Analysis of La Fontaine's fable, essays and term papers. Comparative analysis of the fables of Aesop, Lafontaine and I.A. Krylov

“Krylov The Dragonfly and the Ant” - “Did you keep singing? St. Petersburg Summer Garden. Literary reading lesson at 4 MOU class"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. A Crow and a 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 November 21, 1844 in St. Petersburg. What fables do you know? When did I. A. Krylov write the first fable? Fables are ridiculed: 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. Organizing time. 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).

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

La Fontaine's special merit in European literature is the 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 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 richness 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 keenest sympathy for the 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 ones lyric 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 being alive, oral history, 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 different artistic techniques: free composition, poetic form, 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 of the work.

Lafontaine's work is extremely multifaceted. The poet masters a variety of 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, which 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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 analysis of the fable the donkey and the nightingale fables Analysis I.A. Krylova “Donkey and Nightingale” Fable "The Donkey and the Nightingale" was written no later than 1811. She appeared fables came to light thanks to one story that happened to Krylov. Ivan Andreevich was well aware of his strength in the genre fables . One nobleman decided to personally meet the fabulist. He called him to his place and asked him to read two or three . Krylov artistically read several fables and between them one, borrowed from Lafontaine fables . The nobleman listened favorably

and thoughtfully asked why...

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3 Page I.A. Krylova “Donkey and Nightingale” Images of animals in the fables of Krylov and Saltykov-Shchedrin fables …………………………………………………………………… ….3 Chapter I. and fairy tales in the works of Russian writers………………………5 1.1. Characteristic and fairy tales as literary genres. General and different………………………………………………………………. ..8 2. Comparison of images of animal images in fables Krylov and fairy tales analysis of the fable the donkey and the nightingale Saltykova-Shchedrin

……………………………………………………..11 Chapter II. Creativity I.A. Krylov and M.E. Saltykov-Shchedrin….. 1. Creativity of I.A………………………………………………………………………………14 2. Krylova

Krylov's fables "Quartet"...

5955 Words | 24 Page Lafontaine Elementary education 24 Page Lafontaine received at a rural school. At the age of nineteen he was preparing to take holy orders, but prayers and The talented young man was of little interest in theology; he devoted much more time to reading romance novels. Not wanting to become a priest, abandoned his spiritual career and took up law. At this time he was studying ancient culture , met leading philosophical and 24 Page political theories

of his era. According to their own

philosophical views

was a deist... 983 Words | 4 Page 24 Page European fable from Aesop to Krylov I.A. Krylova “Donkey and Nightingale” Plan. 1. Introduction……………………………………………………………p.2 2. What is

fable

?........................................................ ................................p.4 3. Aesop………………………… …………………………………p.6 4. Jean de

……………………………………………………..p.8 5. I.A. Krylov…………………………………………………………..p.10 6. Conclusion…………………………………………………………………… …………p.12 7. List of references…………………………………..p.13 1. Introduction. 983 Words | from Aesop to Krylov. "Vulpes et uva" Fame coacta vulpes alta in vinea uvam adpetebat, summis saliens viribus. Quam tangere ut non potuit, discedens ait: "Nondum matura es; nolo acerbam sumere." Qui, facere quae non possunt, verbis elevant, adscribere hoc debebunt exemplum sibi. To the high vine, feeling hungry, the fox jumped in jumps - to get a bunch of grapes. But she couldn’t bear to take it - and she said this: “It’s not yet ripe - I don’t want to take the sour one.” If anyone wants powerlessness...

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Fables fables character. At the end contains a brief moralizing conclusion - the so-called morality. Characters animals usually perform plants, things. IN fable I.A. Krylova “Donkey and Nightingale” the vices of people are ridiculed. - one of the oldest literary genres. IN Ancient Greece fables Aesop was famous (VI-V centuries BC), who wrote 24 Page in prose. In Rome - Phaedrus (1st century AD). In India, the collection of fables "Panchatantra" dates back to the 3rd century. The most prominent fabulist of modern times was the French poet J.

(XVII century). IN...

