“Krylov The Dragonfly and the Ant” - “Did you keep singing? St. Petersburg Summer Garden. Lesson literary reading in the 4th grade of the Volkhov Secondary School No. 1. What fables are the illustrations from? "The Fox and the Grapes." Work together. Reminder for working on the fable. "The Wolf and the Lamb." How did the group distribute the work among themselves? Feel free to express your opinion. "Swan, crayfish and pike."

“Krylov fables” - The origins of the fable genre. Fables are “the book of wisdom of the people themselves” (N.V. Gogol). What is unique about I.A. Krylov’s fables? Do you know the fables of I.A. Krylov?

“Krylov’s Fables 5th grade” - I. A. Krylov. “I love, where there is an opportunity, to pinch vices!” M. Isakovsky. The varied abilities of Ivan Andreevich were especially noticeable from childhood. G. Kupriyanov. Why should godmothers work hard? Isn’t it better to work for yourself, godfather? "Wolf in the kennel." From 1783 he served in the Treasury Chamber in St. Petersburg and was actively engaged in self-education.

“Biography of Krylov” - Monuments to Krylov throughout the country remind of the talent of the great fabulist. Upon returning to St. Petersburg, Krylov's fables were published for the first time. Crow and fox. What feathers! what a sock! After the search, publication had to be stopped. Monkey and glasses.2. Sing, little light, don’t be ashamed! The hungry godfather Fox climbed into the garden; The bunches of grapes in it were red.

“The Life and Work of Krylov” - Died on November 21, 1844 in St. Petersburg. What fables do you know? When did I. A. Krylov write the first fable? Fables are made fun of: Features of fables: Are you interested in knowing? In Russia, I.A. Krylov is considered the best. How many fables were written by Krylov? Why are I. A. Krylov’s fables still relevant in our time? What fables teach:

“Krylov’s fables lesson” - Statements about Krylov’s fables. Name the characters and the name of the fable. Organizational moment. The meaning of fables. V.A. Zhukovsky. Conversation on drawings. Lesson on Russian literature. Staging. Know Krylov's fables and drawings by heart. Homework. Krylov was born in Moscow. Ivan Andreevich Krylov (02/02/1769-09/11/1844).

Teacher Afonina N.V.

Lesson - research

Features of the fable genre. Fables

I.A. Krylova.

Purpose of the lesson.

To consolidate the concept of a fable, to introduce the features of fable construction.

Develop the ability to listen to text, intonation correctly, with creative approach read it.

Develop skills in fable analysis, comparative analysis of two or more fables.

Develop creative thinking and literary and artistic abilities of students; instill an interest in the literature of different nations.

Cultivate interest in literature and the works of fabulists; educate spiritual and moral qualities students.

Equipment.

Portrait of I.A. Krylova.

Illustrations for fables.

Texts of fables by Aesop, Lafontaine and I.A. Krylov.

“A Brief Dictionary of Literary Terms” and “School Poetry Dictionary.”

Musical accompaniment.

Lesson model.

RP HF

Z1

SU TL IR V Z

VChR Z2 Zyul

SU – teacher’s word; B – conclusions;

TL – theory of literature; Z – task;

IR – research work; yul - task for young people. writers

WP – work in pairs;

HF – expressive reading;

VChR – expressive reading by role;

Progress of the lesson.

Teacher's word.

Today in the lesson we are completing our acquaintance with the work of I.A. Krylov, we are completing our acquaintance with the amazing genre of fables, in which no one has surpassed the great Russian fabulist to this day. But the image of Grandfather Krylov, which arose in your childhood imagination, may not yet be fully realized, but infinitely close and dear, somewhat reminiscent of Christmas Santa Claus, will never fade in your mind. More than two hundred years have passed since the birth of the great fabulist, but his fables are not outdated, they teach us to understand true moral values, folk wisdom, expand life experience.

This is what M.V. said in his poem about Krylov and his fables. Isakovsky:

Who has not heard his living words?

Who hasn’t met him in their life?

Immortal creations of Krylov

Every year we love more and more.

The singer's inquisitive mind knew and saw everything,

Wanting one thing more than anything,

To live a free and happy life

His people and his homeland.

Updating of reference knowledge.

At the beginning of the lesson, let's remember everything that we already know about this genre.

- Fable ? In the “Brief Dictionary of Literary Terms”: FABLE is a short story, most of all in verse, mainly of a satirical nature. The purpose of fables is ridicule human vices, disadvantages of social life.

In the “School Poetic Dictionary”, which Kvyatkovsky compiled, FABLE is a genre of satirical poetry, a small work, mainly poetic, of a moralizing nature. The fable allegorically depicts human actions and social relations...

- Allegory? In the “Brief Dictionary of Literary Terms”: ALLEGORY is an image of an abstract concept or phenomenon through a concrete image. Thus, in fables, certain persons or social phenomena are allegorically depicted under the guise of animals.

Satire? In the “Brief Dictionary of Literary Terms”: SATIRE is a type of comic, merciless ridicule of human vices, criticism of life phenomena.

Features of fables:

Animals often act in fables. In this way, the fable is similar to a fairy tale about animals. The actions of animals resemble the actions of people. Sometimes people act in fables.

The fable depicts a short event of an instructive nature.

In fables, the actions of the heroes are often ridiculed.

There is often a moral at the end or beginning of a fable. Sometimes it is only implied.

• A fable usually consists of

  • introductions;

    descriptions of events;

    morality.

Question: - Who discovered the fable genre for us? (Legendary ancient Greek fabulist Aesop, his fables are written in prose.)

Literary reference: The fables of the 17th century French poet La Fontaine were very popular. In Russia in the 18th century, V. Trediakovsky, A. Kantemir, M. Lomonosov, A. Sumarokov and many others willingly turned to the fable genre. In the 20th century, the fables of D. Bedny and S. Mikhalkov earned fame.

