in the works of famous teachers of the past

Great value moral education in the development and formation of personality has been recognized in pedagogy since ancient times. Many eminent educators of the past noted that the preparation benevolent person cannot be reduced only to his education and mental development, and moral formation was put forward in the foreground in education. In his treatise “Instruction of Morals”, the Czech teacher J. A. Comenius quoted the ancient Roman philosopher Seneca, who wrote: “Learn first good morals, and then wisdom. For without the former it is difficult to learn the latter.” There he cited the well-known proverb“He who succeeds in the sciences, but lags behind in good morals, lags behind more than he succeeds.”

Pestalozzi, an outstanding Swiss pedagogue and democrat, assigned an important role to moral education. He considered moral education main task child education. In his opinion, only it forms a virtuous character, steadfastness in life's adversities and sympathetic attitude to people.

However, among the classic teachers of the past, K. D. Ushinsky most fully and vividly characterized the transforming role of moral education in the development of the personality. He wrote: “Of course, the education of the mind and the enrichment of its knowledge will bring many benefits, but alas, I do not believe that botanical or zoological knowledge could make Gogol’s mayor honest man, and I am completely convinced that if Pavel Ivanovich Chichikov was initiated into all the secrets organic chemistry or political economy, he will remain the same highly harmful to society rogue.

There is no mind alone and knowledge alone is not enough to root in us that moral sense, that social cement, which sometimes, in accordance with reason, and often in contradiction with it, binds people into an honest, friendly society ”(Ushinsky K.D. On the moral element in education).

On the huge role moral education in the process of learning and personality formation was pointed out by V. G. Belinsky. He noted that education and the knowledge and skills acquired by a person will bring more or less benefit, depending on what kind of morality he learns.

The child is in a state of quiet, hidden from prying eyes mental work– work of growth and development. Under rain, hail, just as under the scorching rays of the sun, a young tree does not grow well. So the child is harmful to the normal development of constant emotional shaking, including dressing down and immoderate praise.

Moral education begins with exercises in moral deeds, with manifestations of feelings of love, gratitude, and not by teaching moral truths. Talk about duty, teachings if they precede moral deeds, - as shadows that appear at sunset before real things, Pestalozzi argued.

Krylov's intransigence to shortcomings human life

With their fables, both Krylov and Yakut poets warn us against everything unkind, unhealthy.

Krylov managed to give a fable lofty sense and satirical poignancy, relevance and ambiguity. He knew how to create a whole picture or characterize his hero with just a few words.

Krylov's fables are the basis of morality, the moral code on which generations grew up Russian people. That tuning fork of good and evil that every Russian carries with him.

The unpretentious fables of Krylov largely replaced moral institutions and institutions in Russia.

Purpose of the study:

- comparison and characterization of allegorical animal characters of Krylov's fables and Yakut poets R. Bagataisky and Kun Dyiribine;

- compiling a file of characters;

- identification of positive and negative characters fables

Hypothesis: revealing the individuality of each character in fables.

Research objectives:

– Disclosure of the essence of the allegorical characters of fables;

- Compilation of a comparative classification table of characters in fables;

– Disclosure of moral and ethical themes of fables;

- Comparative analysis of the fables of Krylov and Yakut writers.

Subject of research: allegorical characters of fables.

Object of study: fables by I. A. Krylov, Rafael Bagataisky, Kun Diiribine.

The novelty of the work lies in comparative analysis allegorical characters in the fables of Russian and Yakut writers of the 19th and 20th centuries.

Practical significance: can be used in the lessons of Russian and Yakut literature as additional material.

The relevance of the topic is dictated by the realities of our life, because the 21st century, the century of intensive development of science and technology, highlights the problem of developing morality among the younger generation, when young people find themselves in a situation of extreme instability public consciousness, confusion and uncertainty tomorrow when there are no acceptable ideals in the past, but new guidelines for future development have not yet been found. And it is at this time that I recommend reading the fables of Russian and Yakut writers again and again, where in an allegorical form the writers warn people against the fall of morality.

The people of Krylov's fables

In my work, I will mainly rely on the fables of I. A. Krylov, because in our libraries there were no complete collections fables by R. Bagataisky and Kun Dyiribine, although, according to my information, they created more than 20 fables.

The unheard-of success of Krylov's fables is explained by the fact that he breathed into this genre philosophical, historical, social and moral content. In fables, the poet presented the whole of Russian life in its most significant contradictions and evaluated it from the point of view of folk morality. He clarified national moral norms forged in experience labor history people, and thereby contributed to the self-consciousness of the nation.

Krylov was interested in a person not in his individual psychology but in his public and social connections and relations.

Krylov borrows his images from folklore. Thanks to this writer, detailed characteristics of the heroes are not needed - stereotypes have already developed over the centuries. By this he achieves conciseness and accuracy of characteristics, an unmistakable hit in the truth.

Having generalized folk moral norms and moral ideas, Krylov returned them to the people's environment, which accepted them as their own. Thanks to this, a wide stream of people poured into the fable, colloquial. Each character spoke in a language corresponding to his position, psychology, character.

More than 230 years have passed since the birth of Krylov. And the themes of his fables are relevant today. We read and will read them. Because his fables help us to know life, teach us to love our fatherland, help us fight shortcomings.

It is enough for a fable that it is, in essence, an allegory. The first metaphor in human mind. When a person thought about how to behave in the world around him, he illustrated his opinion with an example. A generalized example is a fable. Only the infantile idea of ​​anthropomorphism came to the rescue: this is how talking foxes, lions, and eagles appeared. Zoological heroes of fables not only personify vices and virtues. Krylov's "Zoo", all these wolves, lions, hares, lead their normal, not conditional life. So, his predators are individual, piece. And the victims are all the same.