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10 Page Lomonosov M.V. Fables fables in his difficult childhood, Mikhail Lomonosov knew the keys to a child’s heart, he could simply and easily reach him. His works addressed to the little ones readers, are more reminiscent of rhyming parables or . In these poems by Lomonosov for children there is a clear analogy with

fables

Aesop or Ivan Andreevich Krylov. They are also allegorical, metaphorical and also use animals as main characters. However, Lomonosov’s style is still heavy and clumsy, it’s a little difficult to read, but that doesn’t make it... 630 Words | 3 Page

Classicism as outstanding in its social and artistic value direction and epic belonged to the “high genres”, and had to be developed especially 983 Words | important issues

, resorting to ancient and historical subjects, and display only

sublime, heroic aspects of life. “High genres” were opposed to “low” ones: comedy,

, satire and others, designed to reflect modern reality. Each genre had its own theme (selection of themes), and each work was built according to the rules developed for this purpose. Mix the techniques of various literary works in a work... 5656 Words | 23 Page. Problems of the poetics of foreign literature. Russian-foreign literary connections 24 2. Goals and objectives of teaching the discipline 2.1 Goal: to contribute to the formation of modern scientific presentation about the specifics and patterns...

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course communication control your partner’s actions; use speech to regulate your actions; use adequately speech means to solve various communication tasks, build monologue statement , own a dialogical form of speech. As a result analysis PEP NOO, results of the Federal State Educational Standard, works of Elkonin D.B., Arefieva O.M. a number of actions were identified that determine the formation of universal communicative actions

and are of interest to us in the study: 1. The ability to listen - first of all...

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41 Page Istria literature . Krylov artistically read several fables and between them one, borrowed from Chapter 6. Baroque literature. Precision, free-thinking poetry. Everyday novel o Chapter 7. Dramaturgy of Pierre Corneille o Chapter 8. The tragedies of Jean Racine o Chapter 9. The comedies of Moliere o Chapter 10. The work of Jean de o Chapter 11. The work of Nicolas Boileau o Chapter 12. Prose of classicism o Chapter 13. The dispute between the ancient and the modern Section III. German literature o Chapter 14.

general characteristics

o Chapter 15. Poetry of Germany...

84867 Words | 340 Page analysis of the fable the donkey and the nightingale Book illustration

illustrations_____________________________________________6 1.2 History of the art of book illustration______________________________13 Chapter II. Creative

part.__________________________________________________________18 2.1 Famous illustrators_________________________________18 2.2

creativity of Daniil Kharms__________________________________________21 Chapter III. Technology for making illustrations._______________________26 3.1. Materials and tools used to create illustrations._____26 3.2. Description of the execution algorithm... 6206 Words | 25 Page Literature work program for 6th grade. 6206 Words | literate

analysis

read a work of fiction, develop the need for reading, for a book. Understand what you read as deeply as possible -

nature 4. approval of the idea of ​​statehood, an ideal hero 5. resolution of the conflict between personal feeling and public duty in favor of the latter. There is also a hierarchy of genres, dividing them into higher (tragedy, epic) and lower (comedy, 983 Words | , satire).

If we talk about aesthetic criteria, then in relation to the Renaissance - we have to admit - they reveal a certain impoverishment and loss of their former organicity. Renaissance classics sought balance at the height of the heroic...

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13 Page Talent and genius 5656 Words | giftedness - as a qualitatively unique combination of abilities (individual psychological characteristics), on which the possibility of success also depends

in activity. Sometimes abilities are considered innate, “given by nature.” However, scientific

shows that only inclinations can be innate, and abilities are the result of the development of inclinations. According to V.V. Klimenko: “The essence of talent is the ability to act; it should not be sought either in the special merits of the brain or in...

1588 Words | 7 Page , own a dialogical form of speech. As a result PROPOSED CIRCUMSTANCES 6206 Words | with their performance (film) “to expose and condemn cruelty,” but in fact, it turned out that “for some reason they glorified” it. Such an ideological “miss” begins from the first

steps

works, with a “distorted” definition of the theme. As a rule, such “unintentional” mistakes occur with a fussy and artisanal attitude towards the effective

. There is also a completely conscious departure from the author’s theme and idea, and then performances (films) appear that demonstrate the director’s and actor’s tyranny. So... 7312 Words | 30 Page Contextually determined word as an example of linguistic and cultural research 5656 Words | incorrect statement next question: “Why do we need poetry if we can speak in simple prose?”, since “prose is not simpler, but more complex than poetry.” For studying

the unified ideological and artistic nature of the verbal art of Yu.M. Lotman offers a structural

verse, which would allow us to overcome the disadvantage of trying to “build bridges between two

independent systems ". The 20th century gave Russia a poet, whose “fate and message” are distinguished by their scale, beyond doubt. Creativity... fables 6696 Words | 983 Words | uses images of animals to teach readers moral lessons, the purpose of the animal epic is - satirical image society and human follies. The genesis of the animal epic has not been studied enough, but it is reliably known...

