Krylov's fables are the history of their creation. The history of fables

A fable is a short story, most often in verse, mainly of a satirical nature. The fable is an allegorical genre, therefore moral and social problems are hidden behind the story about fictional characters (most often animals).

The emergence of the fable as a genre dates back to the 5th century BC, and its creator is considered to be the slave Aesop (VI–V centuries BC), who was unable to express his thoughts differently. This allegorical form of expressing one’s thoughts was later called “Aesopian language.” Only around the 2nd century BC. e. fables began to be written down, including Aesop's fables. In ancient times, a famous fabulist was the ancient Roman poet Horace (65–8 BC).

In the literature of the 17th–18th centuries, ancient subjects were processed.

In the 17th century, the French writer La Fontaine (1621–1695) again revived the fable genre. Many of Jean de La Fontaine's fables are based on the plot of Aesop's fables. But the French fabulist, using the plot of an ancient fable, creates a new fable. Unlike ancient authors, he reflects, describes, comprehends what is happening in the world, and does not strictly instruct the reader. Lafontaine focuses more on the feelings of his characters than on moralizing and satire.

In Germany in the 18th century, the poet Lessing (1729–1781) turned to the fable genre. Like Aesop, he writes fables in prose. For the French poet La Fontaine, the fable was a graceful short story, richly ornamented, a “poetic toy.” It was, in the words of one of Lessing's fables, a hunting bow, so covered with beautiful carvings that it lost its original purpose, becoming a drawing-room decoration. Lessing declares literary war on La Fontaine: “The narrative in a fable,” he writes, “... must be compressed to the utmost possible; deprived of all decorations and figures, it must be content with clarity alone” (“Abhandlungen uber die Fabel” - Discourses on a Fable , 1759).

In Russian literature, the foundations of the national fable tradition were laid by A.P. Sumarokov (1717–1777). His poetic motto was the words: “Until I fade into decrepitude or death, I will not stop writing against vices...”. The pinnacle in the development of the genre were the fables of I.A. Krylov (1769–1844), which absorbed the experience of two and a half millennia. In addition, there are ironic, parody fables by Kozma Prutkov (A.K. Tolstoy and the Zhemchuzhnikov brothers), revolutionary fables by Demyan Bedny. The Soviet poet Sergei Mikhalkov, whom young readers know as the author of "Uncle Styopa", revived the fable genre and found his own interesting style of modern fable.

One of the features of fables is allegory: a certain social phenomenon is shown through conventional images. Thus, behind the image of Leo, traits of despotism, cruelty, and injustice are often discerned. Fox is a synonym for cunning, lies and deceit.

It is worth highlighting such features of the fable:
a) morality;
b) allegorical (allegorical) meaning;
c) the typicality of the situation being described;
d) characters;
d) ridicule of human vices and shortcomings.

V.A. Zhukovsky in the article “On the fable and fables of Krylov” indicated four main features of the fable.
First feature of the fable - character traits, the way in which one animal differs from another: “Animals represent a person in it, but a person only in certain respects, with certain properties, and each animal, having with itself its own integral permanent character, is, so to speak, ready and clear for everyone the image of both a person and the character that belongs to him. You force a wolf to act - I see a bloodthirsty predator; bring a fox onto the stage - I see a flatterer or a deceiver..." Thus, the Donkey personifies stupidity, the Pig - ignorance, the Elephant - clumsiness, and the Dragonfly - frivolity. According to Zhukovsky, the task of a fable is to help the reader, using a simple example, understand a complex everyday situation
Second The peculiarity of the fable, writes Zhukovsky, is that “transferring the reader’s imagination into new dreamy world, you give him the pleasure of comparing the fictional with the existing (of which the former serves as a likeness), and the pleasure of comparison makes morality itself attractive." That is, the reader may find himself in an unfamiliar situation and live it together with the heroes.
Third feature of the fable - moral lesson, a moral that condemns a character's negative quality. "There is a fable moral lesson which you give to man with the help of animals and inanimate things; presenting to him as an example creatures that are different from him in nature and completely alien to him, you spare his pride“, you force him to judge impartially, and he insensitively pronounces a strict sentence on himself,” writes Zhukovsky.
Fourth peculiarity - instead of people in the fable, objects and animals act. “On the stage on which we are accustomed to seeing man acting, you bring, by the power of poetry, such creations that are essentially removed from it by nature, a miraculousness that is just as pleasant for us as in an epic poem the action of supernatural forces, spirits, sylphs, gnomes and the like. The strikingness of the miraculous is in some way communicated to the morality that is hidden beneath it by the poet; and the reader, in order to reach this morality, agrees to accept the miraculousness itself as natural."