Lafontaine lived in 17th century France. He is known as the author not only of fables, but also of tragedies, comedies, odes, messages, epigrams, and songs. Lafontaine was familiar with the work of Aesop, and this gave impetus to the creation of his own creations, with a different ideological content. Aesop's fables were translated by him into French and the reader liked them for their ease.

Features of I.A. Krylov's fables.

Working with texts according to plan (see below in the Appendix to the lesson)

Refer to the texts of the fables on your desks. Compare Krylov’s fables with the fables of Aesop and La Fontaine, find folk motifs in Krylov’s fables.

(Students are given the texts of the fables of Aesop, La Fontaine and Krylov in rows. The fables “The Raven and the Fox”, “The Fox and the Grapes”, “The Old Man and Death”)

Plan for analyzing fables:(on the board)

Define, How do fables differ from each other? with the same plot, written by Aesop, Lafontaine and Krylov.

Please indicate what do they have in common?.

3.Emphasize typical Russian words and expressions, proverbs and sayings in Krylov's fables.

( Students work in pairs on the texts of fables, preparing to read the fable expressively. It is advisable to read Krylov’s fable by role or act it out.)

Comparative analysis fables of Aesop, La Fontaine and Krylov (students read the fables and draw conclusions according to the plan).

How do Krylov's fables differ from the fables of Aesop and La Fontaine?

The first group of students is working on fables "The Raven and the Fox".

The difference is in the title of Krylov’s fable – “The Crow and the Fox”.

Krylov, traditionally portraying the Fox as cunning, resourceful and resourceful, as in folk tales, also makes the Crow a special female, which allows the Fox to make many compliments on her beauty, and the Fox never remembers the Crow’s intelligence, unlike the fables of Aesop and La Fontaine.

Krylov's vocabulary.

The fable contains a lot of popular expressive words and expressions, appeals, and sayings: everything is not for the future, perched, close, the cheat, my dear, feathers, sock, light, breath stole into the goiter.

Moral of the story.

Morality Krylov's fable is aimed against flatterers, and not against fools, like Aesop and La Fontaine.

Ease of verse.

The rhymed poetic form of Krylov's fable is much easier to perceive than the prose of Aesop and the free, unrhymed verses of La Fontaine.

The second row in pairs works on fables "The Fox and the Grapes".

1. In Krylov's fable, the moral is not at the beginning, not at the end, but in the middle of the text.

We meet the gossip Fox, familiar to us from folk tales, cunning, but not always lucky.

Krylov's vocabulary.

There are a lot of popular sayings, proverbs, and sayings here: a gossip, her eyes lit up like yachts, even if the eye sees, but the tooth numbs, if you break through in vain, you will set your teeth on edge.

Moral of the story.

Krylov's fable illustrates the proverb included in the text: “The eye sees, but the tooth is numb.” In Aesop, a powerless person blames circumstances. La Fontaine condemns complaints and idle lamentations.

The third row works in pairs over the fable "The Old Man and Death".

In Krylov’s fable, the problems of the Russian peasant are very recognizable: capitation, boyars, rent - all social. troubles.

Vocabulary of Krylov's fable: dead wood, dragging along, the shack, groaning and groaning, away, it’s not far off, and behind us, dumbfounded, is a fagot, sickening.

Moral of Krylov's fable.

In the fable, Krylov blames not so much a person as the injustice of life. This is not a moralizing fable, but a philosophical fable, like those of Aesop and La Fontaine.

4. Assignments based on Krylov’s fables.

1. "Heroes of Krylov's fables."

Exercise: connect with arrows the heroes of Krylov's fables and the qualities and concepts that they personify.

« The Wolf and the Lamb" Flattering Friends

« Wolf in the kennel" Ungrateful man

« Dragonfly and Ant" Uncooperative friends

“Elephant and Pug” Incommensurability

“Swan, Crayfish and Pike” Frivolity and seriousness

"Pig under the oak tree" The insidious man

"The Cuckoo and the Rooster" Predator and Prey

1. “Make a test” (for connoisseurs of Krylov’s work)

Exercise: make 3 - 4 test questions based on the works of I.A. Krylova.

For example :

What is the name of the famous sculptor, author of the monument to Krylov?

A) Opekushin;

B) Klodt;

B) Mukhina.

Where is the famous monument to I.A. Krylov?

A) in Moscow;

B) in St. Petersburg;

B) in Kyiv.

How many fables did Krylov write?

A) 180

B) 205

B) 100

What animal appears only once in Krylov's fables?

A) Hare;

B) Monkey;

B) Bear.

In which of Krylov’s fables did the Russian commander Kutuzov recognize himself?

A) “Wolf in the kennel”;

B) “Siskin and Dove”;

B) “Dragonfly and Ant.”

What fable is this expression from:“And you, friends, if you don’t sit down, you’re all not fit to be musicians”?

A) “Quartet”;

B) “Dragonfly and Ant”; B) “The cat and the cook.”

"Catchphrases".

Question: What phrases and sentences from Krylov's fables have become catchphrases?

(“A flatterer will always find a corner in the heart”, “Somewhere God sent a piece of cheese to a crow”, “Sing, little light, don’t be ashamed”, “The joy stole the breath from the goiter”, “For the strong it is always the powerless who are to blame”, “The Jumping Dragonfly” she sang red summer; before you knew it, winter was rolling into your eyes,” “You were still singing? So come and dance!”, “Oh, Moska! You know, she is strong, since she barks at the Elephant,” “And you, friends, no matter how you sit down, everyone is not fit to be musicians”, “When there is no agreement among the comrades, their business will not go well”, “The Cuckoo praises the Rooster because he praises the Cuckoo” and others.)

Quiz on fables by I.A. Krylova.

1. In which city was the monument erected to the fabulist Krylov?

(In St. Petersburg, in the Summer Garden.)

1. What does the word "quartet" mean?

(Musical piece for four instruments.)

1. What fables are these lines taken from?

A) Yes, but things are still there.

(“Swan, Pike and Cancer.”)

B)Don't leave me, dear godfather!

Let me gather my strength

And only until spring days

Feed and warm!