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120 Page Explanatory note To work program

on literature for 5th grade. improve reading quality; contribute spiritual development and improvement of students; activate the artistic and aesthetic needs of children; 6206 Words | develop their literary taste; prepare them for independent aesthetic perception and works of literature; stimulate children's creative activity; build a skill expressive reading ; raise high moral feelings

and quality in the younger generation. These goals can be achieved by turning to artistic...

7021 Words | fables 29 Page fables 1.2 Genre : from Aesop to Krylov Genre fables has always occupied a significant place in the education of the younger generation. Before how to start defining a feature , I think it makes sense to first determine. "I.A. Krylova “Donkey and Nightingale” historical origin of this name- a short, most often poetic, moralizing story. The heroes of fables can be not only people, but also animals, plants, objects endowed with one or another

human qualities

. The fable narrative is allegorical...

2700 Words | 11 Page Life and biography of Gustave Moreau small canvases, usually painted on mythological and religious subjects. Between 1879 and 1883 he created four times as many paintings as for 18 . Krylov artistically read several fables and between them one, borrowed from previous years

(the most profitable for him was a series of 64 watercolors, created according to

fables for the Marseilles rich man Anthony Roy - for each watercolor Moreau received from 1000 to 1500 francs). And the artist’s career took off. In 1888, he was elected a member of the Academy of Fine Arts, and in 1892, 66-year-old Moreau became the head of one...»

3047 Words | 13 Page . Krylov artistically read several fables and between them one, borrowed from "French literature

17th century

TOPIC: "FRENCH LITERATURE OF THE 17TH CENTURY". PLAN: * Introduction.

sayings. Explain the figurative meaning of some of them “Elephant and Pug”; "Swan, Pike and Cancer"; "The Monkey and the Glasses." Continue with the examples yourself. Elephant and Moska - 983 Words | Krylova, which became a classic of the genre. Characters fables , with Krylov’s witty words embedded in them, perfectly convey the relationships of people on display. I.A. Krylova “Donkey and Nightingale” The Elephant and the Pug They led the Elephant through the streets, Apparently for show. It is known that Elephants are a curiosity among us, so crowds of onlookers followed the Elephant. No matter what, towards...

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Baitursynov biography turns into a weapon in the fight against politics monarchical Russia fables , which oppressed the Kyrgyz. Starting to translate Krylov, he primarily has in fables I see the great opportunity of fables for educating children and adults. He chooses the following for translation from Krylov: . Krylov artistically read several fables and between them one, borrowed from , which are understandable and consistent with the Kyrgyz spirit. If Belinsky said about Krylov: “Although he took the content of some of his fables from

, but one cannot call him a translator, “his exclusively Russian nature transformed everything into Russian...

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14 Page Issn_1997 2911_2013_11 2_30 Kritskaya Nadezhda Vadimovna JOHN GAY, ENGLISH plants, things. IN LAFONTAINE The article examines the substantive features of John Gay's fables. Turning to during the national heyday of the genre, Gay enriches its allegorical and didactic essence with a relevant understanding of natural philosophy, culture and

social order

of its time. An attempt at social typification of characters, the introduction into the text of elements of parody, allusions to folklore and literary materials, along with an understanding of “morality” as a tool...

2377 Words | 10 Page Ancient literature The US finds itself in a clear minority.” 2.Literature as a form of mass and fairy tales in the works of Russian writers………………………5 1.1. Characteristic . Krylov artistically read several fables and between them one, borrowed from information activities

antiquity. Occupies a special place in the humorous genre

- Aesop, who invented a special allegorical language. We see him and Aesop's plots in

, Krylova. Political satire is a literary genre that has been popular for many centuries. The tradition has passed through all eras of European culture, and until recently it was very popular in our country. The use of "Aesopian" language is typical in totalitarian... 1873 Words | , own a dialogical form of speech. As a result 8 Page 18th century journalism Khan Kuchum, Barabinskaya steppe. The author of these materials was most likely the publisher himself - editor Dmitry Korniliev. He also wrote “About Chinese trees pronouncing...