AT terminological dictionary it is said that a fable is " short story, most of all in verse or prose, which contains a different, hidden allegorical meaning. The purpose of the fable is to ridicule human vices, shortcomings public life. In the allegorical plot of a fable, the characters are most often conditional fabled animals. There is a moralizing conclusion in the fable at the beginning or at the end, the main idea fables are moral.

First fables

We first find the fable in ancient monuments writings of Egypt, India, Ancient Greece. For six centuries BC, a prose collection of fables by the ancient Greek fabulist Aesop was created. This collection went around the world. In the 17th century, the outstanding French fabulist Lafontaine brilliantly developed the fable as a genre.

On Russian soil, we meet the fable in the most ancient monuments of writing, starting with the annals. "Aesop's parable" - the first non-church printed book(under Peter I in 1700) Further, in the XYIII century, the life of the fable was continued by A. Kantemir, A. Sumarokov, M. Lomonosov, V. Trediakovsky and many others. She became at that time the most common, not yielding even to the ode. But the fables of Ivan Krylov are distinguished by the greatest skill. Later, Dmitriev continued the traditions of the fabulists. It is he who, having read the translations of Krylov's fables in 1806, will say: "This is your family, you found it."

In the twentieth century, the fables of D. Bedny, S. V. Mikhalkov earned fame.

Evaluation of Krylov's work by V. G. Belinsky and A. S. Pushkin

It is noteworthy that both Krylov himself and his contemporaries believed that he was growing just from moralistics to high poetry, and did not appreciate the utilitarian utility of fables. “Many in Krylov want to see a fabulist without fail, we see something more in him,” wrote V. G. Belinsky. A. S. Pushkin also highly appreciated, calling Krylov “The most folk poet who surpassed all fabulists." Krylov's merit in achieving common truths.

Comparison of characters in fables

I have read all nine volumes of Krylov's book, which includes almost all 200 of his fables; read the fables of R. Bagataysky and Kґn Dyiribine, compiled a card index and a table of fables.

Based on the comparison of fables, the rating of characters is as follows: in 24 Krylov's fables there is a Fox, in 22 - a Wolf. At 19 - Leo, at 18 - Dog, at 9 - Snake, at 4 - Cat, Mouse - in 9 fables, and Donkey - in 13. They personify certain qualities: Wolf - cruelty, greed, rudeness. Fox - cunning, hypocrisy. Donkey - stupidity, ignorance. And they designate these animals: departments of laws, military affairs, civil and spiritual affairs, state economy.

Almost the same animals are found in the fables of the Yakut poets: crows, chickens, frogs, mice, cuckoo, lynx, hare, rats, bear and many others. In 3 fables there are a crow and a hare, in 2 - a mouse and a bear. Where the Crow personifies boasting (“Saryp-irip kіppґt, sakhsaibyt tґґleeh, Khaa±yr±aan saІarbyt khara Turakh”; “DiI kya±a kyraky da buollar Turaakh uluutuk sananar”); Hare-cowardice (“Kultugur kuturuk Kutta±as kuobah”; “By yiy atahtaah Byyra kuobah”); Bear-power (“Sґґrer atakhtaah Sґdґ balygynan Tyytylba tyІyrakh Tyataa±y oburgu”)

In both Krylov and Yakut writers, the characters of fables personify the vices that are inherent in their contemporaries. Cruelty, hypocrisy, ignorance - these are the vices that our contemporaries are defeated in the 21st century. And which we should eradicate for good.

That. we can conclude that in the fables of both Krylov and the Yakut poets, the moral fall of man, which we need to avoid, is ridiculed.

Moral of Krylov's fables

For example, in Krylov's fable "The Monkey and Glasses" ignorance is castigated. The proverb echoes: "The smart one humbles himself, the fool puffs up."

Boasting and lying is not good, Krylov teaches in a fable about a tit, which threatened to set fire to the sea.

In the fable "The Cuckoo and the Rooster" a whole performance is played out in which we are talking as if about musical ability, but in fact the author caustically ridicules those who flatter in pursuit of their own goals. Ignorance is ridiculed. The cuckoo is a gray nondescript bird. The rooster calls her a beauty. The monotonous "ku-ku" compares with the songs of the nightingale. The cuckoo cock calls “my dear cockerel”, “my kumanek”. She claims that he sings “better than a bird of paradise,” although the bird of paradise is distinguished by beautiful plumage, but not singing.

In our life, there are still such “roosters” and “cuckoos”. To succeed in life, some flatter, flatter. With his fable, Krylov warns us against such people.

"Wolf and Lamb". Wolf - angry, rude, arrogant, hypocritical. He behaves this way because he feels power in front of the defenseless Lamb. He knows in advance that the Lamb is not to blame for anything. The lamb objects to the Wolf, and he is getting more and more angry, trying to find a reason to eat him. Lamb - frightened, timid. But by the end of the fable, he is trying to prove his case to the Wolf. At first, he naively believes that the Wolf can prove something. Then he realized that he was wasting his words. The truth is on the side of the Lamb, but he is defenseless. The Wolf has no truth, but he is strong. “The Wolf and the Lamb” is the bitter truth about unfair practices tsarist Russia where rich people dealt with defenseless, disenfranchised people with impunity.

This fable is in tune with our times. Now our country is going through a terrible crisis. And sometimes it happens that the truth is on the side of those who have power and money.