It is a work in verse or prose that is satirical in nature. Any fable begins or ends with moralizing phrases, which in literary circles are usually called morality. The main characters of such works are people, birds, animals, plants, and inanimate objects.

From the history of fables

Aesop, who lived in Ancient Greece in the 6th-5th centuries, is considered the first fabulist. BC e. Among the Romans, Phaedrus (1st century AD) was a famous author of satirical works. The 17th century gave France and the whole world the talented fabulist Jean de La Fontaine. In Russia, the most famous writer of moralizing poetic works was Ivan Andreevich Krylov (1769-1844). The poet wrote 236 fables during his life, which were published in 9 collections during his time. In his satirical creations, Ivan Andreevich affected the whole of Russia: from ordinary men to nobles and the tsar. Some of Krylov's fables in their plots echo the works of Aesop and La Fontaine. There are also completely original stories in his work, the content of which has not been found anywhere before.

Heroes of stories

Every Russian person has known Ivan Krylov since childhood. His fables are written in accessible language using phraseological units, sayings and proverbs. Their stories are distinguished by the authenticity of what is happening and touch on topical topics. Greed, stupidity, vanity, hypocrisy, mental limitations and other human vices are presented in the poet’s works in the most unattractive form. Although the heroes of Krylov’s fables are mostly animals, the author always associated their images with people. His satire ridicules idle nobles, judges, officials, bureaucrats who do their dirty deeds with impunity. Emperor Alexander I also suffered from the work of Ivan Andreevich: he is not presented in the best possible way in the image of the king of beasts, a lion, in the fables “The Motley Sheep” and “The Fish Dance.” In contrast to the nobility and rich people, Krylov sympathizes with the poor suffering from lawlessness and serfdom.

Features of the poet's works

Krylov's fables are short satirical literary creations, distinguished by a fascinating plot, dynamism, realistic dialogues, and psychological authenticity of the characters. Some of his satires describe everyday scenes (“Merchant”, “Two Men”), others are allegories (“Wild Goats”), and others are pamphlets (“Pike”, “Motley Sheep”). Krylov also has stories in poetic form (“Mot and Swallow”). The uniqueness of the poet’s fables lies in the fact that, despite their advanced age, they have not lost their relevance today. And this is not surprising, because human vices do not change over time.

Characteristics of the “Quartet”

Everyone is familiar with the fable “Quartet”. Krylov was pushed into her consciousness by ignoramuses who mind their own business. The plot of the fable, written in 1811, is quite simple: a monkey, a bear, a donkey and a goat decide to organize a musical quartet. But no matter how hard they tried to play the instruments, no matter how many times they changed seats, they couldn’t do anything. The heroes of the fable did not take into account the most important thing: desire alone is not enough to become musicians. To do this, you also need to at least know notation and play instruments. The phrase of the nightingale, who became an accidental witness to the quartet’s unsuccessful attempts to play, contains the moral of the entire fable: no matter how they sit down, they will still not make musicians.

The fable “Quartet” by Krylov applies not only to would-be musicians. The poet in it expressed the idea that skill and talent are necessary in all endeavors that a person undertakes. Often people overestimate their abilities and take on impossible tasks, confident that they will succeed without knowledge or prior preparation. Vanity, self-confidence and boastfulness cover their eyes with a veil, and they do not want to understand one thing: any occupation needs to be learned, and this requires a long time and talent. In his work, the author openly laughs at fools and talkers whose words do not match their deeds. The heroes of the fable “Quartet” personify the author’s political figures of those times who lacked the professionalism to make the right decisions.

A few words about “Swan, Crayfish and Pike”

Considering Krylov’s fables, one cannot ignore his famous satirical creation “Swan, Crayfish and Pike” (1814). The plot of the work contains a subtle hint of the events taking place in Russia at that time - the indignation of the Russian people by the discord that reigned in the State Council. The fable begins with a short three-line edification, the meaning of which lies in a simple truth: if there is no agreement among friends, then no matter what they undertake, nothing will work out for them. It was in the introduction that Krylov expressed the moral of the fable. What follows is the story of how a pike, a crayfish and a swan harnessed themselves to a cart, but could not move it from its place, because each of them pulled it in their own direction. The fable is one of the poet's most famous creations; it became popular during his lifetime and remains so to this day. The last line of the fable, “and the cart is still there,” turned into a catchphrase, symbolizing the lack of unity in thoughts and actions, and the main characters of the poem became the heroes of numerous caricatures.

