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The image of a wolf in the fables of I.A. Krylov The work was done by Kasatskaya Daria, Pashchenko Konstantin students of grade 5 B Supervisor: Shorohova A. V. teacher of Russian language and literature

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The purpose of the work is to show how in different fables, through the images of a wolf, Krylov portrayed representatives of various social levels: kings, nobles, officials, etc., what human vices, ridiculed in the image of a wolf, have survived to this day. Tasks: To get acquainted with the biography of the Russian fabulist I. A. Krylov; Get acquainted with the genre of fable, the history of the development of the genre; Read at least 35 of Krylov's fables, select those of them in which there is a character - a wolf; Analyze selected fables; Generalize allegorical images, draw conclusions;

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Ivan Andreevich Krylov was born in 1769 in Moscow into the family of a modest army officer. A few years later, the family moved to Tver. After the death of his father in 1778, Krylov had to enter the service of the magistrate in order to support the family. In 1783 the family moved to St. Petersburg, where Krylov served for 4 years in the Treasury. In 1804 he returned to Moscow. In 1806 he published several fables in the Moscow Spectator magazine, which brought him success. This determined his further path.

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Slide Description:

More than 200 fables have come out from the pen of Ivan Andreevich Krylov. In some he denounced Russian reality, in others - human vices, and still others - just poetic anecdotes. Over time, many apt Krylov expressions entered colloquial speech and enriched the Russian language. His fables are very popular and understandable. During the life of the author, almost 80 thousand copies of the published collections of fables were sold.

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A fable is a short poetic or prosaic story of a moral character that has an allegorical allegorical meaning. The main instructive thought of the fable is morality. This makes her related to the parable. The characters in the fable are animals, plants, birds, fish, things. Heroes behave like human beings, endowed with human qualities. We learn the character traits and features of human behavior, which the author disapproves of, ridicules or condemns them. The language of fables is light, simple, they are remembered well, and especially the beginning and end, in which the most important thing is often said.

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Fables about the wolf: 1. The Wolf and the Lamb 2. The Wolf in the Kennel 3. The Wolf and the Crane 4. The Wolf and the Sheep 5. The Wolf and the Fox 6. The Wolf and the Little Wolf 7. The Wolf and the Cuckoo "8." The Wolf and the Cat "9." The Wolf and the Mouse "10." The Lion and the Wolf "11." The Wolf and the Shepherds "

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"The Wolf and the Lamb" Character of the Wolf: - Characterizes a person who has strength and takes advantage of his position. - Shows in his own words disregard for the rules and understanding of his own impunity. - Shows rudeness and anger in addressing the Lamb, calling him a dog and an unclean snout. - He turns his essence inside out with only the words “You are to blame for the fact that I want to eat”, showing arrogance and undisguised shamelessness. The moral of the fable "The Wolf and the Lamb" "The strong is always guilty of the powerless" ... Krylov in the fable "The Wolf and the Lamb" describes his favorite theme - the powerlessness of the common people.

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"The Wolf in the Kennel" In the fable "The Wolf in the Kennel", the image of the wolf means Napoleon. We can say for a long time that Napoleon was cunning, dexterous, clever, knew how to quickly and deftly adapt to the situation. But he did not calculate his capabilities and ended up "at the kennel" instead of the "sheepfold" ... Krylov's fable "The Wolf in the Kennel" is a patriotic work about significant historical events of 1812. The hunter is Kutuzov, the Wolf is Napoleon. The dangerous cunning of the wolf and resourcefulness are clearly described here: "I came to put up with you not at all for the sake of a quarrel." The behavior of the wolf is hypocritical, hiding its evil nature, he tries to flatter.

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"The Wolf and the Crane" The wolf in this fable is cunning and cunning. And the crane is stupid, because it fell for such a trick. Sometimes it happens that instead of gratitude, insidious people say that it is not they who should, but we owe them, that everything ended so well. Indeed, under other circumstances, the crane could become a dinner for the wolf. Therefore, you should not count on their gratitude when helping such people. Faced with an insidious and evil person in life, you should not help him, hoping to receive a reward. The wolf in this fable is the personification of deceit and cruelty.