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“Lexico-stylistic analysis of a foreign language journalistic text using the example of the newspapers The Guardian and Le Figaro state autonomous educational institution higher professional education "National Research University" Higher School 5656 Words | Economics" Faculty: Media Communications GRADUATE WORK On the topic: "Lexico-stylistic

foreign-language journalistic text on the example of the newspapers The Guardian and Le Figaro" Student of group No. 446 Mazurina Elizaveta Nikolaevna Head of the graduate work, Associate Professor of the Faculty of Philology, Doctor of Philology. Plisetskaya Anna Dmitrievna Moscow, 2013 Contents I. Introduction...

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87 Page fables coursework on children I.A. Krylova “Donkey and Nightingale” Ι. History of the formation of the genre in world and Russian literature 1.1. fables as a literary genre: history of formation, fables genre features 4 1.2. Genre readers, are more reminiscent of rhyming parables or in the works of I. A. Krylov 10 ΙI. The artistic originality of I. A. Krylov’s fables 2.2. The artistic world of fables by I. A. Krylov 16 2.2. Linguistic features of I. A. Krylov’s fables 28 Conclusion 38 Literature 40 Introduction “The moral of this

such...", "Nightingale

they don’t feed” – these expressions are for us...

8606 Words | I.A. Krylova “Donkey and Nightingale” 35 Page Epicheskie proizvedenia-3 Introduction 3 Epic 4 Poem 4 Novel 8 Tale and story 14 Essay 15 16 Fairy tale 19 Myth 20 Legend. 21 Epics 21 Historical song

22 Proverb 23 Riddle 24 Life 26 Ballad 26 Anecdote 27 References: 29 Introduction The main thing is that it is the condition and basis of all

training sessions

in literature - this is reading a work. “The success of all work on literary literature depends largely on the organization of reading... 8451 Words | 34 Page Lupan Believe in your child built on French material . Krylov artistically read several fables and between them one, borrowed from fables : realities

French history

, European art, French literature and language. Therefore, during the translation there was

the need to replace some of the examples given by the author - so, instead of fables year his works were published in German translation. Many expressions from Krylov's fables have become popular expressions. Fables I. A. Krylov set to music. Early years Father, Andrei Prokhorovich Krylov (1736-1778), knew how to read and write, but “didn’t study science,” he served in a dragoon regiment, in 1772 he distinguished himself while defending the Yaitsky town from the Pugachevites, then was chairman...

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Talent and genius specific form materialism of that time, namely its mechanical nature. Conclusion. The most important acquisition of natural science in the 17th-18th centuries. appeared experimental method , own a dialogical form of speech. As a result and method , own a dialogical form of speech. As a result . Application of the method , own a dialogical form of speech. As a result , the use of experiment was determined by the great discoveries of natural science of that time. However, the method

began to gradually reveal his one-sidedness and limitations. The study of natural phenomena purely analytically, without the use of synthesis, has given rise to the habit among scientists of considering natural...

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12 Page Antique art comes to the swineherd Eumaeus (“Odyssey”). Loved in 983 Words | folk art and fairy tales in the works of Russian writers………………………5 1.1. Characteristic And , a work containing a teaching in an allegorical form. IN, where animals usually operate is expressed folk wisdom Fables common sense , dreams of justice. arose in the pre-Homeric era, and were reflected in the works of later writers. In the poem "Works and Days" by Hesiod we see , dreams of justice. fable

about the nightingale and the hawk. The lyric poet Archilochus expounds

about the friendship of a fox and an eagle. In Greece there were collections of fables, short...