The modern school curriculum always includes Ivan Krylov. His fables are easy to understand and therefore understandable to children of all ages. The younger generation reads “The Crow and the Fox,” written by the author in 1807, with particular interest. The creation of Krylov’s work was inspired by the works of Aesop, Phaedrus, La Fontaine and other fabulists who had already used a similar plot with a fox and a crow. The summary of the fable is as follows: a crow somewhere took out a piece of cheese and flew up a tree to eat it. A fox running past liked the treat and wanted to lure it away from the bird. Sitting under a tree, the cheat began to ask the crow to sing, praising her vocal abilities in every possible way. The bird succumbed to the flattering speeches, croaked and the cheese fell out of its beak. The fox grabbed him and ran away. The moral of the fable sounds in its first lines: with the help of flattery, a person will always achieve his goal.

Other famous fables

The moral of Krylov's fables is clear to everyone. In the work “The Dragonfly and the Ant” its meaning is that those who do not think about tomorrow risk being left hungry, cold and without a roof over their head. Krylov glorifies hard work in his work and mocks carelessness, stupidity and laziness.

The moral of the fable “Monkey Glasses” is that people who do not understand the business they are taking on look funny. In the satirical work, the ignorant are ridiculed in the image of a monkey, and glasses are identified with knowledge. People who do not understand anything about science and take it up will only make others laugh with their stupidity.

Despite the fact that Krylov’s fables are short, they very clearly reflect the author’s attitude towards all kinds of human shortcomings. Oddly enough, after two centuries have passed since the poet’s works were written, nothing has changed in society, so they can still be used today as moralizing stories and the younger generation can be educated on them.

FABLES nomination "Scientific projects"

History of the fable

A fable is a short, most often poetic, moralizing story.

Fable is one of the oldest forms of verbal art.

The heroes of fables can be not only people, but also animals, plants, objects endowed with certain human qualities. The fable narrative is allegorical, which, however, does not contradict its moralizing nature.

The moralizing nature of the fable is emphasized by the fact that at the beginning or end a moral is usually formulated - a lesson for the sake of which the fable was written.

The sages of ancient times brilliantly came up with how, without causing a direct offense to a person, they could still tell him the truth to his face. They came up with a fable so that people would involuntarily relate it to themselves and at the same time think: this fable is written about me. By laughing, we part with our shortcomings.

The first fables were known in ancient times. It is believed that the first ancient Greek fabulists were Hesiod (late 9th–8th centuries BC) and Stesichorus (6th century BC). The ancient world knew many fables; it is not for nothing that a classification of various works of this genre was already carried out in ancient Greece . Apparently they were composed in various places around the Mediterranean.

Aesop (mid-6th century BC) is the most famous ancient fabulist, whose works have become classics and have been repeatedly translated into languages ​​of the world. Aesop is a semi-legendary figure about whose life there have been many stories. Aesop's fables were written in prose, witty, clear and simple.

The name of the Greek fabulist is associated with the concept of “Aesopian language,” which began to be widely used in Russia from the end of the 18th century. Aesopian language was used by authors who wanted to hide their ideas from censorship, but at the same time convey them to readers in an accessible and understandable form. In the 2nd century. n. e. The ancient Greek poet Babrius translated Aesop's fables into verse.

Fable genre theory

A fable is a short moral story written in verse or prose. The fable has an allegorical form and exposes human shortcomings (vices).

Fable form

Fable structure

Structure and techniques for constructing a fable

Krylov I. A. Monkey and Glasses

The monkey's eyes became weak in old age; Unlike a fairy tale, which also teaches readers goodness,

And she heard from people that the fable is extremely short and understandable. It often operates

That this evil is not yet of such great hands: not people, but animals, thinking and acting like people.

As soon as you get glasses, a fable is a short story exposing some

She got herself half a dozen glasses; human flaw: cowardice, greed, anger,

He turns his glasses this way and that: deceit, ignorance.

Now he will press them to the crown, now he will string them on his tail, Allegory is an allegory: ignorance is shown by example

Sometimes he sniffs them, sometimes he licks them; the relationship of the monkey, a fidgety and stupid animal, to

The glasses don't work at all. glasses

“Oh, the abyss!” she says, “and he’s a fool,

Who listens to all human lies:

They only lied to me about the Glasses;

But they are of no use for hair.”