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Essay text:

As the dictionary tells us, a fable is a short story that has an allegorical meaning. For the purpose of allegory, fabulists of different times used images of animals and even objects. For artistic reasons (and sometimes for censorship), people in fables are replaced by animals endowed with individual human traits: cowardice, courage, kindness, courage, and ҭ. e. Such allegorical images of animals, that is, animals that personify some one trait of the human character, were widely used in their fables by Aesop, Lafontaine, Lessing. Krylov inherited this tradition from his predecessors. But the skill of Krylov the fabulist, of course, does not consist in full and unchanging maintenance of this tradition. To understand Krylov's innovation, let us first turn to what he used from the experience of his predecessors.
Allegory came to literature from folklore: medieval morality, sermons, fairy tales, especially from fairy tales about animals, where traditional fabulous animal characters acted, each of which was an essay with an allsoch deliberately endowed with a certain character trait. The classicists also used the technique of allegory (for example, in odes).
No one doubts that the fable Ant is the personification of industriousness (Dragonfly and ant), Pig of ignorance (Pig under an oak tree), Lamb of meekness (like the lamb of God, the Wolf and the lamb). Krylov believed that the vices of humanity can be eradicated by ridiculing them. In Krylov's fables, in the face of animals, stupidity, greed, and ignorance are ridiculed. I am ridiculed starting from the outset (by sketching an initially absurd situation, as, for example, in the Quartet), by advancing then, from our point of view, an absurd counter-argument, and, finally, all this is supported by morality. The vices of humanity, the allegories of which are animals, are ridiculed by the author. But ... A translator in prose is a slave, a translator in verse is a rival (Zhukovsky). And Krylov was just such a rival, for he often turned to images and subjects borrowed from the great fabulists.
As a true rival of Aesop and La Fontaine, he goes beyond mere allegories. Krylov's animal images play a more important role; they carry not only individual traits, but also whole characters. Krylov's fables have not only an everyday character, only a part of them can be called purely everyday. Krylov also has historical and social fables. For example, in the fable Raising Leo, the lion-father is not only the embodiment of strength, courage. He is also the king of beasts, this creates a certain subtext in the fable: I mean the education of Alexander I by a foreign teacher Laharpe. The lion-father appears here not only as a formidable tsar, but at the same time as a caring, but narrow-minded father, who entrusted the education of his son to a bird, forgetting that the son will reign over the beasts. In the image of the lion father, a whole character is outlined, with all its advantages and disadvantages, and not just one trait of a human character.
This is the case with other historical fables of Krylov, that is, with those fables that have a real historical implication. Here it is already possible to speak not so much about allegory as about metaphor, for example, in the fables The Wolf in the Kennel and the Pike and the Cat. In these two fables, the images of the wolf and the pike refer to Napoleon. Not a single, even the most detailed description of this person, given simply in words, will allow one to guess a great commander in him: one can say for a long time that Napoleon was cunning, dexterous, clever, knew how to quickly and deftly adapt to the situation, but at the same time did not calculated his capabilities and ended up at the kennel instead of the sheepfold. Correlating the image of the wolf with the entire allegorical meaning of the fable, we immediately guess in it the great conqueror Napoleon. But at the same time, the image of a wolf does not in any way narrow down to the image of this particular person, it is so wide and all-embracing that the fable does not lose its value outside the context of the era.
Krylov's images of animals can be compared with the images of animals in the tales of Salykov-Shchedrin, where sometimes, without knowing the historical background, it is difficult to guess the purpose of this image in the work. So, having found out that the images of animals sometimes carry the whole characters of specific people, we can reveal the following: a person is inseparable from his social position, and the images of animals can also be classified as metaphors of certain social levels. For example, in the fable the Lion and the Leopard, where the Lion and the Leopard are the upper strata of society, the fox and the cat are officialdom. This also includes the fable The Wolf and the Lamb. With the strong, the powerless is always to blame, says morality. The image of a lamb is not only an allegory of weakness and defenselessness, but also a metaphor of a certain social level, reflecting the character of small officials. Sometimes Krylov sneers not only at social vices (the fable Two dogs), but also at the very pillar of the social ladder by state institutions. An example is the fable Quartet, which parodies the Council of State, created in 1801, and its four departments, headed by the Mischievous Maryshka,
Donkey, Goat And club-toed bear.
Indeed, what awaits such a quartet of state council in the future, if such different types are put at its head? So, the images of various animals with different characters widely used by Krylov also point to the realistic basis of Krylov's fables. Krylov's naturalism, the connection of his fables with the folk basis, give his fables a Russian national flavor. The images of animals (which are sometimes shown in illustrations in Russian national costumes) carry a satirical typification of the Russian national character.
To create it, Krylov also uses the method of individualizing the character's speech. The fabulist puts into the mouths of animals certain elements of colloquial speech of different classes of that time. For example, in the fable Dragonfly and the ant, the ant sayҭ:
Gossip, this is strange to me ... So go and dance.
It is worth paying attention to the rimics of this fable. The image of a jumping dragonfly is created by a special jumping size chorea. Krylov also widely uses sound writing to create a sound image of an animal. For example, in the fable of the Snake, instrumentation on hissing sounds and z, in the fable Mor of animals, the repetition of the sounds m, y, s.
So, we see how deeply the traditions of the allegorical fable were perceived and reworked by Krylov, we see how at the same time Krylov enriched the Russian fable with new realistic images of animals. It was in the fable that Krylov developed the principles of realistic typification, without which the capacious satirical images of Salykov-Shchedrin in his fabulous satire would have been impossible, and in Grief from Wit in Griboyedov's aphorism the Russianness and accuracy of the great fabulist were reflected.