(“Dragonfly and Ant.”)

IN) And you, friends, don’t sit down,

Everyone is not fit to be musicians.

("Quartet".)

G)He turns his glasses this way and that:

Then he will press them to the crown,

Then he will string them on his tail,

Sometimes he sniffs them, sometimes he licks them;

Glasses don't work at all .

(“The monkey and the glasses.”)

D) For the strong, the powerless is always to blame:

We hear countless examples of this in History,

But we don't write history.

(“Wolf and Lamb.”)

E)This is what gives me spirit,

That I'm completely without a fight,

I can get into big bullies.

("Elephant and Moska" ».)

4. Each hero of the fable personifies certain qualities. What qualities do the Wolf, Donkey, Lamb, Fox, Monkey represent?

Many fables contain expressions that have become proverbs and sayings. Explain their meaning.

“The Cuckoo praises the Rooster because he praises the Cuckoo”, “When there is no agreement among the comrades, things will not go well for them”, “... your stigma is covered in fluff”, “I walk on my hind legs.”

5. Prove that this is a fable?

I. Demyanov “Natasha and the collar”

Natasha scolded her collar:

• You make me so tired

I'm at the trough all day,

I washed you five times.

How are you not too lazy to get dirty?

I took it off, and again you’re like soot,

Even blacker!

At least a little conscience!

• “I agree,” said Collar;

You are tired, poor thing, at the trough,

But you should be angry with yourself

And you are in vain reproaching me.

And yet, I feel sorry for you

I want to say in a friendly way:

You better wash your neck cleaner

Then you won’t have to wash it so often!

A. Izmailov “Staircase”.

Once there was a ladder against the wall.

Although the steps are all equal,

But the upper level was proud of the lower ones.

A man walked past, looked up the stairs,

Grabbed it, turned it over -

And the top step was already below.

So another person stands on top.

He’s proud, and look: he’ll just fly off.

Students draw conclusions.

Final word teachers.

Great power is hidden in the word, and in fables it multiplies because everyone sees in it what is close and understandable to him.

“The fables, and with them the glory of Krylov, will go out only with the life of the people” (V.G. Belinsky).

Let's not say goodbye to this amazing genre today, let's take another look at the wonderful facial features of the great Russian fabulist, a man who opened the whole world for us.

Here is what one of his acquaintances wrote about Krylov:

“Mr. Krylov is tall, plump in face and body; his gait is careless; his simple and open address inspires confidence in him... In society, he notices more than he speaks; but when he is enticed, his conversation can be very entertaining... Beneath his corpulent appearance lies a subtle and quick mind, a discerning taste, a humane and kind heart, and all these qualities of an excellent friend.”

The future fabulist did not attend school. But he had a thirst for knowledge, and he had exceptional abilities. He self-taught himself in languages, mathematics and became a highly educated person for his time. Life did not spoil Krylov, and every step towards success was not given to him in vain.

Message from the past...

« Long life I lived a long time. I saw a lot of people, and what kind of people! I won’t lie, everything happened in my life, in different ways I went to myself and to my field. I can say one thing honestly, without lying: no matter how fate turned towards me, whether face or sideways, in this life I valued above all the opportunity to express what I wanted to express. It wasn’t always possible; I was beaten mercilessly by fate, but I didn’t give up!

As for my fables... A fable, gentlemen, it was a fable even in the distant past: people were afraid of falling into history. Great power is hidden in the word, great, and in fables it multiplies, because everyone sees in it what is close and understandable to him.

So you are reading too... I’m glad, I won’t hide it, it’s nice for the old man. It turns out that Krylov was really worth something in this life; not everything, as others saw, was a buffoon...”

Indeed, people have changed a lot since the time of Krylov... outwardly! In fact, we all still remain different: good and bad, kind and not so...Different, and not always what we would like to be. Just like in the time of Krylov. That is why we still recognize his fables, that is why the heroes of his fables are still recognizable.

I would really like for all of us, if we were all like the heroes of Krylov’s fables, then only the positive ones.

Lesson summary.

Homework:

1. Rep. theoretical aspects of the fable genre.

2. Yun. artists to draw illustrations for Krylov's fables.

Yun. For scholars, create a crossword puzzle or a test.

Literature:

B.I. Turyanskaya / Materials for literature lessons in grades 5, 6, 7.

M. “Russian Word”, 1996.

2. . “Literary holidays and non-traditional lessons. 5-7 grades. Issue 1 / Ed. L.G. Maksidonova. – M.: OLMA-PRESS Education, 2002.

Lesson appendix

Fable texts

Aesop

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!” It’s the same with people: others cannot succeed because they lack the strength, but they blame circumstances for this.

I. A. Krylov,Russian fabulist

Fox and grapes

The hungry godfather Fox climbed into the garden;

The bunches of grapes were glowing in it.

The gossip's eyes and teeth lit up,

And the brushes are juicy, like burning yachts;

The only problem is, they hang high:

When and how she won’t come to them,

Although the eye can see, the tooth is numb.

After wasting 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.”

Jean de Lafontaine, French fabulist

Fox and grapes

The Gascon fox, or perhaps the Norman fox

(They say different things)

Dying of hunger, I suddenly saw above the gazebo

Grapes, so visibly ripe,

In ruddy skin!

Our darling would be glad to feast on them,

I couldn't reach him

And he said: “He is green -

Let all the rabble feed on it!”

Well, isn't this better than idly complaining?

I.A. Krylov, Russian fabulist.

Peasant and Death

Having picked up some dead wood, sometimes cold, winter,

An old man, completely withered from need and labor,

He trudged slowly towards his smoky shack,

Groaning and groaning under the heavy load of firewood.

He carried them and carried them and got tired,

Stopped

He lowered the wood from his shoulders to the ground,

I sat down on them and thought to myself:

“How poor am I, my God!

I need everything; besides, wife and children,

And there is poll tax, boyars, rent...

And has there ever been a great day in the world?

At least one happy day for me?