The monkey is here out of frustration and sadness

Oh stone, there were so many of them,

That only the splashes sparkled.

Unfortunately, the same thing happens with people: At the end or at the beginning of a fable, a flaw can be named

No matter how useful a thing is, without knowing its value, directly, this is called the moral of the fable, moral teaching. In this

The ignoramus tends to tell everything about her for the worse; The fable ridicules ignorance.

And if the ignorant is more knowledgeable,

So he also drives her away.

In the fable “The Monkey and the Glasses”, under the guise of a monkey who does not know how to handle glasses, a “knowledgeable ignoramus” is depicted, who persecutes everything useful and, in particular, persecutes science. Science makes a person more vigilant and far-sighted - like glasses; but the monkeys, making faces at the throne, can break these glasses.

Motives from Aesop's Fables:

1. There is a lot of evil in the world. One cannot hope that a bad person can change, he is only able to cover up his vicious nature, meanwhile the breed of a good person is fragile, it often becomes bad.

2. Human destiny is changeable, but most often it changes for the worse. You cannot escape fate, so it is more important to adapt to circumstances and remember that everything is transitory.

3. People are often destroyed by passions. The most dangerous of passions is greed, followed by vanity, lust, envy, gullibility, etc. The harmfulness of fear is also emphasized. A person who has become a prey to passions becomes unreasonable and makes mistakes that lead him to unhappiness.

4. The most reliable thing in life is to learn to be content with what you have, not to look for what is not given to you by nature, not to compete with those who are stronger.

5. In life, it is better to rely on yourself, first of all, on your work, patience, and the ability to learn from your own and others’ mistakes. In choosing friends you need to be very careful, pay them gratitude when they deserve it, but don’t expect gratitude from anyone yourself.

The structure of Aesop's fables is most often four-part. It includes exposition, design, action, and surprise. Sometimes this scheme may vary. For example, the result of an action may not be shown, but only named. Structure links such as plan and action may be missing; in this case, it is a simplified fable, consisting of a description of the plot situation and a line commenting on it.

Literary terms

Aesopian language is a special type of secret writing, censored allegory, to which fiction, criticism and journalism, deprived of freedom of expression under censorship, turned.

Allegory is an allegory. When some abstract concept is expressed through a specific object. For example, greed and anger are often embodied in the form of a wolf, and stupidity - in the form of a donkey, cunning - in the form of a fox, cowardice - in the form of a hare).

Irony is denial or ridicule, feignedly clothed in the form of agreement or approval.

Fabula is a place in a fable where it is told what happens to different characters and some events are described.

Moral is the idea of ​​a fable, expressed in a few lines, confirmed by life experience, a lesson.

Vice is a moral, spiritual defect. Everything that is contrary to truth and goodness; evil and lies as a property, quality of a person; inclination towards bad things, towards a bad life. For example, anger, selfishness, greed, cowardice are human vices.

Plot is a sequence of events. In the fable, the plot is very simple and clear.

A fabulist is a person who writes fables. The most famous fabulists are Aesop, Lafontaine, Krylov, Mikhalkov.

The score is all the means of expression necessary to read the entire work.

To compose a score means to determine the reading task and the intonation corresponding to this task, that is, to choose the strength of the voice, the tone of reading, tempo, rhythm, place pauses, and logical stresses.

Heroes of fables

(composing allegories of living beings)

Wolf - greed, anger, robbery, injustice (for example, Aesop’s fable “The Wolf and the Lamb”).

Crow is stupidity (for example, Krylov’s fable “The Crow and the Fox”).

Crane - symbolizes a decent, fair person, often unfairly offended (for example, Krylov’s fable “The Wolf and the Crane”).

Hare - defenselessness, sometimes cowardice (for example, Dmitriev’s fable “The Hare and the Quail”).

Snake - wisdom, warning (for example, Krylov’s fable “The Boy and the Snake”).

Goat, little goat - frivolity (for example, Mikhalkov’s fable “I want to butt”).

Mosquito is a force that does not depend on size (for example, Dmitriev’s fable “The Lion and the Mosquito”).

Cat - cunning, arrogance, thievery (for example, Krylov’s fable “The Cat and the Cook”, Mikhalkov’s fable “Cats and Mice”).