The fable "The Wolf in the Kennel" was written on the events of 1812, when Napoleon entered Moscow and began to look for ways to conclude peace with Russia. But the Russians refused: there could be no talk of any treaty as long as the enemy remained on Russian soil.

Prospects for further work

In the future, I think to work in more depth on the text of the fables, because in the process of studying this work, a number of other topics arose: in 2007, 195 years Patriotic war 1812, and I. A. Krylov has many fables dedicated to this particular historical theme; then in the language of fables there are many phraseological turns that interest me, a number of expressions from fables have become winged, and this also represents huge interest. You can trace the connection of some fables with folk proverbs As can be seen, there are many topics for further research work.

Conclusion

In conclusion, I will say again that more than 200 years have passed since the fables of I. A. Krylov fell in love with the Russian heart. Today, Krylov's fame has gone far beyond national boundaries. Krylov sounds not only in Russian, but also in almost all languages ​​of the world. Krylov had great followers in world fable literature. These are L. N. Tolstoy, A. Tolstoy, D. Poor, S. Mikhalkov.

Krylov was irreconcilable to the shortcomings of human life. The fable helped him to ridicule stinginess, deceit, hypocrisy and boasting. Fables teach us humanity, intransigence to shortcomings.

Children's consciousness willingly assimilated and carried through life moral standards, smoothly laid out in rhyme with the help of interesting chanterelles and cockerels. Circumstances were imposed on this Russian history. And most importantly, the moral norms learned in childhood are assimilated more reliably and more durable, play important role in the formation value orientations younger generation.

Educational institution: Municipal Autonomous General Educational Institution Secondary comprehensive school No. 30 im. Fedor Efimovich Fedorov of the city of Tyumen

Thing: literature

Subject: Ivan Andreevich Krylov and the heroes of his fables

Class: 5th grade

Educational and methodological support:

1) Program "Literature" grades 5-11. Ed. Kurdyumova T.F. M.: Bustard, 2013

2) Literature. 5 cells At 2 h. Part 1: textbook-reader for educational institutions/ aut.-stat. T.F. Kurdyumov. M.: Bustard, 2013

Lesson implementation time: 40 minutes

The purpose of the lesson: generalize knowledge on the topic “Fable as a genre. Fables of I.A. Krylov»

Lesson objectives:

Educational:

check the knowledge of the facts of the biography of I.A. Krylova,

check students' knowledge of the fable as a genre of literature,

check the knowledge of the texts of the studied fables by I.A. Krylov, the ability to find the moral of a fable, the skills of expressive reading of fables.

Developing:

speech development and creative thinking students;

formation communicative competence(formation of the ability to interact in collective activity development of such skills of students as expressive reading and the ability to build their own oral statement).

Educational:

fostering a culture of working in a group;

fostering interest in classical literature.

Lesson type: lesson of repetition and generalization of knowledge.

Lesson form: game lesson.

Equipment: computer, multiprojector.

Preliminary preparation: hshadow of fables I.A. Krylov, including those not provided for by the program; acquaintance with individual moments of the life of the fabulist; competition of drawings - illustrations for Krylov's fables.

Fables suggested for reading:

"Crow and Fox", "Wolf and Lamb", "Swan, Pike and Cancer", "Lion and Fox", "Fox and Grapes", "Elephant and Pug", "Cat and Cook", "Dragonfly and Ant", "Quartet", "Passers-by and dogs", "Peasant and horse", "Flowers", "Pig under an oak", "Peasant in trouble", "Cuckoo and rooster", "Cabin", "Geese", "Convoy", "Section", "Pike and Cat", "Siskin and Hedgehog", "Sheets and Roots", "Parnassus", "Fish Dance", "Wolf in the Kennel", "Crow and Chicken", "Curious", "Donkey" , "Nightingale", "Troezhenets", "Titmouse", "Wolves and Sheep", "Cornflower", "Pike", "Demyanova's Ear", " Trishkin caftan”,“ Two dogs ”,“ Oak and cane ”,“ Picky bride ”.

Lesson plan:

Lesson stages

Temporary implementation

1. introduction teachers.

2. Literary game.

3. Summing up.

4. Introduction to the exhibition.

5. Homework.

6. Final word teachers.

2 minutes

25 min

3 min

7 min

2 minutes

1 min

During the classes:

Introductory word of the teacher, which states the purpose of the lesson, the form of work, the rules of the game, and also adopts the rules for working in groups during the game.

Game-checking the level of development educational material on the topic “Fable as a genre. Fables I.A. Krylov. The game is played using a Power Point presentation.

To play the game, the class is divided into teams. Most best option- three teams (in rows). The game starts from slide number 2. This is a playing field (like the game "Own game", consisting of 7 headings, 4 questions each (28 tasks in total).

Our lesson was creative, which means homework will be unusual. Do you know what "burime" is?
This is the genus literary game, which consists in writing a poem, usually a comic one, to given rhymes.
I have selected for you rhymes from Krylov's fables. You need to write poems for them.
1. ….................. nightingale
…………………… she has
……………………. cat
…………………… a little.

2…………………….. sister
…………………….. craftswoman
…………………….. head
……………………. the words.

3…………………….. day
…………………….. shadow
……………………. whispered
…………………… interpreted.
You, of course, recognized the fables "The Cat and the Nightingale",
"A Crow and a fox",
"Leaves and Roots".

Final word from the teacher.
And I would also like to end our lesson with the words of M. Isakovsky:
“I knew everything and saw the inquisitive mind of the singer,
Just wanting one thing the most,
To live a free and happy life,
His people and his homeland!