The rights to the composition "Images of animals in Krylov's fables" belong to its author. When citing material, it is imperative to indicate a hyperlink to

Essay "Images of animals in Russian fairy tales and fables of Krylov"

A fable is a short story that has an allegorical meaning. For the purpose of allegory, fabulists of different times used images of animals and even objects. For artistic reasons, and sometimes for censorship reasons, people in the fable are replaced by animals endowed with individual human traits: rudeness, courage, kindness, courage.

Allegory came to literature from folklore, from medieval parables, fairy tales, where traditional fairy-tale characters acted: a fox, a bear, a hare, a wolf. Krylov combined the experience of using different literary genres into one whole.

The ant is the personification of industriousness, the pig is ignorance, the lamb is meekness. As a classicist, Krylov believed that the vices of humanity could be eradicated through ridicule. The fables ridicule greed, ignorance, stupidity.

The images of animals play an important role in Krylov - they carry not only individual traits, but also whole characters. His fables are not only of an everyday nature. Krylov has historical and social fables where human vices are ridiculed through allegorical images of animals. For example, in the fable "Raising a Lion" Leo-father is not only the embodiment of strength and courage. He is also the king of beasts, which creates a certain subtext in the fable: we mean the education of Alexander I by the Swiss Laharpe. The lion-father acts here not only as a formidable king, but also as a caring, but narrow-minded father who entrusted the upbringing of his son to a bird, forgetting that he would reign over the beasts. In the image of the lion father, the whole character is outlined, with all its advantages and disadvantages, and not just one property of human nature.

Tsars, nobles, officials, "little people" also found their metaphorical reflection in the images of animals by Krylov. For example, in the fable "The Lion and the Leopard", where the lion and the leopard are the upper strata of society, the fox and the cat are officials. This also includes the fable "The Wolf and the Lamb". “With the strong, the powerless is always to blame,” says morality. The image of the lamb is used not only as an allegory of weakness and defenselessness, but this image also appears as a metaphor for a certain social level, possibly of minor officials.

The fabulist puts into the mouths of animals certain elements of colloquial speech of different classes of that time. Krylov - truly folk , an artist of enormous power, his influence on Russian literature was enormous.

Ivan Andreevich taught such masters of words as Nekrasov, Saltykov-Shchedrin, Ostrovsky. In our time, Krylov's fables have found a new ... They are still fighting bigotry and hypocrisy, vulgarity and arrogance - this is the secret of their longevity.

Shlyapnikova Elvira Grade 6

Research work on the work of I.A. Krylov. Why are some animal images common and others not? What human qualities are reflected in them? Why does I.A. Krylov use them in his Fables?