Rat - caution, cowardice (for example, Krylov’s fable “The Mouse and the Rat”), philistinism, homeliness (for example, Mikhalkov’s fable “Girlfriends”).

Leo - strength, royalty, power and at the same time malice and cunning (for example, Aesop’s fable “The Lion and the Fox”), injustice (for example, La Fontaine’s fable “The Sea of ​​Animals”, Krylov’s “Lion on the Hunt”).

Fox - intelligence, cunning, deceit (for example, Aesop’s fable “The Lion and the Fox”, La Fontaine’s “The Raven and the Fox”).

Horse - hard work, reliability (for example, Krylov’s fable “The Dog and the Horse”).

Frog - vanity, stupidity (for example, Krylov’s fable “The Frog and the Ox”).

Bear - power, arbitrariness (for example, Krylov’s fable “The Bear with the Bees”).

Moska - boasting, cowardice, idle talk (for example, Krylov’s fable “The Elephant and the Pug”).

Ant - hard work, diligence, thrift (for example, Krylov’s fable “The Dragonfly and the Ant”).

The mouse is nimble, strong, independent of size. Symbolizes that good always brings positive results (for example, Aesop's fable “The Lion and the Mouse”).

Monkey - fidgetiness, stupidity (for example, Krylov’s fable “The Monkey and the Glasses”, “Mirror and the Monkey”).

Donkey - stupidity, self-confidence (for example, Krylov’s fable “The Donkey and the Nightingale”).

Rooster - ignorance, self-confidence (for example, La Fontaine's fable “The Rooster and the Grain of Pearls”).

Pig - stupidity, complacency, inability to see “above one’s snout” (for example, Lessing’s fable “The Pig and the Oak”, Krylov’s fable “The Pig”).

Elephant - strength, majesty (for example, Krylov’s fable “The Elephant and the Pug”).

Dog - directness, superiority of the internal over the external (for example, Dmitriev’s fable “The Beggar and the Dog”), but sometimes greed, sycophancy (for example, Krylov’s fable “Two Dogs”).

Dragonfly - carelessness, frivolity (for example, Krylov’s fable “The Dragonfly and the Ant”).

Lamb - defenselessness, sacrifice (for example, Aesop’s fable “The Wolf and the Lamb”, Krylov’s fable “The Wolf and the Lamb”).

Biographies of fabulists

Why does Aesop teach us fables?

They contain young wisdom that is thousands of years old.

Light shines from the diamond edges of their subjects.

What joy does meeting a fable foretell?

According to the ancient tradition, Aesop, a Phrygian by birth, ugly, but wise and possessed of literary talent, lived in the 6th century BC. e. on the island of Samos and was a slave of the wealthy Samian citizen Iadmon. Later, he was released, spent some time at the court of King Croesus, and subsequently, accused of sacrilege by the Delphic priests, he was thrown from a cliff. His death at Delphi was adorned with legend. According to it, Aesop, with his slander, aroused several citizens against himself and they decided to punish him. To do this, they stole a golden cup from temple utensils, put it in Aesop’s knapsack and then sounded the alarm; it was ordered to search the pilgrims, the cup was found on Aesop, and he, like a blasphemer, was stoned. Many years later the miraculous discovery of Aesop's innocence followed; the descendants of his killers were forced to pay the vira to the grandson of the former owner.

A collection of fables - 426 short works - has been preserved under the name of Aesop. It is believed that in the era of Aristophanes in Athens there was a written collection of Aesop's fables, from which children were taught at school; “You are ignorant and lazy, you haven’t even learned Aesop,” says the hero in Aristophanes.

Aesop's name later became a symbol. His works were passed on by word of mouth in the 3rd century BC. e. were recorded in 10 books by D. Falersky. Aesop's fables have been translated (reworked) into many languages ​​of the world, including by the famous fable writers J. Lafontaine and I. Krylov. A Russian translation of all the fables was published in 1968.

Chemnitzer

Ivanovich

Born on January 5, 1745 in the fortress of the Astrakhan province, in the family of a military headquarters doctor. Parents are Germans. In 1755 the family moved to St. Petersburg. There Chemnitzer studied with a Latin teacher at a medical school and studied history and geography.

Hiding his young age, he joined the Shlisselburg infantry regiment, where he soon received the rank of sergeant. Participated in the Seven Years' War (1756–1763) and the campaign against Prussia.