7376 Words | analysis of the fable the donkey and the nightingale 30 Page PLANNING 5 literature work. poems according to plan. Drawing up a table “Kinds and genres of literature.” Independent work. Preparing expressive reading fables poems by heart. Drawing up a plan to answer the question “What humorous elements does the author use in the poem?” Searching for information about fabulists in reference literature and Internet resources, selecting and presenting the information received. From fables literature of the 19th century

centuries (42 hours) Genre

in world literature (4 hours) 17 09.10. Ext. Thurs. Genre

in the world... 11523 Words | 24 Page . He had not yet written his fables, but had already become famous as a poet who sang the beauty of another famous palace, rebuilt by the superintendent of finance, Nicolas Fouquet, who, by order of the king, was now serving a life sentence. He was not forgiven: Fouquet encroached...

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Lupan Sesil Pover v svoyo ditya built on French material: the realities of French history, European art, French literature and language. Therefore, during the translation there was . Krylov artistically read several fables and between them one, borrowed from the need to replace some of the examples given by the author - so, instead of fables fables the Russian edition discusses

I. A. Krylova; instead of poems by French poets, which, according to S. Lupan, should help children understand the meaning of certain “eternal” problems (love, death, etc.), in some cases others are used that are more understandable to the child...

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325 Page Vfnfnfn characterized by emotional activity, a highly developed imagination, and objective perception, which characterizes “naive realism.” the main objective , own a dialogical form of speech. As a result studying course in these classes - learn to read a work of fiction, use elements literary text. Working on works selected for these classes provides an opportunity to expand and deepen

life experience

schoolchildren, lays and shapes their artistic taste and reading interests. Building a course for grades 5-6... 9117 Words |

37 Page Literal and non-literal translation. , own a dialogical form of speech. As a result French original." This attitude to translation was later called the "theory of untranslatability", it did not abolish translation practice, because translators continued to perform an “impossible” task. But this was an obstacle to the linguistic

translation.

The situation changed by the mid-twentieth century, when linguists began systematically studying

translation activities . This was due to the fact that during this period the translation of political, commercial... , dreams of justice. 6307 Words |

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fables

was strong, He churned butter out of sour cream overnight And, pushing off, jumped out towards dawn... x x x fables To everyone who puts perseverance, labor and ardor to good use, I jokingly dedicate . Krylov artistically read several fables and between them one, borrowed from this one! THE NEEDED DONKEY Lunch was given at Vol's. fabulist. Dmitriev was absolutely delighted. “This is your family, you found it,” he said to Krylov. More and more new ones began to appear in magazines fables Krylova. Collections of his fables began to be published in separate editions, the total circulation of which, during Krylov’s lifetime, reached a figure that was completely unheard of and unprecedented for that time - 77 thousand copies. During the same time fables Krylova...

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Zoom metaphor in general English slang units expresses unique, nationally specific meanings. National-cultural semantics is reflected in phraseological units , etymologically for 18 dating back to precedent texts, among which priority belongs to Russian linguistic culture

I. A. Krylova - a jumping dragonfly, I didn’t even notice the elephant; as well as the works of N.V. Gogol - to take greyhound puppies, M.E. Saltykov-Shchedrin - the wise gudgeon, the idealistic crucian carp, the eagle-philanthropist, in English - the artistic works of such...

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33 Page The problem of man in the philosophy and literature of modern times 983 Words | classicism established a hierarchy of genres - “high” (tragedy, epic, ode; historical, mythological, religious picture, etc.) and “low” (comedy, satire,; genre painting, etc.). In the literature of this period (the tragedies of P. Corneille, J. Racine, Voltaire, the comedies of Moliere, the poem " fables Poetic art . Krylov artistically read several fables and between them one, borrowed from "and the satires of N. Boileau,

AND.

, prose by F. La Rochefoucauld, J. La Bruyère in France, works of the Weimar period by I.V. Goethe and F. Schiller in Germany, odes to M.V. Lomonosov and G.R. Derzhavin, tragedies...

5750 Words | 23 Page Baroque and classicism legal values ​​and norms. , own a dialogical form of speech. As a result The most important quality

a person relies on his mind.

In the 17th century, a consciousness characteristic of the New Age was formed

personality. The individual becomes interesting in itself, turning into an object of observation and psychological . According to the German philosopher Romano Guardini, a sense of the humanly exceptional awakens. If in the Middle Ages man, first of all, remained God’s creation, called to fulfill the external will, then in modern times the sense of “I” awakens completely... fables . Krylov artistically read several fables and between them one, borrowed from 4477 Words | fables Krylov “The Crow and the Fox.”