Tasks of the literary game

How, with light hand P. Vyazemsky, was I. Krylov called by his contemporaries? (Hello with your children,
Hello, grandfather Krylov)

I.A. Krylov was a good artist and musician. In St. Petersburg, he performed in quartets with famous virtuosos. What instrument did he play? (On the violin)

How did little Krylov manage to avoid death during Pugachev uprising? (Mother secretly took Krylov out in a clay pot (since his father led the defense of the Yaik fortress, and Pugachev swore to hang him and his family).

How many fables did I.A. Krylov for his entire life? (205)

A poorly educated person “scolds science and learning”, but at the same time brazenly uses the “fruits”, ready-made food for his own pleasure. ("The Pig Under the Oak")

“When there is no agreement among the comrades, their business will not go smoothly”: each pulls in his own direction, but the cart remains on same place. ("Swan, cancer and pike")

This is the same case whenpermutationsterms, the result does not change. Yes, and every business needs to learn! ("Quartet")

He who expects unjustified praise will inevitably meet on his way someone who will take advantage of this in his own interests. ("A Crow and a fox")

Dove, how good!
Well, what a neck, what eyes! (Crow - Fox)

You are to blame for the fact that I want to eat ... (Wolf - Lamb)

Gossip, this is strange to me:
Did you work in the summer? .. (Ant - Dragonfly)

What an ear! Yes, how fat
As if she was covered with amber.
Have fun, little friend!
Here is a bream, offal, here is a piece of sterlet!
Even a spoonful!.. (Demyan - neighbor)

"Cabin"

"Cat and Cook"

"Elephant and Pug"

"Cuckoo and Rooster"

And you, friends, no matter how you sit down ... (everything is not good for musicians).

The cuckoo praises the rooster ... (... because he praises the cuckoo).

Did you all sing? This is the case… (…so go and dance).

Glasses ("Monkey and Glasses").

Grape ("The Fox and the Grapes").

Mirror ("Mirror and Monkey").

Cheese ("Crowand fox»).

Allegory is ... (allegory, image of some quality, concept through an image).

Morality is ... (instruction, moralizing conclusion, moral instruction)

Vice is ... (moral, spiritual flaw, negative moral quality person).

Shmakov Mikhail

Creative work in literature.

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Slides captions:

Heroes of fables by I. A. K Rylova Prepared by a student of grade 5B Shmakov Mikhail

“... The cheat approaches the tree on tiptoe; He wags his tail, does not take his eyes off Crow And says so sweetly, breathing a little: "Darling, how pretty! .."

“... He twirls his glasses this way and that: He will press them to the crown, then he will string them on his tail, Then he will sniff them, then he will lick them; Glasses don't work...

“... The jumping Dragonfly Leto sang red; I didn’t have time to look back, As winter rolls into my eyes ... "

“... You can listen without boredom; It's a pity that You are unfamiliar with our rooster; If only you had sharpened yourself more, If you had learned a little from him "..."

Monument to I. A. Krylov "Quartet" "Wolf and Lamb" "Elephant and Pug"

My illustration for the Quartet fable in 4th grade

Preview:

Heroes of fables I.A. Krylov.

slide 1

I believe that I.A. Krylov is the best fabulist. He wrote 236 fables, which were even translated into different languages.

slide 2

The images of animals by Krylov convey the many-sided human character. For example, the image of the Fox is made up not only of cunning, but also of flattery and even deceit at the same time.

slide 3

The monkey is an ignoramus, and with her ignorance she only makes the reader laugh. The fable "The Monkey and Glasses" is very instructive, and makes fun of all the ignoramuses of human society.

slide 4

In the face of a dragonfly and an ant are reflected human vices and positive traits. Dragonfly is windy and frivolous. Among the people, such people are indeed often called "dragonfly". The ant personifies the image of a worker.

slide 5

The donkey, self-confident and ignorant, undertakes to judge the Nightingale. His image symbolizes human stupidity.

slide 6

People loved the fables so much that they even erected monuments to their author and heroes at the Patriarch's Ponds in Moscow.

Slide 7

I have loved these fables since childhood and know some of them by heart.

Introduction

I. The language of Krylov's fables

II. Speech characteristics of Krylov's heroes

1. Comparison of the fables of Aesop, La Fontaine and Krylov
2. Individualization of the heroes of Krylov's fables

Conclusion

References

Applications

Hypothesis:

• I.A. Krylov is not limited to simple allegories, each of his characters has his own character.

• find out what is the innovation of Krylov the fabulist.

• read Krylov's fables;
• compare Krylov's fables with those of Aesop and La Fontaine;
• find out the methods of creating individual images in Krylov's fables.

Introduction

We have known the fables of grandfather Krylov since childhood. Who has not read his fables "Crow and Fox", "Dragonfly and Ant", "Swan, Cancer and Pike"? Even during his lifetime he was recognized simple people on the street, they showed the children: “Grandfather Krylov is coming!”.

Ivan Andreevich Krylov- a writer of rare fate. After all, his first major work (the comic opera The Coffee House) and Krylov's last edition (Fables in Nine Books) are separated by 60 years. And this despite the fact that he lived a hard life.