In 1769 he resigned. In 1770, becoming interested in mineralogy, he entered the service at the Mining School. Begins his first literary experiments, which became the Odes. They were followed by panegyric poems and a poetic translation. In the 1770s he turned to the genre of satire.

A significant part of Chemnitzer's literary heritage is his epigrams. He entered the history of Russian literature primarily as a fabulist. In 1779 he published the first book of fables under the title Fables and Fairy Tales NN (33 fables). In 1782, the second edition of Fables and Fairy Tales was published, supplemented by 35 new fables. After Khemnitser’s death, Lvov and Kapnist selected a number of previously unpublished fables from his archive and published them together with the rest under the title Fables and Tales of I. I. Khemnitser, in three parts. It is known that A.S. Pushkin admired the fable The Metaphysical Disciple.

On March 20, 1784, at the age of 39, Ivan Khemnitser died and was buried in Nikolaev in Ukraine.

Until 1855, Chemnitzer's fables were published 36 times - a record among writers of the 18th century and eloquent evidence of his popularity.

Dmitriev

Ivanovich

Born on September 10 (21 AD) on a family estate, in the village of Bogorodskoye, Kazan province, in an old noble family. At the age of eight he was sent to a boarding school. His father took him out of the boarding school in his eleventh year, taking control of his son’s education at home. In 1774, the father took his son to St. Petersburg and enrolled him in military service in the Semenovsky regiment.

From 1777, Dmitriev began to engage in literary activities and wrote poetry. His fairy tale "The Fashionable Wife" brought him literary fame. The poem “Dove” was also a great success.

1794 was especially fruitful. Dmitriev spent it in his homeland, in Syzran, wandering around this region. He wrote his best works: “Seekers of Fortune”, “To the Volga”, “Aerial Towers”, “Whimsical Woman”, “Someone Else”, “Ermak”, “Voice of a Patriot”. In 1795 he published the collection “And My Trinkets.” Dmitriev was burdened by military service, therefore, having received the rank of colonel, he retired. He is appointed assistant minister in the department of appanages and chief prosecutor of the Senate. I devoted all my abilities to this work.

In 1796, his “Pocket Songbook, or Collection of the Best Secular and Common People Songs” was published. He actively writes for the magazine "Bulletin of Europe". In 1802 - 03 there are 10 fables.

In 1806 he became a senator, in 1810 he was appointed Minister of Justice, and in 1814 he moved to Moscow. In 1820 his “Selected Songbook for Beautiful Girls and Kind Women” was published. He lived the last years of his life in Moscow, surrounded by the respect of society, as one of the best writers of his time and as an honored statesman. I. Dmitriev died on October 3 (15 n.s.) 1837 in Moscow.

Andreevich

Ivan Andreevich Krylov was born in Moscow into the family of a captain. In 1774 they moved to Tver, since the father of the future poet retired. After his death, his mother, who fell into poverty and worked part-time as a service provider in rich houses, begged the local authorities to accept her nine-year-old son, who had received a home education, into the service of copying business papers. He read a lot, thanks to self-education, the future fabulist became one of the most enlightened people of his time.

And in 1782, having moved with his mother to St. Petersburg, Krylov began working in the office of the Treasury Chamber. In St. Petersburg he became interested in theater.

Krylov searched for his path in literature for a long time, even wrote several tragedies and comedies.

In 1797, he became close friends with Prince S. F. Golitsyn, who invited Krylov to take the place of his personal secretary and home teacher. Knowing several languages, he taught the prince’s sons languages ​​and literature, and played musical instruments.

In 1809, the first collection of Krylov's fables was published, which brought him fame. In total, Krylov wrote more than 200 fables, which were combined into nine books.

Krylov died on November 9 (21), 1844 in St. Petersburg. Friends, along with an invitation to the funeral, received a copy of the fables he himself published with the inscription “Offering. In memory of Ivan Andreevich at his request.”

Izmailov

Alexander

Efimovich

Izmailov is a fabulist and journalist. He came from the nobility of the Vladimir province. He received his education in the mountain cadet corps, after which, in 1797, he entered the Ministry of Finance. He spent his entire life almost constantly in St. Petersburg. And in 1830 he retired.

In 1799, he published the novel “Eugene, or the Disastrous Consequences of Bad Education and Society.”

Izmailov published in 1809 - 10. magazine "Flower Garden", collaborating himself in the critical department. In 1817 he edited "Son of the Fatherland", and in 1818 - 27. published the famous magazine "Blagomarnenny". In 1826 - 27 published the almanac "Calendar of the Muses".