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Municipal educational institution "Secondary school of Preobrazhenka village

Pugachevsky district

Saratov region "

Research project

Frequency of animal images

In the fables of I.A. Krylov.

Completed by a 6th grade student

Shlyapnikova Elvira.

Supervisor

teacher of Russian language and literature

Kurkutova E.A.

2012 - 2013 academic year

1. Introduction. P. 3
2. Main part. Pages 3 - 8
3. Conclusion. Page 9
4. Bibliography. Page 10

Introduction.

Amusingly, he corrected people.
Sweeping away the dust from them;
He glorified himself with fables,
And this glory is our true story.
And they will not forget this.
While they speak in Russian:
We have hardened it long ago,
Her grandchildren will harden her.
Book. P. Vyazemsky

In literature lessons from elementary grades, we study the fables of I.A. Krylov, get acquainted with the techniques of allegory. Meeting images of the same animals, I became interested in the following question: what animals are most often found in fables, what qualities of their nature are the most typical? The purpose of my research project was to analyze the well-known fables of I.A. Krylov from this position. The fundamental question was: what is the frequency of images of animals in the fables of I.A. Krylov? After studying theoretical material and working on fables, I came to the conclusion: most often the writer uses those images of animals, the qualities of which correspond to the most common among human society.

Research results.A fable, according to the definition from the dictionary, is "a short story that has an allegorical meaning." For the purpose of allegory, fabulists of different times used images of animals and even objects. For artistic, and sometimes for censorship reasons, people in the fable are replaced by animals endowed with separate human traits: cowardice, courage, kindness, courage, etc. Aesop, Phaedrus, Lafontaine, Lessing. I.A. Krylov inherited this tradition from his predecessors. 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.It is generally accepted thatimageeach animal in the fabulist is an allegory of some human character trait, for example, a Monkey, a Pig - an allegory of ignorance; Donkey is nonsense; Cat - tricks; Rooster, Cuckoo - mediocrity, etc. In fables for Krylov, not only morality is important as the highest category of human behavior in society, in many respects Krylov is a follower of La Fontaine, a picturesque fabulist. We read Krylov's fables not because of morality, but because of the most interesting and witty story presented. Therefore, one can disagree with the fact that the image of an animal in Krylov is just an allegory of one human vice. In most cases, the image of an animal in Krylov includes a set of certain qualities and properties that make up a certain human character.

So what are the most common images? I read 118 fables and thought that the most common image is the Wolf, he is the hero of 14 fables. Fox meets 12 times, Leo - 10, Donkey, Dog, Sheep - 7, followed by Monkey, Cat, Bear, Snake - 5 times.

Why does the Wolf take first place? What is interesting in this image? What qualities does he possess? The wolf in the fable "The Wolf and the Lamb" is an omnipotent tyrant for whom there is no law but his own desire.

“Shut up! I'm tired of listening

Leisure for me to sort out your guilt, puppy!

You are to blame for the fact that I want to eat. "

He said and dragged the Lamb into the dark forest.

In "The Wolf in the Kennel" I see not only a desire to save my own skin, but also anger, impotence, and craftiness.

My wolf sits huddled in a corner with his backside,

With teeth snapping and bristling wool,

With his eyes, it seems, he would like to eat everyone ...

In the fable "The Wolf and the Crane" - ingratitude for help, cunning, the consciousness of their strength and impunity.

"Are you kidding? - the insidious beast cried, -

For your work? Oh, you ungrateful!

And it’s nothing that you have a long nose

And with a stupid head from his throat he took it away!

Come on, buddy, get out

But beware: do not come across to me ahead. "

In the fable "The Wolf and the Fox" - stupidity, bad luck.

And my gray knight,

Caressed over the ears by a godfather,

I went home without supper.

In the fable "The Lion and the Wolf" - greed, the desire to snatch a piece of meat without labor, the thought of the weakness of the powerful and the desire to humiliate them.

... the thought of the Wolf fell,

That Leo is certainly not strong

If so humble:

And he stretched out his paw to the lamb as well.

An came out badly with the Wolf:

He himself got to Leo on the dish.

The lion tore him to pieces ...