The future great Russian fabulist was born in 1769 in the family of a modest army captain. His father died early, and the ten-year-old boy had to become the breadwinner of the family - to become a copyist of court papers. But as soon as he seized a free minute, he began to read. Books replaced his teachers. Krylov from childhood was distinguished by intelligence and many talents: he played the violin, studied self-taught French(and at the age of forty he also studied Greek), he drew well, was fond of mathematics, tried to write poetry. After moving to St. Petersburg, he became interested in theater, he began to write comedies, which were very successful. The writer became one of the publishers of the satirical magazine Spirit Mail. When the magazine was closed, he founded another magazine - "The Spectator", in which he continued to criticize bribery, embezzlement and serfdom. The printing house was searched, and Krylov himself was interrogated. The magazine was closed, the writer had to leave St. Petersburg and wander for six years in search of work. In 1806 he again comes to St. Petersburg and soon goes to work in the Imperial public library, which gave 29 years. Krylov died on November 21, 1844. The whole of Petersburg buried the writer.

Krylov began as a playwright, but in the memory of the people he remained a great fabulist. How did it happen? According to Krylov's first biographer M. Lobanov, in 1805 Ivan Andreevich translated Lafontaine's fable "The Oak and the Cane" and showed it to the poet and fabulist I. Dmitriev. He, having read it, seemed to exclaim: “This is truly your kind, at last you have found it!” And from that time on, Krylov stops exclusively at composing fables.

The first book of fables was published in 1809, it contained only 23 fables, and the last lifetime edition contains 197 fables, in total Krylov created 205.

Bright, well-aimed, lively Russian language, inseparable connection with Russian folklore, subtle humor distinguish Krylov's fables. His fables reflected the soul and wisdom of the Russian people. N.V. Gogol noted that in the fables of Ivan Andreevich "... everywhere Rus and Rus smells."

The language of Krylov's fables.

What is a fable? AT explanatory dictionary Russian language S.I. Ozhegov gave the following definition: "A fable is a short allegorical moralizing story, a poem." Usually human properties in a fable they are personified in the images of animals, plants or objects (allegory). As a rule, a fable consists of short description one event or fact and a conclusion (morality) in which the main idea of ​​the author is directly expressed. The moral may end the story ("The Cat and the Cook"), it may begin the story ("The Crow and the Fox"), but there may be no morality if the plot itself clearly expresses the idea of ​​the fable ("The Dragonfly and the Ant").

It is no coincidence that Krylov's fables are cited as examples in dictionaries and reference books. Ivan Andreevich Krylov is a truly national writer, recognized as a classic during his lifetime. At first, Krylov was mainly engaged in translations and alterations of the famous French fables of La Fontaine ("Dragonfly and Ant", "Wolf and Lamb"). But even these borrowed fables do not sound like translations, they are Russian to the core. After all, bright accurate language Krylova could not be borrowed from anyone. Some of Krylov's fables were born from Russian proverbs:

fable proverbs

One swallow of spring does not make "Mot and swallow"
Glory to the wolf, but Savva "Shepherd" steals the sheep
Give the thief at least a golden mountain - the peasant and the fox will not stop stealing
The tit went to light the sea, the sea did not ignite, but the "Tit" did a lot of fame
At least the whole world burn for me, if only I were alive "The Frog and Jupiter"
What you sow is what you reap "The Wolf and the Cat"
Do not spit in someone else's well, it will happen to drink water in it "The Lion and the Mouse"

Gradually, Krylov began to find more and more independent stories related to politics, with events. Russian life, with moral problems. But main feature Krylov's fables lie not in the plot or theme. What was the main merit of the fabulist?

He wrote about Krylov's fables that their national identity is in "a cheerful cunning of the mind, mockery and a picturesque way of expressing ...". Gogol called his fables "the book of the wisdom of the people themselves." It is the language distinguishing feature Krylov's talent. In his fables, for the first time in Russian literature, the language of the common people sounded.

Street, sometimes rude words literally poured into literature. For example, in the fable "Rooster and pearl grain":" tearing up a heap of dung", in the fable "Pig": "swimmed in the slops", in the fable "Pig under the oak tree": "eyes pierced".

Folk vernacular is especially clearly seen in the use of nouns with diminutive suffixes: “gossip”, “kumanyok”, “neck”, “village”, “brook”, “darling”, “rogue”, etc. Ivan Andreevich’s connection with oral folk creativity proves the widespread use of proverbs and sayings in fables. For example, “poverty is not a vice” (“The farmer and the shoemaker”), “the work of the master is afraid” (“Pike and the cat”), “out of the fire and into the frying pan” (“Mistress and two maids”), “what you sow, then reap" ("The Wolf and the Cat"), "some in the forest, some for firewood" ("Musicians"). Krylov widely used phraseological turns: “It was sold to the fluff” (“Fortune and the Beggar”), “The decoration, cleanliness of the Casket threw itself into the eyes” (“Casket”). Moreover, the writer did not stop working on the language of his fables even after publication. So, he reworked his first fable "The Oak and the Cane" 16 times. And in the fable "The Crow and the Fox", written in 1808, Krylov made changes until 1815.

When Krylov was asked why he chose fables, he answered: “This kind is understandable to everyone: both servants and children read it.” I.A. Krylov is the first Russian writer, whose works were known and loved by everyone: children, adults, ordinary peasants, noble and rich people.

Speech characteristics of Krylov's heroes.

Comparison of the fables of Aesop, La Fontaine and Krylov

Ivan Andreevich Krylov believed that it was possible to eradicate the vices of mankind through their ridicule. Greed, ignorance, stupidity in the images of animals are ridiculed in his fables.

Such images of animals, personifying some one trait of the human character, were widely used in their fables by Aesop, Phaedrus, La Fontaine. But Krylov, in comparison with Aesop and La Fontaine, is not limited to simple allegories. The images of animals in Krylov play a more important role - they carry not only individual features, but also whole characters.

