slide 4

Tasks:

▪ determine the features of the fable as a genre of literature;

▪ find out how the fable developed;

▪ identify points of contact between fabulists of different times;

▪ compare the fables of I. A. Krylov and Mikhalkov. S. V.;

▪ to prove that the fable as a genre occupies a worthy place in our modern literature.

Slide 5

Research methods:

▪ bibliographic;

▪ research;

▪ analysis (fables).

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Relevance.

The fables reflected those human qualities that people themselves perceive as vices and shortcomings and are trying in every way to eradicate them. Evil is always very tenacious, and therefore today we laugh at hypocrisy, stinginess, parasitism, resourcefulness, stupidity, skillfully shown by fabulists in their works several centuries ago.

Slide 7

Hypothesis. The fable as a genre of literature has its own genre features, its own history of development and

importance in the modern world.

Work plan

1. Fable: history and features of the genre.

2. About the fables of I. A. Krylov and S. V. Mikhalkov.

3. Comparison of fables by I. A. Krylov and S. V. Mikhalkov.

Slide 8

1. Fable: history and features of the genre.

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

Fable - this ancient Russian word is connected by origin with the disappeared verb BATI (to speak) and originally meant "story, fairy tale".

Slide 9

The emergence of the fable as a genre dates back to the 5th century BC, and the slave Aesop (VI-V centuries BC) is considered its creator. Aesop lived more than 2.5 thousand years ago; he wrote his fables in prose. Wit and resourcefulness glorified his name for centuries. It is believed that he was the first to write fables - he discovered the language of allegory, when the poet does not speak directly, but in hints. This allegorical form of expressing one's thoughts was subsequently called the "Aesopian language". Only around the 2nd century BC. e. fables began to be written down, including Aesop's fables.

In ancient times, the famous fabulist was the ancient Roman poet Horace (65-8 BC). AT Ancient Rome fables on Latin Created by Phaedrus. Many of his fables are adaptations of Aesop's fables. In Europe, the Frenchman J. Lafontaine became famous for his fables, in England - T. Moore.

Slide 10

In the 17th century French writer Lafontaine (1621-1695) revived the fable genre again. Many of the fables of Jean de La Fontaine 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.

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In Russian literature, the foundations of the national fable tradition were laid by A.P. Sumarokov (1717-1777). His poetic motto was the words: "As long as I do not fade with decrepitude or death, I will not stop writing against vices ...". The pinnacle in the development of the genre was the fables of I.A. Krylov (1769-1844), which absorbed the experience of two and a half millennia.

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2. About the fables of I.A. Krylova

Ivan Andreevich Krylov - famous Russian poet-fabulist of the 19th century, academician of the St. Petersburg Academy of Sciences (1841). He published satirical magazines "Mail of Spirits" (1789), etc. He wrote tragedies and comedies, opera librettos. Between 1809 and 1843 he created more than 200 fables imbued with a democratic spirit, distinguished by their satirical poignancy and vivid and well-aimed language. They denounced social and human vices. N.V. Gogol called the fables of I. Krylov "... the book of the wisdom of the people themselves." Many events are reflected in his works. public life this period, in which he strives to make people cleaner, kinder and more honest. In his fables, you can see not only your shortcomings, but also ways to correct them.

In his fables, I. A. Krylov ridicules the vices of human life: cowardice, cunning, greed, stupidity and more.

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In 18th-century Germany, 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. Lessing declares literary war on La Fontaine: “The narrative in the fable,” he writes, “...should be compressed to the utmost; deprived of all ornaments and figures, she must be content with clarity alone" ("Abhandlungenuberdie Fabel" - Discourses on the fable, 1759).

Slide 14

Fables were also written by L.N. Tolstoy (1828-1910). For example, his fable "Two Comrades", which speaks of two friends. One day they were walking through the forest. A bear jumped out at them. One boy rushed to run, climbed a tree and hid, and left his comrade. The second boy had nothing to do - fell to the ground and pretended to be dead. The bear came up to him and began to sniff. The bear thought the boy was dead and walked away. When the bear left, the first boy got down from the tree and laughs: "Well, what did the bear say in your ear?" "And he told me that bad people those who run away from their comrades in trouble." This is a lesson, a conclusion. Proverbs are suitable for this fable: "A friend is known in trouble." - "Die yourself, but help a friend out." - "Always help a comrade - help him out in trouble."