Based on this, we can conclude: the wolf in the fables of I.A. Krylov represents one of the worst qualities of a person, the fabulist opposed the eradication of which.

The second most frequent image is the Fox. Her character is not confined to only one line - cunning. She is resourceful, and cunning, and reasonable, and has a sense of humor.

In the fable "The Crow and the Fox" the main feature is cunning, the ability to find weak traits, flattery, the desire to profit at someone else's expense.

“My dear, how lovely!

What a neck, what eyes!

What pears! what a sock!

In the fable "The Fox and the Groundhog" there is a desire to justify oneself, to whitewash oneself, to present the victim for the truth.

“Should I take bribes? but if I get mad!

So that I was involved in this sin? "

In the fable "The Good Fox" - a discourse about compassion, mercy, pity, but only as long as it is beneficial.

“Listen to me: we will prove that in the forests

There are good hearts and what ... ”With these words

Poor babies all three ...

We got to the Lisa, to the bottom.

What gossip? - I ate them right away

And she didn’t finish the lesson.

In the fable "The Fox and the Grapes" is the ability to hide one's powerlessness behind offending others.

She went with annoyance and said: “Well then!

At a glance, he is good,

Yes, green - no ripe berries:

You will set your teeth on edge right away. "

In the fable "The Fox and the Donkey" - the ability to ironic.

"Split, smart, are you delirious, head?" ...

"But you didn't dare to touch Leo, of course?"

But sometimes, as in the fable "Fox" - a bobble, a hope at random, a desire not to sacrifice anything, even for the sake of saving one's own skin.

Do not spare a pinch of hairs of the Fox -

She'd have a tail left.

Also, in many fables, the Fox acts as an adviser: "Worldly gathering", "Pike", "Motley sheep", but her advice is always not without benefit to herself.

The conclusion is as follows: the image of the Fox carries the features of a person who knows how to adapt to the situation, who finds profit everywhere, ready for flattery and servility.

But the image of Leo, the king of beasts, is only in third place in terms of frequency. This, in my opinion, is due to the fact that he is a bearer of a certain set of qualities inherent in his position: he is the ruler of the forest, a tyrant and a judge, called upon to keep his subjects at bay, who knows how to profit from almost any situation: "Leo and Bars" , "Plague of Beasts", "Lion Fishing", "Lion and Wolf", "Lion and Fox". At the same time, he does not avoid the fate of all rulers in the event of a loss of strength: everyone can laugh at him, kick him, as in the fable "The Fox and the Donkey":

“All his former fear has disappeared to him,

And he paid off with old debts!

Whoever walked past Leo, everyone took out to him

In its own way:

Some with a tooth, some with horns ... "

The attitude of I.A. Krylov to the eternal companion of man - the Dog, which is in fourth place in terms of frequency, is very interesting. Usually the Dog is a devoted friend, protector. What is she like in fables?

In the fable "Dog Friendship" - the oath of eternal friendship does not stand the test of the first bone.

"My Orest!" - "My Pilad!" Away the quarrels, envy, anger!

Here the cook, unfortunately, threw a bone from the kitchen.

Here are new friends rushing to her:

Where did both advice and harmony go?

My Orestes squabbles with Pilad, -

As soon as the shreds fly up.

In the fable "Passers-by and Dogs" - these are empty flaws, instead of doing business, they are engaged in empty talk and condemnation.

In the fable "The Elephant and the Pug" is the ability to become famous for an empty deed, without prejudice to oneself.

“This is what gives me the spirit,

That I, absolutely no fight

I can get into big bully ... "

In the fable "Two Dogs" - the ability to adapt to the situation, forgetting about pride and self-respect.

“What do you serve? That's great! -

Juzhu answered with a sneer, -

I walk on my hind legs. "

In the fable "The Dog and the Horse" there is a desire to show oneself as more significant than he really is.

“And can you be equal in what with me?

Neither day nor night I know no peace:

In the afternoon, the herd under my supervision in the meadow,

And at night I guard the house ", -

“Of course, - the Horse answered, -

Your speech is true:

However, if I had not plowed,

Then there was nothing for you here to guard. "

Closeness to a person makes the Dog an empty creature, having adopted the worst traits of its patron.