In such despondency, blaming fate,

He calls Death: she is not just around the corner,

And behind your shoulders.

Appeared instantly

And he says: “Why did you call me, old man?”

Seeing her fierce posture,

The poor man could barely say, dumbfounded:

“I called you, at least not out of anger,

so that you can help me lift my bundle.”

From this fable

We can see

That as it happens, life is not boring,

And dying is even more sickening.

Aesop,ancient Greek fabulist.

The old man and death

The old man once chopped some wood and carried it on himself; the road was long, he was tired of walking, threw off the burden and began to pray for death. Death asked why he called her. “So that you lift this burden for me,” answered the old man. The fable shows that every person loves life, no matter how unhappy he is.

Jean de Lafontaine, French fabulist

Death and the distressed

Every day the unfortunate one called

Death to your own aid:

O death! - he exclaimed. - How beautiful you are to my eyes!

Hurry up, put an end to my bitter lot!”

Death believed and really came for him -

She knocked on the door, entered, and showed herself.

He shouted: “What do I see!” Away with her, away!

How ugly she is! How

The sight of her inspires fear and horror!

Death, don't come closer! Death, go away!

Maecenas was an intelligent man.

He once said: “Let me be exhausted,

Crippled, armless, legless, but alive, -

And that’s enough, but I’m already overjoyed.”

So we all repeat one thing: “Death, never come!”

Aesop

Raven and fox

The raven took away a piece of meat and sat down on a tree. The fox saw it and wanted to get this meat. She stood in front of the raven and began to praise him: he was great and handsome, and could become a king over the birds better than others, and he would have done so if he had also had a voice. The Raven wanted to show her that he had a voice; He released the meat and croaked in a loud voice. And the fox ran up, grabbed the meat and said: “Eh, raven, if only you had some intelligence in your head, you wouldn’t need anything else to reign.”

The fable is appropriate against an unreasonable person.

Jean de La Fontaine, French fabulist.

Raven and fox

Uncle Raven, sitting on a tree,

He held cheese in his beak.

Uncle Fox, attracted by the smell,

I spoke to him like this:

“Good afternoon, noble raven!

What a look you have! What a beauty!

As bright as your feathers -

Then you are the Phoenix of our oak forests!

This seemed not enough to Raven,

He opened his beak and dropped the cheese.

The fox picked him up and said: “Sir,

Remember: every flatterer

Feeds from those who listen to him -

Here’s a lesson for you, and the lesson is worth the cheese.”

And the embarrassed raven swore (but too late!)

That he won't need another lesson.

I.A. Krylov, Russian fabulist

Crow and fox

How many times have they told the world,

That flattery is vile and harmful; but everything is not for the future,

And a flatterer will always find a corner in the heart.

Somewhere God sent a piece of cheese to a crow;

Raven perched on a spruce tree.

I was just about ready to have breakfast,

Yes, I thought about it, but I held the cheese in my mouth.

To that misfortune, the Fox ran quickly;

Suddenly the cheese spirit stopped the Fox:

The fox sees the cheese, the fox is captivated by the cheese.

The cheat approaches the tree on tiptoe;

Wags its tail, don't take your eyes off Crow

And he says so sweetly, barely breathing:

“My dear, how beautiful!

What a neck, what eyes!

Tell, rightly, fairy tales!

What feathers! What a sock!

Sing, little light, don’t be ashamed! What if, sister,

With such beauty, you are a master at singing, -

After all, you would be our king bird!”

Veshunin's head was spinning with praise,

The breath stole from my throat with joy, -

And Lisitsyn’s friendly words

The crow croaked at the top of its lungs:

The cheese fell out - such was the trick with it.

Fables of La Fontaine. Development of genre traditions and innovation.

La Fontaine's special merit in European literature there is a development of the genre of poetic fable. Before La Fontaine, classic writers considered the fable to be a “low” genre, i.e. unsuitable for expressing serious content.

The first six books of fables saw the world in 1688 under the title “Aesop’s Fables, rhymed by La Fontaine” (“Fabies d’Esope, mises en vers par M. de La Fontaine”). The last, twelfth, book was published in 1694. Created over the course of many years, fables reflected changes in the poet’s worldview, as well as his creative searches. All books of fables are united by a holistic artistic concept: to ridicule shortcomings. modern society, show the reader its different layers in a satirical image.

For the plots of his fables, Lafontaine used ancient models (for example, the fables of Aesop and Phaedrus), Indian sources, the traditions of the so-called animal epic, collections of apologists published in France back in the Middle Ages and up to the first century. half XVII V. But we can say that Lafontaine significantly expanded the usual boundaries of the fable genre.

La Fontaine's "Fables" are distinguished by their exceptional breadth in covering French reality. All of France in the second half of the 17th century, starting from the poor peasant who earns his living by collecting brushwood, and ending with the monarch and his aristocratic entourage, passes before the reader’s eyes in La Fontaine’s fables. This scope of La Fontaine's poetic horizons prompted one critic to call him the “French Homer.”

Lafontaine transformed the fable genre, overcoming the allegorical nature and dry moralizing that distinguished it and maximally developing the figurative, artistic principle in it. Many of his contemporaries condemned him for these innovations. They are accustomed to seeing in a fable some semblance of an edifying parable. It seemed to them that La Fontaine’s desire to poetically “decorate” the fable begs its specific, purely didactic orientation. Yes, indeed, La Fontaine had a special attitude towards “morality”, believing that it should be a natural conclusion from the situation depicted. Therefore, he often put “morality” into the mouths of his heroes. He argued that a fable should educate only by introducing the reader to the world. La Fontaine's refusal to edify was in clear contradiction with the instructive nature of the fable, which has been considered an integral feature of the genre since the time of Aesop.