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The following features of the fable should be highlighted:

a) morality;

B) allegorical (allegorical) meaning;

C) the typicality of the described situation;

D) characters-characters;

D) ridicule human vices and shortcomings.

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In addition, there are ironic, parodic fables of Kuzma Prutkov, A.K. Tolstoy, the Zhemchuzhnikov brothers, the revolutionary fables of Demyan Bedny.

The Soviet poet Sergei Mikhalkov, whom young readers know as the author of Uncle Styopa, revived the fable genre, found his own interesting style modern fable.

Kuzma Prutkov

Sergei Mikhalkov

Slide 17

About the fables of S. V. Mikhalkov.

Sergey Vladimirovich Mikhalkov (28.02.1913-27.08.2009) - a classic of Russian children's literature of the 20th century, poet, fabulist, playwright, prominent public figure, author of two hymns Soviet Union and anthem Russian Federation, Chairman of the Executive Committee of the International Community of Writers' Unions.

Widely known and recognized is the great work of S. V. Mikhalkov in the field of fable - this oldest, tested literary genre. The poet continued the tradition of the Russian classical fable, scourge of negative phenomena in everyday life and customs, ridiculing unattractive traits in a person’s character and actions.

Mikhalkov wrote more than 200 fables.

The fables of S. V. Mikhalkov are easy and fun to read, because they are mostly humorous, but they have a certain meaning.

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3. Comparison of fables by I. A. Krylov and S. V. Mikhalkov.

We will consider fables from I.A. Krylov (19th century) and S.V. Mikhalkov (20th century) and find their similarities and differences.

Fable I.A. Krylov "Dragonfly and Ant".

Krylov borrowed the idea of ​​a fable about a dragonfly and an ant from the fabulist La Fontaine, who, in turn, spied on the plot from the no less famous ancient Greek writer Aesop. The ant symbolizes industriousness and it is not surprising, because this genus is famous for its efficiency, at any time of the year they work hard. Dragonfly, on the contrary, is associated with frivolity. The moral of the fable is simple: if you don’t want to freeze and starve in winter, work in summer.

Slide 19

Fable S.V. Mikhalkov "White Gloves".

White gloves appeared on the rook bird. He was proud that only he had such beauty. The birds gathered to fly to work, collect all sorts of bugs, and eat, but the rook remained at home. How is it so dirty white gloves? The birds worked hard for the day, returned back, and the rook in his gloves sits hungry, hungry, and so insolent that he asked the birds to feed him. The birds refused such impudent, sang songs and went to bed, and the rook sat and sat, and even ate a glove from hunger. So it turns out that things will not make anyone special, but it is better for everyone to work and relax together.

As we can see, laziness, irresponsibility, unwillingness to work are condemned in both fables. And although the characters and actions are different, the moral here is the same: "Don't be lazy, but work hard." This is also confirmed by the Russian folk proverb “Without labor, you can’t even take a fish out of the pond.”

Slide 20

V. A. Zhukovsky in the article "On the fable and fables of Krylov" indicated four main features of the fable.

The first feature of the fable is character traits, how one animal differs from another: “Animals represent a person in it, but a person in some respects only, with some properties, and each animal, having its own inherent permanent character, is, so to speak , ready and for everyone a clear image of both a person and the character that belongs to him. You make the wolf act - I see bloodthirsty predator; bring a fox on stage - I see a flatterer or a deceiver ... ". So, the Donkey personifies stupidity, the Pig - ignorance, the Elephant - sluggishness, the Dragonfly - frivolity. According to Zhukovsky, the task of the fable is to help the reader on simple example deal with difficult life situations

The second feature of the fable, Zhukovsky writes, is that "transferring the reader's imagination to a new dreamy world, you give him the pleasure of comparing the fictional with the existing (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 characters.

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The third feature of the fable is a moral lesson, morality, condemning negative quality character. “A fable is a moral lesson that you give to a person with the help of cattle 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 severe sentence. over himself," writes Zhukovsky.