Next to the Dog is a Donkey, the brightest features of which are stupidity, categorical judgments, boasting, high self-esteem. In each fable these features are emphasized especially: "Parnassus", "Donkey and Nightingale", "Donkey", "Donkey and Man".

All these representatives of the animal world belong to the leadership class, but the most meek, harmless, unable to stand up for themselves are Sheep, who often do not even have the right to vote, are most often used in the plural (with the exception of the fable "The Wolf and the Lamb", where the hero even tries to argue with the Wolf: "Oh, what am I to blame?" and "The Snake and the Sheep", in which the lamb also asks the Snake: "What have I done to you?"). We meet the image of the Sheep in 7 fables: "The Wolf and the Lamb", "The World Gathering", "Plague of Animals", "Sheep and Dogs", "The Snake and the Sheep", "The Peasant and the Sheep", "The Motley Sheep". Probably only about these heroes the author speaks without irony, expresses sympathy and condemns those who oppress them.

Among those found in the five fables (Monkey, Cat, Bear, Snake), the Bear is the most interesting. It embodies the features of innocence, reaching the point of stupidity, friendliness, a desire to help. But they all resemble the well-known phraseological unit - a disservice (services, which ultimately entailed negative consequences for the one to whom it was rendered). In the fable "The Hermit and the Bear" I.A. Krylov writes:

Although the service is dear to us in need,

But not everyone knows how to take it:

God forbid to contact a fool!

An obliging fool is more dangerous than an enemy.

In the fable "The Bear in the Nets", the hero trying to justify himself says:

"That of all the beasts I am only one

No one will make a reproach

So that I touch a dead person. "

To which he gets the answer:

“So you'd better eat the dead

And he left the living alone. "

The next most frequently used are Eagle, Mouse, Bee (in four fables), Pike, Cuckoo (in three fables), Crow, Chicken, Frog, Ox, Ant, Rooster, Elephant, Nightingale, Pig, Starling, Fly, Squirrel, Spider , Goat, Horse (in two fables). Once we meet Tit, Leopard, Dragonfly, Marmot, Hare, Geese, Thrush, Mole, Cancer, Rat, Siskin, Dove, Crane. Birds, in comparison with animals, are less likely to participate in the plots of fables.

Conclusion.

So, I came to the conclusion that Krylov's images of animals are not just allegories of any one human trait; many of them convey a multifaceted human character, represent a certain class type. The lion is always the king; Wolf, Fox, Bear - court nobles, officials; Lamb, Sheep - "little" people standing at the very bottom of the social ladder: petty officials, peasants. Often the human character that the beast is endowed with in the fable of I.A. Krylov merges with its social characteristics, and then we face real social types existing in society. And the frequency of the use of this or that image tells us about what human traits the satire is directed against, what the writer is struggling with, whom he wants to ridicule. The fabulist creates living, typical, realistic characters, generalizing and typing the very situation in which they act. This is the realism, innovation and immortality of I. A. Krylov's fables

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Slide captions:

The frequency of images of animals in IA Krylov's fables was performed by a student of the 6th grade of the Secondary School of Preobrazhenka, Elvira Shlyapnikova, supervisor, E.A. Kurkutova. Research project

The fundamental question: what is the frequency of images of animals in the fables of I.A. Krylov?

Basnya - a poetic or prosaic literary work of a moralizing, satirical character aesop lafontaine lessing

What kind of animals are found most often? Wolf - 14 fables Fox - 12 fables Leo - 10 fables Donkey, Dog, Sheep - 7 fables Monkey, Cat, Bear, Snake - 5 fables

wolf tyranny, lawlessness, bitterness, powerlessness, deceit. ingratitude for help, deceit, consciousness of their strength and impunity. stupidity, bad luck greed, the desire to snatch a piece of meat without labor

The fox is cunning, the ability to find weak traits, flattery, the desire to profit at someone else's expense, the desire to justify oneself, to whitewash oneself, to present to the victim for the truth reasoning about compassion, mercy, pity, but only as long as it is beneficial to the ability to hide one's powerlessness behind offending others. ironic bobble, hope at random, the desire not to sacrifice anything even for the sake of saving your own skin

lion ruler tyrant judge

dog gibberish adaptation to the situation desire to be more significant

donkey stupidity categorical judgments bragging high self-esteem

bear innocence, reaching the point of stupidity friendliness desire to help

CONCLUSION: the fabulist creates living, typical, realistic characters, generalizing and typing the very situation in which they act, the images of animals convey a multifaceted human character, represent a certain class type