Excellent mastery of laconic composition and selection artistic detail, skillfully using the wealth of the national language, flexibly using free verse, La Fontaine dramatized the fable, enormously expanding its visual possibilities. The action of La Fontaine's fables develops, as a rule, from the inside. The driving forces of the plot in La Fontaine the fabulist are the internal qualities and motivations characteristic of his heroes. Therefore, in La Fontaine’s works, the traditional moral lesson, formulated either in the introductory verses of the fable or at its ending, most often turns out to be the same as the ideological content that objectively embodies the poem as a whole. Often this lesson is completely absent or is put into the mouth of one or another character, becoming a means of characterizing the latter.

The narrative of La Fontaine the fabulist is by no means impersonal. It is permeated with the experiences and moods of the author himself, marked by his with the liveliest sympathy disadvantaged and oppressed heroes, his hostile attitude towards negative characters. From the pages of the fables emerges a charming and multifaceted image of the narrator, combining innocence with slyness, a sharp mind and an inexhaustible sense of humor with responsiveness and sensitivity. In La Fontaine's fables, the writer's lyrical talent was revealed with particular force. The lyrical qualities of La Fontaine's fables are especially clearly manifested in their endings. La Fontaine's endings are not rhymed truisms, but small lyrical poems. Sometimes these are caustic epigrams, sometimes examples of a short joyful song chorus, sometimes sad elegies.

La Fontaine's fables give the impression of a living, oral story, a direct conversation between the author and the reader. This impression is reinforced by Lafontaine's use of turns and intonation. colloquial speech, his widespread use of indirect speech to convey the internal appearance of characters.

La Fontaine's fables are extremely diverse in theme: some of them raise the most important philosophical problems (“The Acorn and the Pumpkin,” “The Beast in the Moon,” “The Peacock Who Complains to Juno”), while others give a picture of public morality and the political life of modern L. society (“ Plague among Animals”, “Rat and Elephant”), others depict various human weaknesses and shortcomings (“Cat and Old Rat”, “Nothing Extra”, “Oak and Reed”). The fables reflected La Fontaine's freethinking and his political freethinking.

La Fontaine's innovation in the development of the fable genre lies, in particular, in its democratization. Lafontaine introduces a new hero into the fable - a man from the people. The writer evaluates the events he depicts from the point of view of a simple working person. The nationalism and democracy of La Fontaine's fables are also palpable in his sharp criticism of the absolutist state.

La Fontaine not only deepened the content of the fable, adding a philosophical or political character to it, but also showed concern for the perfection of the form. Under the pen of the French poet, the fable became light and sophisticated. Sharpness artistic form, new for this genre, was achieved using various artistic techniques: free composition, poetic form, the introduction of author’s digressions, extensive use of dialogues, linguistic characteristics, contrast. The structure of La Fontaine's fables is distinguished by clarity, simplicity and precision. As the French scientist of the 19th century noted. I. Ten, La Fontaine’s fables resemble a drama: they have an exposition, a plot, a climax and a denouement, there are dialogic passages and descriptions of characters through their actions and language that are inherent in dramaturgy.

The language of fables is lively, colloquial, folk. The poet uses turns and intonations characteristic of vernacular language. Lafontaine is an innovator in the field of versification. The richness and special coloring of the language corresponds to the variety of rhythms of the fables. The change in rhythms is determined by the movement of the author’s thought and corresponds to its turns, subordinate to the content side of the work.

Lafontaine's work is extremely multifaceted. The poet masters various literary genres: poems in the spirit of “ light poetry", an allegorical poem, a dramatic eclogue, a heroic idyll, a fairy tale and a short story, a love story and, ultimately, a fable that brought him worldwide popularity. La Fontaine's creative path was not easy: from refined, deliberately complicated, baroque in style, precision literature through classicism, which became the basis of La Fontaine's creative method, to realistic trends in fairy tales and fables. La Fontaine belongs to the leading writers of the 17th century.

The democracy, vitality, and national flavor of La Fontaine's fable captured L. Glebov, who imitated him, adding his own original colors. Researchers mention translations or rehashes of La Fontaine's works carried out by I. Kotlyarevsky (they are lost).

COURSE WORK TOPIC: “Development of the genre fables in world literature" Completed: Scientific supervisor: Table of contents. Introduction……………………………………………………………………......3 Chapter I. Social – historical background the emergence and development of fables 1. Social and public conditions for the appearance of fables, the time of their appearance……………………………………………………………….5 2. ...

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Sources: Andreev, Kozlova, Kosikov “History of French Literature”, “History of Foreign literature XVII century" (edited by N. T. Pakhsaryan).

Jean Lafontaine was born on July 8, 1621 at Chateau Thierry. His father was an insignificant official and a poor man. The future poet studied first at a village school, then at a college in Reims. Since he was supposed to inherit the position of tax collector from his father, he also studied law for some time. La Fontaine read Homer, Virgil, Terence, Ariosto, Boccaccio, admired Clément Marot and François Rabelais (he called them respectfully: Maître Clément and Maître François), read Marguerite of Navarre and Durfey’s “Astrea,” and loved Voiture.

La Fontaine began writing late, at the age of thirty-three (1654). He published the comedy “The Eunuch” - a work still a student, the fruit of his readings of Terence. Introduced to the then influential minister Fouquet, he was treated favorably by the latter, received a pension and, having sold his position and real estate in Chateau Thierry, moved permanently to Paris. Here La Fontaine became close to Boileau, Moliere and Racine (the latter was 18 years younger than him).

In 1665 his “Poetic Tales and Stories” were published, in 1668 - “ Selected Fables in verse." La Fontaine was very simple-minded, naive, and sometimes extremely forgetful and absent-minded in everyday affairs. Presented to the king, with whom he sought an audience in order to present him with a volume of his poems, he was forced to admit that he had forgotten the book at home.

His frivolous short stories, written in the spirit of Boccaccio, earned him the displeasure of the church and the king, who at one time opposed the poet’s election to the Academy. There were many jokes about him; they said that he loved only three things in the world - poetry, idleness and women. The latter was associated with his frivolous short stories.