However, quotes and allusions to works of Russian literature appear in Dostoevsky’s text not only where they only replace quotes and allusions to works used by Balzac himself... La Fontaine dedicated the 1668 edition of “Fables” to the six-year-old Dauphin, son of Louis XIV. This circumstance sometimes leads to the erroneous opinion that "Fables" are intended for children's reading

. In fact, these are fables for adults. Lafontaine is a deep and thoughtful artist, an attentive observer of life, reflecting it truthfully, he is a freethinking philosopher, a convinced follower of Gassendi. Gassendi's philosophy has had decisive influence on the formation of Lafontaine's worldview. Libertarian freethinkers, opponents of scholastic philosophy and ethics, were carriers of advanced materialist thought. This was also manifested in their views on the nature of man, the purpose of whose existence they saw in pleasure, understood not as the reliable satisfaction of physical desires, but as the satisfaction of high spiritual needs. Pleasure is a state peace of mind

, a reasonable understanding of one’s needs, and happiness is the ability to come to terms with one’s fate, to enjoy earthly and spiritual joys. La Fontaine-libertine's teaching about man, first of all, came into conflict with religious ethics, which saw the highest virtue and morality in serving God, pacifying the flesh in the name of future bliss afterlife

Having lived to late days, it seems to me, from the world

This is how it should turn out, like a guest leaving a feast,

Having bowed to the owner for bread and salt.

Thus, according to La Fontaine, happiness lies in peace of mind, in tranquility of desires; Happiness is nearby, you just need to be able to see it. The hero of the fable “Seekers of Fortune” (VII, 12) traveled to many countries in search of happiness; Having lost his fortune, disappointed, he returns home and sees fortune at the house of his neighbor, who never left his home.

In “Fables,” La Fontaine not only expressed his understanding of happiness, but also indicated the ways to achieve it. At the same time, he proceeded from the idea of ​​human nature, his psychology and morality. The character of a person (his instincts, desires, passions) is created and predetermined by nature itself (“The Monkey and the Dauphin,” IV, 7; “The Wolf and the Fox,” XII, 9; “The Cat Turned into a Woman,” II, 18). Main innate instinct In man, Lafontaine, following Gassendi, believed the instinct of self-preservation, egoism. The desire to satisfy this instinct pushes a person to fight with other people, and every action causes active opposition from others (“The Quarrel of Dogs and Cats and the Quarrel of Cats and Mice”, XII, 8). In this world full of anarchy and disorder, the strong and dexterous win (“Quail and Roosters”, X, 7, “Spider and Swallow”, X, 6). Lafontaine states the clash of egoistic interests in society and indicates ways to counteract this. First of all, he contrasts them with reason, which should determine the norms of behavior. Reason must triumph over imperfect matter (“Man and Already,” X, 1), it must restrain instincts.

Lafontaine also outlines another path, leading, in his opinion, to achieving peace, and therefore happiness: the little and powerless must learn to live surrounded by enemies, to come to terms with evil; not to fight, not to resist, but to adapt to life. The doctrine of caution and opportunism flowed from the ethics of libertinism. According to Gassendi, all virtues have their source in reason or prudence in general. Lafontaine thought the same thing: happy is the one who, content with his fate, knows how to follow the “golden mean” in his desires. Excessiveness and imprudence are condemned by the fabulist (“Nothing superfluous”, IX, 11; “The Crow Imitating an Eagle”, II, 16; “The Frog and the Ox”, I, 3).

Is reason really given?

Only to those who are crowned with the royal crown,

And the shepherd must be limited by reason,

Like his ram? -

The author asks a rhetorical question. He is convinced that hard work is the saving power; the human mind is his most faithful assistant. When a cart full of hay gets stuck on one of the roads in Brittany (“Stuck Cart,” VI, 18), a voice from heaven answers the driver, who in despair calls on Hercules for help:

Remove thick mud and clay from the wheels,

It clings to them up to the axes;

Break this stone on the way with a hoe

And the rut of this pavement.

And after the road is cleared and the cart can set off, the author instructs: “Help yourself, if you want God to help you.”