Slide 2

Epigraph

Amusingly, he corrected people, Sweeping away the dust from their vices; He glorified himself with fables, And this glory is our true story. And they will not forget this, While they speak in Russian: We have hardened her long ago, Her grandchildren will harden her. Book. P. Vyazemsky

Slide 3

KRYLOV Ivan Andreevich Russian fabulist, playwright, journalist. Member of the Society of Lovers of Russian Literature (1816), full member of the Russian Academy (1811), St. Petersburg Academy of Sciences (1841). In 1809, the first book of Krylov's fables was published. In total, he wrote about 200 fables. Krylov's fables quickly became widely known, already in 1824 a two-volume edition of his fables was published in Paris, translated into French and Italian. This was followed by translations into most European languages.

Slide 4

A fable is a small work, written in poetry or prose, in which there is a mockery of some bad or stupid act. In fables, animals usually act, in the form of which we easily recognize people.

Slide 5

Krylov inherited the tradition of identifying people with animals from his predecessors. For the purpose of allegory, fabulists of different times used images of animals and even objects. For artistic reasons (and sometimes for censorship), people in fables are replaced by animals endowed with individual human traits: cowardice, courage, kindness, courage, etc. Such allegorical images of animals, that is, animals that personify some one trait human character, were widely used in their fables by Aesop, La Fontaine, Lessing. But the images of animals in Krylov play a more important role - they carry not only individual features, but also whole characters.

Slide 6

Man is inseparable from his social position, and through the images of animals you can see representatives of various social levels. Tsars, nobles, officials, “little people” also found their metaphorical reflection in the images of animals by Krylov. For example, in the fable “The Lion and the Bars”, where the lion “and the leopard are the upper strata of society, the fox and the cat are officials. This can also include the fable“ The Wolf and the Lamb. ”“ The strong is always guilty of the powerless, ”says morality. is used not only as an allegory of weakness and defenselessness, but this image also appears as a metaphor for a certain social level, possibly of minor officials.

Slide 7

Sometimes Krylov sneers not only at social vices, but also at the very pillar of the social ladder - state institutions. For this, images of animals are used. An example is the fable “The Quartet”, where the State Council, created in 1801, and its four departments are parodied: the Mischievous Monkey, the Donkey, the Goat Yes, the clumsy Bear. They started to play the Quartet.

Slide 8

In the fable "The Crow and the Fox" Krylov ridicules in the image of the Crow the vain, arrogant, striving for glory, for honor of people, and in the image of the Fox those who achieve their goal by cunning and flattery.

Slide 9

"Pig under the oak"

The ignorant, also blinded, Scolds science and learning, And all scientific works, Without feeling that he is partaking of their fruits. Krylov makes fun of the stupidity of an uneducated person.

Slide 10

"Mirror and the Monkey"

The stupid and uneducated Monkey did not recognize himself in the Mirror and laughed at his own antics. The calm and sensible Bear gave her advice: "What should be considered gossips to work, Isn't it better to turn to yourself, godfather?"

Slide 11

"Dragonfly and Ant"

The dragonfly, having fun all summer, simply does not think about what awaits her in the cold autumn and winter. The hard worker Ant understands that he will die in cold and hunger without an anthill and supplies. The ant is the personification of industriousness, the dragonfly is the personification of idleness and frivolity.

Slide 12

"Elephant and Pug"

Ay, Pug, to know she is strong, What barks at the Elephant! The Pug's inner weakness makes it bark at the Elephant - while realizing that there will be no reaction to the barking - from the Elephant. That is, the Pug does not try to stop the Elephant, but rather uses its movement as an excuse for its own "advancement" in the minds of other dogs. She understands her powerlessness and does not at all strive for a real fight: she would only become famous, “get into big bullies.” It is easy for the reader to apply the conclusion of this fable to human relationships and characters.