Reception speech characteristics Krylov uses constantly. Vivid examples we find in the fables "Curious", "Cat and Nightingale", "Cat and Cook". Especially skillfully Krylov conveyed the words of the Fox, expressing the subtle flattery of the Crow.

It has already been said above that Krylov repeatedly returned to his finished works, honing their language and achieving greater accuracy and expressiveness. The writer worked on his most famous fable, The Crow and the Fox, until 1815. Let's compare how it was and how it became.
1808 edition 1809 edition 1811 edition 1815 edition
“I am tea, because you are purer and more tender than the nightingale” “I am tea, because you sing and the nightingale is more tender”
“The spirit stole into the goiter” “The breath stole into the goiter”
“And having decided to justify Lisitsy’s words” “Here are Lisitsy’s words friendly”
“The crow, sitting on a bough, was about to peck a piece of its cheese”
“What a cute sock” “What feathers! What a sock!
“Sing, little light, don’t be ashamed, be friendlier with Lisonka: I’m tea, because you sing and the nightingale is more tender” “Sing, little light, don’t be ashamed. What if, sister, with such beauty, you are a master of singing, because you would be our king bird!

As a result, the fable became more expressive and picturesque.

The fable begins with a moral: Krylov ridicules in it the "vile" and "harmful" flattery (sucking up, sycophancy). A flatterer is someone who tells a pleasant lie for some selfish purpose. It would seem that the writer wants to blame the Fox, but he ridicules not only her, but also the too trusting, stupid Crow: not only the one who flatters is to blame, but also the one who succumbs to flattery and cannot recognize her.

I.A. Krylov borrowed the theme of the power of flattery over a person from the French fabulist J. La Fontaine, who, in turn, borrowed it from Aesop, the “father of the fable” (VI century BC, Ancient Greece). The Roman fabulist Phaedrus (VI century BC), Russian writers V. Trediakovsky, Sumarokov, Kheraskov also turned to Aesop's fable. But the connection of Ivan Andreevich with folk art, with the language folk tales was so cramped that the fable does not sound like a translation. Let's compare the fables of Aesop, La Fontaine and Krylov.

Aesop's fable: “Raven managed to get a piece of cheese, he flew up a tree, sat down there and caught the eye of the Fox. She decided to outwit Raven and says: “What a handsome fellow you are, Raven! And the color of the feathers is the most regal! If only you had a voice - you should be the master of all birds! That's what the bastard said. Crow got hooked. He decided to prove that he had a voice, croaked at the top of his crow's throat and dropped the cheese. The Fox raised her prey and said: “You have a voice, Raven, but you didn’t have a mind.” Don't trust your enemies - it won't work."

Lafontaine's fable:

Uncle Raven, sitting on a tree,
He held cheese in his beak.
Uncle Fox, attracted by the smell,
Had a speech with him.
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.
Fox picked it 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.

Krylov's fable:

How many times have they told the world
That flattery is vile, harmful; but it's not all right,
And in the heart the flatterer will always find a corner.
Somewhere a god sent a piece of cheese to a crow;
Crow perched on the spruce,
I was quite ready to have breakfast,
Yes, I thought about it, but I kept the cheese in my mouth.
The Fox ran close to that misfortune;
All of a sudden cheese spirit Lisa stopped:
The fox sees the cheese, the fox is captivated by the cheese.
The cheat approaches the tree on tiptoe;
He wags his tail, does not take his eyes off the Crow
And he says so sweetly, breathing a little:
"Darling, how pretty!
Well, what a neck, what eyes!
To tell, so, right, fairy tales!
What feathers! What a sock!
And, of course, there must be an angelic voice!
Sing, little one, don't be ashamed! What if, sister,
With such beauty, you are a master of singing, -
After all, you would be our king bird!
Veshunin's head was spinning with praise,
From joy in the goiter breath stole, -
And to Lisitsy's friendly words
The crow croaked at the top of its crow's throat:
Cheese fell out - with him there was a cheat.

Aesop's fable contains a direct warning: "Do not trust your enemies - it will not work." That is, a lesson has been given. The moral is straight forward.

Lafontaine's conclusion is broader: "... every flatterer feeds on those who listen to him", that is, flatterers live at the expense of those who are flattered.

Krylov’s conclusion is even more expanded: “a flatterer will always find a corner in his heart,” which means he will achieve everything he wants.

In the fables of La Fontaine and Krylov, morality seems to dissolve in the entire text and has generic value. In Lafontaine, the action takes place as if in a court circle, his characters express themselves in an exquisite manner. literary language. Krylov's fable is stated in colloquial language, the narrator is a man of the people, mocking and wise.
V.A. Zhukovsky wrote about Krylov: “Each person acting in the fable has a character and an image that is decent to him alone.” Already from the first lines, the clumsy Crow appears comically funny in its importance: the author emphasizes that she “perched” on a spruce, and did not sit down or fly in. Verbs convey her slowness: “have breakfast ... got ready”, “yes, I thought about it.” Crow's stupidity lies in her exaggerated opinion of herself.