Izmailov's talent manifested itself mainly in fables, the first edition of which was published in 1814.

In addition to those borrowed and common to fabulists of all nations, Izmailov has a number of original fables with purely Russian humor and on specifically Russian themes. They reflected the peculiarity of his talent - some kind of good-natured rudeness, an inclination towards realism, which forced his contemporaries to call him “a writer not for ladies”, and critics who were looking for counterparts to Russian writers in Western literature and Western art - a Russian Tenier 2- m.

Izmailov’s best fables are “Kulik the Astronomer”, “Drunkard”, “Liar”, “Brawler Noblewoman”, “Passion for Poetry”, etc.

Nikolaevich

Tolstoy L.N. (Count) is a famous writer who has achieved unprecedented fame in the history of literature. Born on August 28, 1828 in the family estate Yasnaya Polyana. Leo was not even two years old when his mother died, and his father died a few years later. A relative and then the father’s sister took up raising the orphaned children. This is the first period of Tolstoy’s life, which he described with great accuracy in “Childhood.”

He passionately wanted to shine in society. But he had no external data for this. At the same time, there was an intense internal struggle and the development of a strict moral ideal. All this is told in "Adolescence" and "Youth". In 1844 he entered Kazan University. In his mature years, the writer was fluent in many languages.

His writing career began in Moscow at the end of 1850. Tolstoy's works are collected in 15 volumes. In 1859, Tolstoy opened a school for peasant children in the village and helped establish more than 20 schools in the vicinity of Yasnaya Polyana. In 1862 he published the pedagogical magazine "Yasnaya Polyana" with books for reading, which in Russia became the same classic examples of children's literature as "ABC" and "New ABC".

The great, brilliant artist of words turned to fables. Fables in prose, surprisingly laconic and wise: “Dragonfly and Ants”, “Mosquito and a Lion”, “Two Comrades”, “Working Women and a Rooster”, “Old Man and Death”, “Liar”, “Wise Old Man”, “Father and sons”, “Hares and frogs”, “The king and the elephants”, “The man and the horse”, “Dogs and the cook”, “The dog and its shadow”, “The man and the merman”, “Like a fool cut jelly”, “The wolf and old woman”, etc.

The meaning of fables

I really like fables. They ridicule our actions that we do not notice. And this happens not offensively, but somehow magically, with animals and plants. After all, when you read a fable, first you see animals, and then you imagine people, and only then compare them with yourself.

The fable originated almost four thousand years ago, became the property of literature, and is still alive today.

A fable is a short story showing - exposing - some human flaw - cowardice, greed, anger, deceit. At the end or at the beginning of the fable, the flaw can be named directly, and then this is called the moral of the fable, a moral lesson.

Unlike a fairy tale, which also teaches us goodness, a fable is extremely short and understandable. Often it is not people who act in it, but animals who think and act like people. For example, Aesop's fables sometimes begin with the words: “This happened in ancient times, when animals still knew how to speak. »

By the way, almost all the plots of fables known to us are found in Aesop. But people tell everything and tell them. Everyone brings something different to the fable. A great fabulist worked in Russia. A. Krylov.

“He corrected people through fun, sweeping away the dust of vices from them; he glorified himself with fables, and this glory is our reality, and they will not forget this as long as they speak Russian,” - this is what Prince P. Vyazemsky said about Krylov.

But, alas, since the time of Aesop, human shortcomings have not decreased. And therefore, people who write fables again and again turn to old stories, again and again try to make people laugh at themselves and come to their senses, abandon bad actions, thoughts, feelings.

(description of events that happened to the characters) poetic prose

Fox and Grapes

A hungry fox saw a grapevine with hanging grapes and wanted to get to them, but couldn’t; and, walking away, she said to herself: “They are still green!”

Likewise, some people cannot achieve success because they lack the strength, and they blame circumstances for this.

I. A. Krylov

Fox and Grapes

The hungry godfather Fox climbed into the garden;

The bunches of grapes in it were red.

The gossip's eyes and teeth flared up,

And the brushes are juicy like yachts burning;

The only problem is, they hang high:

Wherever and however she comes to them,

Although the eye can see, the tooth is numb.

Having wasted a whole hour,

She went and said with annoyance: “Well, well!

He looks good,

Yes it is green - no ripe berries:

You’ll set your teeth on edge right away.”