La Fontaine's Fables international. Their plots are in most cases similar, many of them originate from the prosaic fables of the semi-legendary Greek fabulist Aesop. Often the main idea of ​​a fable - edification, "moral" - is the same with the same plots. However, each nation brings its own, original, peculiar to the presentation of the fable plot.

In La Fontaine we will find fables known to us from other sources about the raven and the fox, the wolf and the lamb, the dragonfly and the ant, and many others.

“Of course, not a single Frenchman would dare to place anyone above La Fontaine,” wrote Pushkin, “but we, it seems, can prefer Krylov to him. Both of them will forever remain favorites of their fellow Earthmen. Someone rightly noted that simplicity (naivete, bonhomie) is an innate property of the French people; On the contrary, a distinctive feature in our morals is a kind of cheerful slyness of mind, mockery and a picturesque way of expressing ourselves: La Fontaine and Krylov are representatives of the spirit of both peoples.”

La Fontaine's political fables are by no means harmless. They are quite sarcastic and reveal his democratic sympathies. Let us cite the fable “Beasts in the Time of Plague.” The plague decimated the animals. Leo gathered a council. “Friends,” he addressed them, “the sky is angry with us. The gods are waiting for an atoning sacrifice. Let's look for the most guilty one among us and put him to death, maybe the gods will have mercy. “I,” he began the story of his sins, “have devoured a lot of sheep, I confess that I also had to eat shepherds.”

O sir, you slander yourself too much! - the fox spoke. - Eat sheep! - Yes, you showed them a great honor! As for the shepherds, it serves them right, what fears they bring to us!

The fox's speech caused noisy applause from the animals. The tiger, the bear, and other dignitaries of the forest were acquitted. But then the donkey spoke: “I picked a bunch of grass in the meadow, and the meadow, to tell the truth, did not belong to me.” I was hungry, and the demon misled me! - the donkey admitted sadly.

A! - the animals cried. - Pull grass in someone else's meadow! A monstrous crime! To execution! To execution! - And the donkey was executed.

“The court judges by whether you are powerful or powerless. Depending on whether you will be declared right or right,

or guilty,” La Fontaine concludes his fable (I, 126-127).

La Fontaine's fables are folk in their light, elegant humor, so characteristic of the French common sense, invested in them, but they are to a certain extent refined, gallant and therefore sometimes somewhat salon-like. This is how, for example, the fox reasons in the fable “The Wolf and the Fox” (the fox sits in a bucket at the bottom of a well, where she unwisely sank, looking for some profit, and now persuades the wolf to take her place, because she can’t finish eating cheese located there): “Comrade, I want to treat you, do you see this object? This is a special cheese. God Faun prepared it. The cow Io gave her milk, even to Jupiter, and even if he were sick, he would have developed an appetite for this dish” (I, 229). As we see, the fox is very learned; obviously, the wolf is no less knowledgeable in ancient mythology, since the fox turned to him with similar literary reminiscences.

In La Fontaine's fables we will find literary names. The names of Molière's Tartuffe and the medieval lawyer Patelen are already used here as well-known household names. “The cat and the fox, like two little saints, went on a pilgrimage. They were two Tartuffes, two archipatelens, two sneaks...” - this is how the fable “The Cat and the Fox” begins (I, 149).

La Fontaine's fables are philosophical. In one of them he reflects on genius and the crowd. Epicurus was considered crazy in his homeland. Compatriots turned to Hippocrates, famous doctor, asking him to cure the philosopher Democritus of madness. “He lost his mind, reading ruined him... What is he saying? - The world is endless... This is not enough for him. He also talks about some atoms” (I, 175-177), the simple-minded Abderites lament, calling on Hippocrates.

The subject of fables is often not only the vices of people, but psychological observations, quite in the spirit of La Rochefoucauld or La Bruyère. In the fable “Husband, Wife and Thief,” he talks about how a certain husband, deeply in love with his wife, did not, however, enjoy her favor. The unfortunate husband found neither a flattering comment, nor a tender look, nor a word of friendship, nor a sweet smile in his wife. But then one day she herself threw herself into his arms. It turns out that the thief scared her, and, fleeing from him, she resorted to the protection of her husband. For the first time, the husband in love knew true happiness and, grateful, allowed the thief to take whatever he wanted. "Fear is sometimes the most strong feeling and even disgust conquers,” Lafontaine concludes his fable. - However, love is stronger. An example is this lover who would burn down his house just to kiss his lady and carry her out of the flames. I like this hobby,” he further adds (I, 193-194).

The fable of the “old lion” is about humiliation, or rather, the limits of humiliation that a person can withstand. There is a limit to everything, and the most terrible humiliation is an insult inflicted by a being despised. The lion, the thunderstorm and terror of the forests, has grown old under the weight of years, he grieves, mourning his former power, and is persecuted by his former subjects, “who became strong through his weakness.” The horse kicked him with its hoof, the wolf lashed out with its teeth, and the bull stabbed him with its horn. The lion, unable to even roar, silently endures beatings and insults, meekly awaiting death. But then the donkey headed towards him. “Oh, this is too much! - exclaimed the lion. “I’m ready to die, but to be subjected to your beatings doesn’t mean dying twice” (I, 68).

The fable “The Rooster and the Fox” contains subtle irony typical of the French. An old and experienced rooster on a branch, on duty. He's a sentry. A passing fox addresses him in a sweet voice: “Brother, we are no longer at odds, there is common peace this time. I came running to tell you about him. Come down quickly, I’ll hug you, don’t hesitate, I still need to run around twenty outposts.

What are you saying, my dear! Here's the news! And how pleased I am to hear this from you! Wait, I’ll call two greyhounds, they will immediately come running and how happy they will be to kiss you for the good news.

No, it’s better next time, goodbye!” The fox hurried, and, throwing off her fashionable shoes, ran away. And the old rooster grinned. Of course! To deceive a deceiver is double pleasure” (I, 51).

La Fontaine, in the preface to his fables, pointed out the uniqueness of his art. He said that he did not achieve the laconicism of Phaedrus (an ancient Roman fabulist who lived in the 30-40s BC), but made up for this deficiency with gaiety. “I don’t call gaiety what causes laughter, but a certain special charm, a general joyful coloring that can be given to any subject, even the most serious.”