The fourth feature is that objects and animals act instead of people in the fable. "To the stage on which we are accustomed to seeing acting human, you bring out by the power of poetry such creations that are essentially removed from it by nature, miraculousness, just as pleasant for us as in the epic poem the action of supernatural forces, spirits, sylphs, gnomes and the like. The strikingness of the miraculous is communicated in a certain way to the morality that is hidden under it by the poet; and the reader, in order to reach this morality, agrees to accept the very miraculous as natural.

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Now let's compare Krylov's fables "The Mirror and the Monkey" and Mikhalkov's "Mirror".

The fable “The Mirror and the Monkey” in its content ridicules the stupidity, causticity, tactlessness of the Monkey, who in the mirror “seeing her own image”, did not want to recognize herself and asked the Bear: “Kum, my dear, what kind of mug is that?” And then she remembered “among her gossips there are five or six such wimps.” I heard in response good advice Mishenki: “What are the gossips to consider working, isn’t it better to turn around for yourself, godfather?”

A similar theme is revealed in Mikhalkov's fable "Mirror". One cheeky Rhino constantly taunted other animals. Then he shouted to Giraffe: “Uncle, get a sparrow!” Then he pestered the poor Ostrich: “Hey, you, unplucked, what kind of bird are you, if you can’t fly!”

The animals are tired of these ridicule, and they decided to teach the impudent a lesson. And here comes the mirror. The animals placed him in front of the Rhino, so that he would take a closer look at himself. The rhinoceros laughed for a long time and shouted: “What kind of ugly thing is this there?” But he never realized that it was him. Well, everyone decided that the Rhino was “stupid as a cork,” and stopped being offended.

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If in the first pairs of fables the moral is similar, then in the next pairs the same heroes appear. So the Rooster becomes the center of attention both in Krylov's fable "The Rooster and the Pearly Grain", and in Mikhalkov's fable "The Stubborn Rooster".

The hero of Ivan Krylov found a sparkling pearl in a dunghill and kept wondering:

"What an empty thing!"

Whether business barley grain!

“It is not so visible, but satisfying.”

“The ignoramuses judge exactly like this:

What's the point they don't understand

That’s all they have a trifle”: condemns Rooster Krylov.

slide 24

In the fable of Sergei Mikhalkov, the Rooster, seeing an eagle soaring in the sky, began to boast: “Why am I not an eagle?” Those who were afraid of him, chickens and a puppy, agreed with him. But the Cat snorted indignantly: “I can climb high even without wings!” - and climbed a tree.

The rooster got angry, ran away, flapped his wings and ... "find himself riding a pig." Frightened by waking up, Piggy jumped up and rushed under the bench. A bucket of water standing there covered the Rooster. After that, he became like a wet chicken. But, having dried himself in the sun, he again began to shout: “Am I an eagle or not an eagle?”

Yes, self-conceit and stubbornness are akin to ignorance.

Slide 25

4. Why do the fables of I. A. Krylov and S. V. Mikhalkov not lose their relevance? So my

the study confirmed the idea that the fable, having gone through a long path of development, is still alive today. Why?

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The works of the remarkable Russian fabulist of the 19th century I.A. Krylov, and S.V. Mikhalkov, fabulist of the 20th century, have worldwide fame. Fables in the 19th century aroused admiration and wide interest, and they do not lose their relevance even now. What is the reason for such amazing vitality of these short poetic stories?

It was not in vain that Gogol called Krylov's fables "the book of the wisdom of the people themselves", because they reflected those human qualities that people themselves perceive as vices and shortcomings and are trying to eradicate by all means. Animals and things that speak a language we understand, with characters that we can easily notice in our friends and those around us, help us to take a critical look at ourselves, to become more honest, kinder, more hardworking. However, evil is always very tenacious, and therefore today, when reading Mikhalkov's fables, we also laugh at the hypocrisy, stinginess, parasitism, resourcefulness, stupidity, masterfully shown by Krylov in his works 150-200 years ago.

The second reason for the "longevity" of fables is the accurate, precise and vivid language of poets. That is why most of the fables are remembered without any difficulty, which is why many lines from Krylov's fables have become aphorisms that we still use in everyday life today.

Slide 27

Krylov's fables became widely known during his lifetime, but are still very popular, because the topics he touched on and the allegorical images he created remain relevant today. His fables embody the folk ideals of diligence, nobility, honesty, disinterestedness, kindness and justice.