A completely different Fox, she is insinuatingly affectionate and dexterous: “The Fox ran close to that misfortune ...”. In her description, Krylov uses many verbs denoting a quick reaction: “Suddenly the cheese spirit stopped the Fox: the Fox sees the cheese, the cheese captivated the Fox. The cheat approaches the tree on tiptoe, wags its tail, does not take its eyes off the Crow, and speaks so sweetly, barely breathing ... ”The flattery of the heroine of the fable is so exaggerated, so rude that it seems hard to believe in her. But the Crow believed, she sincerely feels like a “king-bird” and seems beautiful to herself. The meaning of the fable is not to accidentally turn out to be a Crow, and for this you need to realistically assess your capabilities.
Krylov's heroes enjoy living colloquial speech, in which there are a lot of appeals (darling, light, sister), words with diminutive suffixes (piece, close, eyes, neck, voice), vernacular words (thoughtful, feathers, breath stole in the goiter, was like that), well-aimed figurative expressions (head spinning, breathing a little). Krylov very expressively conveys the sweet speech of the Fox, the complacency of the stupid Crow, colorfully draws their behavior and gives the characters well-aimed characteristics.

In addition, Krylov does not have a Crow, but a Crow. In Russian folklore, the raven bird has always been a symbol of death, an ominous bird of prey that accompanied witches. And the crow is a symbol of a stupid, sluggish person. So it's a very good replacement.

Individualization of the heroes of Krylov's fables.

Krylov's fable "The Wolf and the Lamb" also begins with a moral: "The strong are always to blame." The fable is still relevant today. There are many cases in our life when the strong and rich dictate their own rules and laws, regardless of the opinions of others. They resort to force when they want to get around the law and get their way. They have one law - the right of the strong.

In the face of the Wolf we see a brute triumphant force, in the face of the Lamb - innocent victim. The hypocrite wolf, attacking the victim - the lamb, pretends to be the victim of the lamb, which supposedly offended him terribly. Moreover, the wolf looks sedate, important, behaves like a victim, undeservedly offended. He is self-confident, arrogant. There are a lot of rude, swear words in his speech (how dare you, with an unclean snout, I’ll tear your head off you, be silent). “Useless!”, “Puppy!”, “Insolent” - this is how he refers to the Lamb. And the Lamb is polite, timid, humble, and his appeals to the Wolf are full of reverence:

When the brightest Wolf allows,
I dare to convey that down the stream
From the Lordship of his steps I drink a hundred;
And in vain he will deign to be angry:
I can't make him drink.

He tries to justify himself to the Wolf: “Have mercy”, “Oh, what am I to blame for?”. The Lamb calls the Wolf "the fairest" and "Highness". This means that the Wolf occupies some high position in society, he is the master of the situation, and the Lamb is disenfranchised, defenseless.

Why didn't the Wolf eat the Lamb right away, just like that, without any charges? It's easier and faster. Yes, it’s simpler, but the Wolf, as a titled person, wants to “give the case ... a legal look and sense”, so that the illegal looks legal. His accusations are far-fetched and completely devoid of common sense. Victim excuses are persuasive, but they don't work. Why does the Wolf not listen to the arguments of the Lamb? The thing is that he acts according to the laws of power, for which morality does not exist. The wolf is confident in the right of the strong and therefore does not want to hear anything. When he has nothing left to think of, he calls true reason of their claims: "You are to blame for the fact that I want to eat."

In Krylov criticizes idlers in the form of a Dragonfly. Why is the Dragonfly a jumper? What is this insect? Krylov took it from La Fontaine. There she is not a dragonfly, but a grasshopper. And Krylov has a grasshopper, which is why she jumps and “chirps”. The fact is that in the Russian folk language in the 19th century, the grasshopper was called a dragonfly, because it constantly creaks its serrated legs against its wings. He is a violinist, dancer, singer. Therefore, it “creeps” “in ants”.

The dragonfly, trying to pity the Ant, uses diminutive words and linguistic forms: “godfather”, “cute”, “darling”. The Ant answers her in the same way: "gossip." But these speech forms used by characters different purposes. It can even be said that the ant's repetition of the forms of the dragonfly's language is a means of expressing the ironic attitude of the ant to the dragonfly. This is a sign that he understood her intent from the very first words.

Describing his characters, Krylov often resorts to professional terminology and phraseology, in order to more specifically and fully show the social and estate typicality of the character. So, in the fable "The Merchant" the hero uses professional jargon trade words (end) and rude petty-bourgeois words (hundred, boobies, fuse, marvel, etc.). However, such cases are quite rare in Krylov, since he avoids the use of dialect and slang words and expressions.

The speech characteristics of the characters in the fable "Two Dogs" are very skillful.

The vocabulary of the yard dog Barbosa is distinguished by vernacular (well ..., mansions, saving, out of place, hit by chance, tearing out of my skin, beatings ...).
Juju's vocabulary shows that she wants to seem cultured, refined (to grumble, fine), but colloquial words (in contentment, do not like, frolic, if) indicate that despite the exaltation, he remained the same simple dog. The intonation of Barbos's speech is simple-hearted, sincere, naive, and gentle. Juju's intonation is permeated with pretense, indulgence, mocking arrogance, bragging.

The fable “Two Dogs” condemns spiritual servility: “Many find happiness only by walking well on their hind legs.”
In the fable "The Peasant and the Sheep" characters each one speaks according to his character and his rank. Someone ate two peasant chickens, he filed a lawsuit against the Sheep. Judge Fox speaks in bureaucratic official language: “Do not accept any reason from the Sheep, rather than bury the ends, all rogues, of course, are skillful; According to the reference, it appears ... ".
Krylov in fables relies on the wealth of the Russian vernacular. In order to accurately and expressively characterize his characters, he skillfully uses the technique of speech characteristics, thanks to which all his characters have their own face and character.