Lessing later spoke rather harshly about the French fabulist, accusing him of not knowing the basics of the fable genre, and that the fable belongs not to poetry, but to philosophy. “Don’t the French put fun above all else? Isn’t gaiety the opposite of a sense of grace?” - the critic grumbled. However, I think he was wrong. A fable without humor, without that cheerful gaiety that La Fontaine spoke of, would lose all its charm. Moreover, “gaiety” never interfered with serious thought.

Often the poet’s life experience, translated into images, turns out to be more meaningful than the edification he formulated. Thus, the fable “The Woodcutter and Death” cannot be perceived only as an illustration of the final lines, which say that a person prefers any suffering to death. The picture of the life of a peasant, exhausted under the burden of unbearable taxes and soldiers' quarters, exhausted by corvee labor and greedy moneylenders, speaks more to the mind and heart of the reader than the abstract truth of edification. This is an example of a fable, which, according to V. G. Belinsky, tends to develop into a “small story”, into a “drama with faces and characters.”

The son of a forester, Lafontaine knows the life of nature, the habits of birds, fish, and animals. That’s why he writes about them so naturally, intimately, and poetically. Close to “Fables” is another element of the comic, going back to the folk square performance: cane blows raining down on a donkey (“Donkey dressed in a lion’s skin”), ridiculous jumps of a donkey imitating a lap dog (“Donkey and the Little Dog”), ridiculous attempts rats getting into narrow holes (“Fight of Rats and Weasels”) - reminiscent of farcical scenes, probably very similar to those that Lafontaine could have seen somewhere at a fair in his native Champagne. The requirements of clarity, conciseness, grace, which classical aesthetics imposed on poetic language, did not prevent the fabulist from turning to rich folk sayings, vernacular, dialectism, to the dictionary of hunters, fishermen, farmers and other working people with whom he had to meet while hunting and during long rural walks. In the treasury of folk speech there are words that are not suitable for gallant poetry, but which accurately denote the circumstances, the behavior of characters, the motives of their actions, and even their appearance. A winged word or phrase in “Fables” is often barely perceptible as such, so naturally they are merged with the text.

La Fontaine, like any fabulist, uses traditional personifications. The cruel wolf has always been habitually associated in the French fable with a feudal predator, a lion with the head of state, a cunning fox with a person close to the monarch, and peace-loving animals, birds or insects with simple powerless members of society. Turning to fable personifications, La Fontaine, already in the collection of the 60s, covered many aspects of French life in the 17th century and captured its essential vices. The picture turned out to be quite unsightly. The lion mercilessly robs weaker animals who have trusted him (fables “The Heifer, the Goat and the Sheep in Cooperation with the Lion”, “Tribute from Animals to Alexander”, etc.), wolves devour their victims, taking possession of them either simply by force, or hiding behind the letter of legality (“ The Wolf and the Lamb"), the treachery of the treacherous fox knows no bounds. Predators hate each other, but their main prey is primarily peace-loving animals. There is no law that would protect them, there is no patron ready to help them. On the contrary, at times even the recent brother of the disenfranchised person refuses to support him (“The Horse and the Donkey”). Lafontaine persistently pursues the idea of ​​the superior power of the “evil” and the weakness of the “good”, and therefore constantly speaks of the need to be careful, cunning, and resourceful. However, these conclusions are tinged with bitterness and are often drowned out by the call to be honest, not to pursue profit, and to rely on strength own hands, help your own kind and unite in times of danger, because only mutual support can help peace-loving and kind creatures. The unsightly picture of cruel morals painted in the collection of “Fables” of the 60s helps to better understand La Fontaine’s political views. The fabulist stands for autocracy, but is well aware that autocracy is not an easy burden for its subjects.

In the program fable “The Stomach and the Organs of the Body,” royal power is likened to a voracious stomach, necessary for the normal existence of the body. Considerations of expediency speak in favor of the form of government existing in France - this is a typically classicist conclusion. But how little reverence there is in the sober rationalism of this fable-treatise! And the choice of personifications did not correspond to the canon of classicist doctrine, which demanded that everything base should be expelled from works touching on the theme of monarchy. And in other fables, royal power is likened to an ugly dragon (“The Many-Headed Dragon and the Dragon with Many Tails”) or... a block of wood (“Frogs who asked for a King”).

In 1674, the fourth book of Fairy Tales was published in Holland, even more disrespectful towards the church and the nobility than the previous three. The book was banned by a special police decree. In the same year, the all-powerful Minister Colbert deprived La Fontaine of his hereditary position as forester, his only independent source of income.

And yet the poet did not resign himself. In the second edition of Fables (1678-1679), the satire becomes sharper and more direct than in the edition of the 60s. The pamphleteering sharpness of La Fontaine's fable of the 70s is combined with deepening generalization. The poet clearly seeks not only to attack vice, but also to point out its carriers and reveal its social consequences. Back in the 60s, La Fontaine wrote that his fables are collectively “a lengthy hundred-act comedy staged on the world stage.” The characters of this comedy appeared on stage many times, acquiring new strokes and features, becoming more and more familiar to the reader.

The fables of the 70s not only expose the injustice of the “tops”. They emphatically praise the mind, talent, and nobility of the working person. Particularly notable in this regard are the fables “The Peasant from the Danube”, “The Shepherd and the King”, “The Shoemaker and the Farmer”, etc. Thus, in the fable “Merchant, Nobleman, Shepherd and Son of the King” it is told how representatives of different classes, finding themselves after a shipwreck on deserted shore, almost went hungry if it weren’t for physical strength, resourcefulness and intelligence of a shepherd. Other fables glorify the spiritual and intellectual virtues of a man of the people.