A. S. Pushkin found in Krylov’s fables the distinctive properties of the Russian people: “a cheerful cunning of the mind, mockery and a picturesque way of expressing themselves.” The fables of S. V. Mikhalkov are also distinguished by this quality.

You need to have real talent in order to be able to show the whole character so brightly and briefly, in two lines, as Krylov did. Krylov wrote so simply, intelligibly, that every person easily remembers the wonderful language of his fables, recognizes the Russian character in the heroes. In his works, Krylov, defending the ideals of goodness and justice, selflessness and hard work, caustically ridicules cunning, laziness, stupidity, stubbornness, cowardice.

Slide 28

For example, in the fables "Quartet", "Swan, Pike and Cancer" he criticizes the lack of elementary skills and consent, without which good results cannot be achieved. And "The Wolf and the Lamb" is an evil satire in which the author criticizes the immorality, despotism and arbitrariness of the authorities: "The strong are always to blame for the weak."

The huge success and popularity of the fables of I. A. Krylov can be explained by the fact that the author presented in his works the whole of Russian life and evaluated it from the point of view of the common people. In his fables, Krylov responded to the events of contemporary life, but they do not lose their relevance, because real, poetically strong words and truthful images forever become the property of the people. AT language means, images of Krylov comes from folklore, but at the same time, thanks to accuracy, accuracy, simplicity, many lines of his fables entered colloquial Russian speech, became proverbs and sayings, healed their own life: “And Vaska listens and eats”, “And you, friends, no matter how you sit down, everyone is not good at musicians”, “And the chest just opened”, “It is not without reason that they say that I. A. Krylov’s fables do not age. They are also interesting and useful for us, modern readers.

And everything valuable that is in the fables of I.A. Krylova, was continued and developed in his work by the representative of already Soviet literature S. V. Mikhalkov, which allows us to assert that fable creativity, having gone a long way of development, lives in our time. My hypothesis has been proven.

Lessons from Kugarchin teachers

I AM GOING TO THE LESSON

Lessons from Kugarchin teachers

The Kugarchinsky district of the Republic of Bashkortostan (the center is the village of Mrakovo) is located in the south of the republic, on the left bank of the Belaya River. This is a picturesque mountain and forest region. We introduce our readers to the pedagogical work of their colleagues living here.

A. GLUSHKOVA,
With. Aleksandrovka

Features of the fable genre

Fables I.A. Krylova

Rock is dedicated to the peculiarities of the fable genre and the study of I. Krylov's fables. Schoolchildren receive preliminary homework: read the fables (you can choose from three or four options) “Wolf and Lamb”, “Monkey and Glasses”, “Wolf in the Kennel”, “Dragonfly and Ant”, “Rooster and Pearly Grain”, “Elephant and Pug”, "Quartet", "Swan, Pike and Cancer", "Demyanov's Ear", "Pig under the Oak", "Cuckoo and Rooster"; underline the expressions that have become popular, make bookmarks.

The class should work in groups (there may be three or six, depending on the number of students in the class). It is more convenient to work with groups consisting of four people. The children are given three options.

I. Features of the fable genre (Work on cards in groups.)

General task. Compare fables written by three different authors. List the main features of the fable genre.

Card number 1

Compare three fables.

"The Crow and the Fox" by the Russian fabulist Ivan Andreevich Krylov (1769-1844).

Card number 2(information about the fabulists is repeated on all cards - A.G. )

"Fox and Grapes" Aesop, Jean de La Fontaine, Ivan Andreevich Krylov.

Card number 3

Compare three fables. List the main features of the fable genre.

Aesop -"The Old Man and Death".

Jean de La Fontaine- "Death and the Distressed".

Ivan Andreevich Krylov -"The Peasant and Death".

Pupils identify the following features of fables:

1. Animals often act in a fable. This fable is similar to a fairy tale about animals. The actions of animals resemble the actions of people. Sometimes people act in fables.

2. The fable depicts a short event of an instructive nature.

3. In a fable, the actions of heroes are often ridiculed.

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

Teacher. Let's compare our conclusions about the fable genre with the dictionary definition: “ Fable- a genre of satirical poetry, a small work, mostly poetic, of a moralizing nature. The fable allegorically depicts human actions and social relations. The introduction of dialogue into the fable gives it a touch of comedy. At the beginning of the fable there is sometimes an introduction, preparing the reader for further presentation; at the end of the fable, a brief summary is usually given, revealing its intention and called “morality” ... The characters of the fable, in addition to people, are most often animals, birds, fish, insects, plants ... The language of the fable is always simple.