Conclusion

I read the fables of I.A. Krylov and analyzed the speech of the characters. Krylov wrote 205 fables, I studied 6 of them: “Crow and Fox”, “Wolf and Lamb”, “Dragonfly and Ant”, “Merchant”, “Two Dogs”, “Peasant and Sheep”.

For the purpose of allegory, fabulists of different times used images of animals and even objects. In a fable, animals often act instead of people, endowed with separate human features: cowardice, courage, kindness, courage, etc. This technique is called an allegory. Allegory came to literature from folklore, parables, fairy tales, especially fairy tales about animals, where traditional characters acted, such as a fox, a bear, a hare, a wolf. Each of them was endowed with a certain character trait. Allegory was widely used in their fables by Aesop, Phaedrus, Lafontaine, Lessing. Krylov inherited this tradition from his predecessors. To understand what new I. A. Krylov introduced into fable genre, I compared his fable "The Crow and the Fox" with the fables of Aesop, La Fontaine. I found out that Krylov is not limited to simple allegories, Krylov's Lisitsa uses a lively colloquial speech, in which there are many appeals (darling, light, sister), words with diminutive suffixes (piece, close, eyes, neck, voice), vernacular words (feathers). Krylov very expressively conveys the sweet speech of the Fox. In this he is helped by the use of speech characteristics.

The wolf from the fable "The Wolf and the Lamb" is not just a cruel robber, as he is usually depicted in fairy tales, but a hypocritical, impudent nobleman. The lamb is not just a defenseless victim, he is a victim of tyranny who tried to prove his innocence.

Conclusion: the great Russian fabulist Ivan Andreevich Krylov created vivid images, vivid characters.

References

1. Explanatory Dictionary of Living Great Russian language: Modern writing: In 4 volumes / V.I.Dal. - M .: AST Publishing House LLC: Astrel Publishing House LLC, 2002.
2. Ozhegov S.I. Dictionary of the Russian language: 70,000 words / ed. N.Yu. Shvedova. - 22nd ed., Sr. - M.: Rus. yaz., 1990. - 921 p.
3. Russian fable of the XVIII-XX centuries. - M.: Bustard: Veche, 2002. - 352 p. - (Library of national classical fiction).
4. Krylov I.A. Fables: in 2 volumes - M .: Pravda Publishing House, 1984. - 511 p.
5. Revyakin A.I. Russian history literature XIX century: first half. - 2nd ed., corrected. and additional - M.: Enlightenment, 1981. - 542 p.
6. I.A. Krylov in the memoirs of contemporaries. - M., 1982. - 227 p.
7. Zhukovsky V.A. About the fable and fables of Krylov. // Zhukovsky V.A. Sobr. cit.: In 4 volumes - M .; L., 1960.- V.4.
8. Gogol N.V. Sobr. cit.: In 6 volumes - M., 1950. - V.6.

1. How long have there been stories called FABLES?

Fables appeared 4000 years ago.

2. The first fables are contemporaries of which fairy tales: THE MOST ANCIENT, SIMPLY ANCIENT, or LESS ANCIENT?

The first fables are contemporaries of simply ancient fairy tales.

3. Who is most often the hero of fables? And who usually concerns the conclusion from the fable?

Most often, the heroes of fables are animals, and the conclusion from the fable always concerns a person.

4. Prove with any example that the FABLE has close connection with a story about animals. Now read out those lines in the fable that distinguish the fable from the fairy tale about animals.

Any fable whose heroes are animals and in which there are
separate morality. First, let's read the story: entertaining story about animals. This is the similarity of a fable with a fairy tale about animals. Then we read the moral of the fable and note that there is no separately formulated conclusion in the fairy tale. Thus, a fairy tale and a fable differ in their construction.

5. What are the names of short works of oral folk art that appeared at the same time as the very first fables? In what cases are they used?

Short works of oral folk art that appeared at the same time as the very first fables are proverbs. These are witty folk expressions, with the help of which an apt assessment is given to the most diverse life situations. The authors of the fables used proverbs as morality in their works.

6. Give examples of fable stories that might be called WALKING stories.

These are stories about the Fox and the Crow, about the Fox and the grapes, about the Wolf and the Crane, about the fisherman and the fish, etc.

7. How many parts are there usually in a fable? What are their names? Where can be the part that contains the output?

In a fable, as a rule, there are two parts: a narrative and a moral. The moral, which contains the conclusion, can be located both at the end and at the beginning of the fable.

8. Prove, using the example of any Krylov's fable, that in fables there is a special laughter: rather bitter than cheerful.

To prove that in fables a special laughter is more bitter than cheerful, you can choose I. Krylov's fable "Quartet". What makes the position of the quartet members funny is that they do not understand that one must study in order to become a musician; this evokes bitter, sad laughter, since the heroes treat the serious art of musicians superficially, not realizing that this occupation requires talent and skill.

9. Compose a fable in which there will be such a moral: “If you like to ride, love to carry sleds.”

Everyday situations that can give a topic for a fable with a moral-conclusion: “If you like to ride, love to carry sleds,” were discussed in the textbook (“Russian language”, grade 2, part 2, pp. 54–55) and in a lesson in literary reading in grade 3 (part 2 of the textbook, p. 15).

10. Take a collection of fables by Sergei Mikhalkov in the library: make sure that fables are written in our time!

Sergey Mikhalkov's fables: "Storks and Frogs", "Hare and Turtle", "Fly and Bee", "Elephant Painter", "Cats and Mice".

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4000 years ago	2500 years ago	350 years ago	200 years ago	Nowadays
Just ancient tales First fables