The second edition of “Fables” is one of the masterpieces of French classicism of the second half of the 17th century. Checking the reality surrounding the poet with his mind helped him see its glaring contradictions: the innocent falls victim, and the criminal remains unpunished (“Peace of Animals”), a stupid moneybag imagines that money is more important than intelligence and knowledge (“The Advantage of Knowledge”), guardians of the law are the first to break it (“The Oyster and the Plaintiffs”), the ministers of the church care only about the interests of their own womb (“The Rat Who Withdrew from the World,” “The Priest and the Dead Man”), and villainy is sanctioned from above, flourishing primarily at court.

The poet masterfully uses comparison - this typifying device specific to fables. In the twists and turns, in individual gestures, in the words of the characters in fables, two planes are palpable - allegory and reality, personification and human life. Moreover, in the fables of the 70s, these comparisons are organized in such a way that the “human” content of actions and images is more visible and the social generalization inherent in the fable can be more clearly grasped. For example, satirical characters brought to the stage still take the form of animals. But the traditional mask does not exhaust their characteristics, they behave like people, and the appearance of the beast only more clearly reveals their repulsive essence. Often the internal juxtaposition of characters with the animals in whose guise they are represented enhances the satire. Indeed: in order to kill a donkey, predators do not need to stage a comedy of public “confession” like the one depicted in the fable “Peace of Beasts”. Animals are simpler, more natural, and therefore better than those people with whom the satirical tradition identifies them. This idea, constant for La Fontaine, was formulated by him in a pamphlet-like manner in such fables as “The Funeral of the Lioness” and “The Man and the Snake.”

It is characteristic that the positive heroes of the fables in the collection of the 70s are people. This is understandable: after all, the image of the Peasant from the Danube, or the Shepherd from the fable “The Shepherd and the King,” or the cheerful Shoemaker from the wonderful fable “The Shoemaker and the Farmer” cannot be reduced to a dominant, generalized by a traditional mask. The fabulist changes more and more boldly traditional stories, in order to give them a topical "sound. He often invents his own plot. This gift is especially important now, when the poet's interest in specific facts of our time has increased so much. For example, in the fables "Ingratitude and injustice of people in relation to fate" and "Man “Running for Fortune, and a Man Waiting for Her in Bed” tells about the dangers and disappointments that often befall merchants in distant “overseas” countries. But outlandish adventures did not interest the poet in themselves. Through them, the image of a merchant enters into the fables. adventurer - a new type of money-grubber for France of that era.

In his poetry, a short story, which had a secondary character of illustration for a didactic saying, acquired a separate artistic significance. His fables are gradually freed from Aesopian severity and restraint, his characters - from inexpressiveness and lifelessness. L.S. Vygotsky notes that, while a prose fable “opposes itself in every possible way to a poetic work and refuses to draw attention to its heroes and evoke any emotional attitude towards its story and wants to use exclusively prosaic language of thought,” a poetic fable “displays the opposite tendency to music" and "the most logical thought underlying it tends to be used only either in the form of material or in the form of a poetic device."

The approach to fables was so strict that even their poetic nature was not welcomed by everyone: this genre was not supposed to entertain, but to instruct. Already in the next century, Lessing would consider the fable in the same didactic and prosaic vein. This is probably why La Fontaine chooses that very free verse for his fables, which, as he said, “is in many ways similar to prose.” (Obviously, it was no coincidence that La Fontaine counted among his teachers Malherbe, whom Mathurin Regnier accused at the beginning of the century of “writing prose in verse.”) However, La Fontaine’s poetic genius, with his penchant for “diversity,” finds expression in the rhythm of free verse, which he can change at his discretion.

Having created the genre of the poetic fable, La Fontaine immediately after this introduces into it the features of other genres: the fable either embraces them all, or itself dissolves in them. Features of a fairy tale (“A middle-aged man and his two lovers”), a message (“To those who are difficult to please”), an epigram (“The Drunkard and His Wife”), an elegy (“Philomela and Procne”), an ironic poem relating to register of “black humor” (“The Drowned Woman”) - all this makes us interpret the fable so broadly that only La Fontaine’s “diversity” can explain such blurred genre contours.

And only this “diversity” can explain unique language La Fontaine's fables, starting from the very first collection. In all his other works, as many researchers note, La Fontaine rather denotes the silhouettes of objects and heroes; and only in fables is the illusion of liveliness, spontaneity, and tangibility of what is depicted created. Lafontaine's language is incredibly expressive and sonorous. The poet draws its elements from rural dialects, borrows technical terms, and uses those expressions used by short story writers of the previous century. It is as if he is returning again to the Renaissance linguistic doctrine, creating a kind of “counterbalance” to the rigorism of classic poetry. Nevertheless, the poet in his creative search extremely rational. He strictly observes the logic of the characters of his characters, each of whom behaves according to his nature and class, be it the unfortunate and fearful Deer from “The Funeral of a Lioness”, the humble Donkey from “Peace of Animals”, the straightforward Peasant from the Danube, consciously calling out death threat, or the wise Hermit, choosing solitude in order to “know himself” (“Arbitrator, brother of mercy and hermit”).

La Fontaine, as a classicist poet, professes imitation of nature, and therefore of the ancients, who achieved perfection in this imitation. However, according to him, “my imitation is not slavery.” Already in the first collection of fables, written, as is clear from the study of manuscripts, in a more mature period, they differ from the earlier ones. Lafontaine moves away from graceful imitation, striving to find his own voice. The most skeptical fables are imbued with subtle humor, the specifics of which are radically different from the burlesque parody of fifteen years ago. If Scarron forced the epic heroes to speak in a clownish language, then La Fontaine endows the humorous heroes with a sublime language. In "Fables" one is usually struck by a certain "immorality" of morality. La Fontaine does not teach the observance of the code of life of that “well-mannered man” who, in general, was central figure in the culture of classicism; the poet's healthy skepticism is summed up by one in a simple word: "Beware." Beware of people and animals, superiors and inferiors, friends and enemies, those around you and yourself. For all the high and peculiar poetry of fables, they are based on a rather prosaic art of living, extracted from a universal understanding of life.