What new did we learn about the fable from the definition given in the Poetic Dictionary?

A fable is a genre of satirical poetry. It allegorically (alegorically, not directly) depicts people and society. A fable usually consists of three parts: an introduction, a description of events, and a moral.

II. Features of the fables of I. Krylov (Working with the text according to the plan.)

1. Determine how fables with the same plot, written by Aesop, Lafontaine and Krylov, differ from each other.

2. Indicate what they have in common.

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

Teacher. When asked why he writes fables, Krylov replied: “This kind is understandable to everyone: both servants and children read it.” Refer to your cards. Compare Krylov's fables with those of Aesop and Lafontaine, find folk motifs in Krylov's fables.

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

The first card contains fables "A Crow and a fox".

Immediately striking is the difference in the name of Krylov's fable - "The Crow and the Fox". Krylov, traditionally portraying the Fox as cunning, quirky and resourceful, as in folk tales, makes the Raven a special female, which allows the Fox to make many compliments to her beauty. At the same time, the final epithet - king bird- testifies more to external virtues than to the possibilities of becoming “king over birds” (he never mentions the mind of the Crow and the Fox), like Aesop and La Fontaine.

The vocabulary of the Krylov's fable is full of folk expressive words and expressions, appeals, sayings: everything is not for the future; perched; close; cheat; dove; feathers; sock; little light; in the goiter breath stole. Morality is directed against flatterers, and not against fools, as in Aesop and La Fontaine.

The second card contains fables "The Fox and the Grapes".

In this fable by Krylov, morality is not at the beginning, but in the middle of the text. We meet a friend of ours folk tales gossip Fox, cunning, but not always lucky. There are many folk sayings, proverbs, sayings: gossip; eyes lit up; like yachts; breakaway; though the eye sees, but the tooth is numb; breaking through in vain; you will set your teeth on edge. Krylov's fable illustrates the proverb included in the text: "The eye sees, but the tooth is numb." Aesop's morality is more expansive: a powerless person blames circumstances. Lafontaine, on the contrary, condemns idle lamentations, complaints - therefore, a proud refusal is more understandable to him.

The third card compares fables "The Old Man and Death".

In the text of Lafontaine, two fables are given at once (see the names!) And three points of view: the author, Maecenas and Aesop. They are somewhat different from each other. Krylov follows the thought of Aesop. In Krylov's version, the problems of the Russian peasant are very recognizable: capitation, boyarshchina, dues- all these social troubles are named in the text. The vocabulary is also recognizable: deadwood; dragged along; shack; groaning and groaning; Down with; we have it not far off, but behind our shoulders; dumbfounded; bundle; sickening.

Krylov's accusations are directed not so much against a person as against the whole unfair way of life. Krylov's fable, like the fables of his predecessors, is philosophical, not social or moralizing.

III. Heroes of Krylov's fables

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

The Wolf and the Lamb Flattering Friends

Wolf in the kennel Ungrateful man

Dragonfly and Ant Recalcitrant friends

Elephant and Pug Incommensurability

Swan, Pike and Cancer Frivolity and seriousness

Pig under the Oak

Cuckoo and Rooster Predator and Prey

What human vices are ridiculed in the fables you read at home?

(Stupidity, ignorance, deceit, frivolity, ingratitude, importunity, intractability, inability, selfishness, flattery.)

What phrases and sentences of Krylov's fables have become popular expressions?

(“A flatterer will always find a corner in the heart”, “God sent a piece of cheese to a crow”, “Sing, little light, don’t be ashamed”, “For joy in the goiter, the breath suffocated”, “The strong is always to blame for the weak”, “Jumping Dragonfly red summer sang; before I could look back, how winter rolled into my eyes", "Have you been singing all the time? This is the case: so go and dance!", "Ay, Pug! Know she is strong, if she barks at an elephant "and others.)

Homework. Prepare an expressive reading of Krylov's fable (optional).

Butenko Anna, 7th grade student

Project work on literature "Fable. Features and history of the genre".

The goal is to study and analyze such a literary genre as a fable.

Tasks - to talk about the history and features of the fable, describe some fables and fabulists.

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Design work of a 7th grade student "R" GBOU school No. 1354 SWAO Moscow Butenko Anna Basnya. Features and history of the genre. Project leaders: Koroleva O.O., teacher of literature, Yarinich L.V., teacher of computer science

Goals and objectives The goal is to study and analyze such a literary genre as a fable. Tasks - to tell about the history and features of the fable, to describe some fables and fabulists.

Hypothesis The hypothesis of my project is the assumption that the fable is a modern and fairly popular genre of literature.

Fable - poetic or prose literary work moralizing, satirical. What is a fable

Along with myth, the fable was one of the oldest forms of thought and one of the oldest genres of verbal art. Origins of the fable

The ancient Greek sage Aesop, who lived in the 6th century BC, is considered the founder of the fable genre. Ancient Greece Aesop

Thanks to Aesop, the expression "Aesop's language" appeared in everyday life. Aesop's language, understandable to a sophisticated reader, made it possible to avoid persecution by the authorities and express forbidden thoughts using various techniques. Aesopian language

In the 17th century ancient genre was exalted by the French writer Jean de La Fontaine France Jean de La Fontaine

In Russia, the fable began to develop especially rapidly in the 18th century - in the work of V.K. Trediakovsky, A.P. Sumarokova, V.I. Maykova, I.I. Dmitrieva, I.I. Khemnitser, M.V. Lomonosov. Russian fable

The fables created by I.A. Krylov (1769-1844). Many expressions from Krylov's fables have become winged. I.A. Krylov

Sergey and Vlad Mirovich Mikhalk about in the Soviet writer, poet, fabulist S.V. Mikhalkov 1913-2009

Genre features fables The main features of the genre are narrative; fiction; edification. The composition of the fable is actually a story, a narrative; edification, moralizing, i.e. morality.

Genre features of the fable Types of fable according to the content and system of characters in the fable in which animals or plants (Aesopian) act; fables in which people act (sybaritic); fables in which both operate. mythological

At the end of the fable there is a brief moralizing conclusion - the so-called morality. In the fable, the vices of people are ridiculed. Irony - hidden mockery, allegory. Genre features of the fable

Allegory The allegory in the fable is that the main characters are animals. They don't have their own names. Behind their generalized images hide people with their characters and shortcomings.

B A C N I I.A. Krylov I.I. Dmitriev ( Early XIX century) Aesop (VI century) Jean de La Fontaine Fabulists Aesopian language Personification Allegory (allegory) Moral Instructive character Short story Kozma Petrovich Prutkov Demyan Poor (XX century) S. Mikhalkov (contemporary) V.K. Trediakovsky, A.D. Cantemir (mid-18th century)

Conclusion We definitely need fables. They contain a lot of ordinary worldly wisdom. These are not just humorous notes about the life of animals, plants, things and people. Before us is a genre of moralizing, created for the “correction of morals”, for education. Its goal is to name a vice, to educate on negative example. And therefore in fables there is always a moral - this is the name of the “conclusion”, which formulates the essence of the fable. The moral is usually stated. She doesn't have to guess. The issues involved in fables are eternal.

References Gasparov M. L. Antique literary fable - M., 1972. Grintzer P. A. Fables Wikipedia Gasparov M. L. Antique literary fable - M., 1972. Aesop. Commandments. Fables. Biography (translated by Gasparov M.L.). - Rostov-on-Don: Phoenix, 2003. - 288 p. G. N. Ermolenko. Renaissance traditions in "Tales" by J. de La Fontaine. Klassika.ru - portraits, biographies, texts famous people. Bibliography of the works of Sergei Mikhalkov.

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

The emergence of the fable as a genre dates back to the 5th century BC, and the slave Aesop (VI-V centuries BC) is considered its creator, who was unable to express his thoughts in a different way. This allegorical form of expressing one's thoughts was subsequently called the "Aesopian language". Only around the 2nd century BC. e. fables began to be written down, including Aesop's fables. In ancient times, the 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) revived the fable genre again. Many of the fables of Jean de La Fontaine 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 18th-century Germany, the poet Lessing (1729–1781) turned to the fable genre. Like Aesop, he writes fables in prose. For the French poet Lafontaine, the fable was a graceful short story, richly ornamented, "a poetic toy." It was, in the words of a Lessing fable, hunting bow, so covered with beautiful carvings that he lost his original purpose, becoming the decoration of the living room. Lessing declares a literary war on Lafontaine: "The narrative in the fable," he writes, "... must be compressed to the utmost possible; deprived of all ornaments and figures, it must be content with clarity alone" ("Abhandlungen uber die Fabel" - Discourses on the 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: "As long as I do not fade with decrepitude or death, I will not stop writing against vices ...". The fables of I.A. Krylov (1769–1844), which absorbed the experience of two and a half millennia, became the pinnacle in the development of the genre. In addition, there are ironic, parodic fables of Kozma Prutkov (A.K. Tolstoy and the Zhemchuzhnikov brothers), revolutionary fables of Demyan Bedny. The Soviet poet Sergei Mikhalkov, whom young readers know as the author of "Uncle Styopa", revived the fable genre, found his own interesting style of modern fable.

One of the features of fables is allegory: through conditional images, a certain social phenomenon. So, behind the image of Leo, traits of despotism, cruelty, injustice are often guessed. The fox is a synonym for cunning, lies and deceit.

It should be noted such features of the fable:
a) morality;
b) allegorical (allegorical) meaning;
c) the typicality of the described situation;
d) characters-characters;
e) ridicule of human vices and shortcomings.

V.A. Zhukovsky in the article "On the fable and fables of Krylov" pointed out four main features of the fable.
First fable feature - character traits, then how one animal differs from another: "Animals represent a person in it, but a person in some respects only, with some properties, and each animal, having with it its own inalienable permanent character, is, so to speak, ready-made and clear for everyone an image of both a person and a character belonging to him. You make a wolf act - I see a bloodthirsty predator; bring a fox onto the stage - I see a flatterer or a deceiver ... ". So, the Donkey personifies stupidity, the Pig - ignorance, the Elephant - sluggishness, the Dragonfly - frivolity. According to Zhukovsky, the task of a fable is to help the reader understand a difficult everyday situation using a simple example.
Second feature of the fable, writes Zhukovsky, is that "transferring the reader's imagination to new dreamy world, you give him the pleasure of comparing the fictional with the existing (which the first 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 characters.
Third feature of the fable moral lesson, morality condemning the character's negative quality. "There is a fable moral lesson which you give to man with the help of cattle and inanimate things; presenting to him as an example creatures that are different from him by nature and completely alien to him, you spare his vanity, you force him to judge impartially, and he insensitively pronounces a severe sentence on himself," writes Zhukovsky.
Fourth feature - instead of people in the fable, objects and animals act. "On the stage on which we are accustomed to seeing a person acting, you bring with the power of poetry such creations that are essentially removed from it by nature, miraculousness, just as pleasant for us as in the epic poem the action of supernatural forces, spirits, sylphs, gnomes and the like. The strikingness of the miraculous is communicated in a certain way to the morality that is hidden under it by the poet; and the reader, in order to reach this morality, agrees to take miraculousness itself for natural.

In this article, we will look at what a fable is, why it is needed, and also give a definition of a fable suitable for schoolchildren.

Fable It is a literary work of a moral nature. If to speak in simple words, then a fable is a work that contains morality (moralization) and ridicules the vices of people. At the same time, in fables, instead of people, the main characters are animals, things or plants. Products can be poetic form, and prosaic.

In fact, the fable is a very old one. literary genre. Aesop wrote fables as early as the 6th century BC, that is, more than 26 centuries ago. In Russia, the development of this genre began only in the middle of the 18th century, although the first works were written as early as the 17th century.

At the same time, the heyday of the genre in Russia fell on Krylov's fables. They were extremely picturesque, humorous and contained morality and ridicule of human vices, perfectly suited not only for that time, but even for the current one.

"Dragonfly and Ant": carelessness and unrestrained fun against diligence and responsibility; "Monkey and glasses": ignorant and narrow-minded people cannot hide their shortcomings through visual representation: glasses, costumes, and so on; "Swan, cancer and pike": everyone should do what they can or what they are good at.

If you have already forgotten the fables or are not yet familiar with them, we recommend that you familiarize yourself with the fables of famous authors, including Krylov. You will be able to learn a lot of new things.