La Fontaine's ethical concept was largely related to his social, Political Views: to overcome his selfish instincts, a person needs not only the ability to follow the voice of reason, but also leadership, first of all, state leadership. Lafontaine believes that state laws and coercion can be fruitful for a person, because they save human society from anarchy. “Reason and common sense reign at court,” La Fontaine declares in the fable “The Man and the Already” (X, 1). Like many French writers of his time, La Fontaine idealizes the monarchical system, arguing that the monarchy can and should strive for the common good. Demanding from its subjects strict fulfillment of their duties and obedience to the law, a reasonable state gives favors to everyone - the farmer, the artisan, the official, and the merchant. The welfare of the state is ensured only by a centralized and strong state power(“Organs of the body and stomach”, III, 2). Soberly, rationally, without pathos and without the piety required in these cases, Lafontaine compares royal power with the stomach, which ensures the normal functioning of the body.

Need to download an essay? Click and save - » The fable genre in the works of La Fontaine. And the finished essay appeared in my bookmarks.

The Mountain suffered in childbirth;

The ground around was shaking.

The poor thing moaned

From noon to morning;

She finally dispersed and gave birth to... a mouse.

But this is an old fable, everyone knows;

But I’ll tell you a true story: one poet wrote

Not a day, not two, but a whole month in a row,

I blackened myself, baptized myself, marred myself;

Then, having called my friends, I read it in front of them...

Charade.

This is the work of a famous French poet, writer and fabulist Jean de La Fontaine, small in volume, but not in significance, the fable “The Mountain in Childbirth.” A kind of ridicule by the author, addressed to those poets who could not “give birth” to something truly great and worthwhile, which cannot be said about La Fontaine himself. Of course, La Fontaine is not the first and not the only one who translated this famous expression - the mountain gave birth to a mouse - into a rhymed narrative, but he did it masterfully, and with his characteristic light, elegant humor.

Modern readers know La Fontaine mainly as a fabulist, but he wrote not only fables. Having started writing late, at the age of 33, La Fontaine tried his hand at all literary genres, writing comedies, tragedies, odes, epistles, novels, fables, epigrams, songs, but his talent fully manifested itself in two genres - the fable and the short poetic novella. La Fontaine was, above all, a cheerful storyteller and wrote light, elegant, witty and somewhat frivolous stories, either in the form of a fable or a poetic short story.

“You have to be a connoisseur to appreciate the poet in La Fontaine, to understand how many opportunities he found in poetry and what riches he extracted from it. The bold metaphors of the expressions he created usually go unnoticed, because they are so appropriate that, it seems, there was nothing simpler to apply them. None of our poets was so fluent in the language; none, especially, so easily subordinated French verse to all its forms. The monotony for which our versification is reproached disappears completely with him.” - this is how one of the famous French critics, La Harpe, wrote about La Fontaine.

Jean de La Fontaine was born on July 8, 1621 in the small town of Chateau Thierry, in the province of Champagne. His father was a poor official and held the position of “guardian of waters and forests.” This position was inherited by Jean, and until the early 70s he performed the duties associated with it. However, the craving for poetic creativity prevailed. While visiting Paris from time to time, Lafontaine became close to a circle of young writers who called themselves “Knights” Round table" The comedy "The Eunuch" was La Fontaine's first published work (1654) and was a revised work of the same name by Terence. Soon Lafontaine was introduced to the then influential minister Fouquet, and taken under his wing (Fouquet was generally known for patronizing people of art - artists, writers). Patronage, namely a pension, board and apartment, had to be worked off, becoming for a time the “official” poet of Fouquet.

La Fontaine wrote poems for certain holidays for Fouquet, dedicated the poem “Adonis” (1658) to him, and also took on a poetic description of the Vaux-le-Vicomte palace that belonged to the minister. The magnificent architectural and park structure was not yet completed, and therefore La Fontaine wrote a poem in the form of a dream, it was called “Dream in Vaud.” But Fouquet soon fell into disgrace, and Lafontaine never finished his work. The poet did not stand aside and sent intercessory poems to the king, trying to stand up for his patron, which, however, did not bring any benefit, and moreover, disgrace fell on La Fontaine himself (1662). This was due to the too independent tone of the poetic messages.

La Fontaine paid for his daring poems by having some of his subsequent works banned. For example, the publication of “Fairy Tales” in France was prohibited as a work that undermined the authority of the church and religion, and La Fontaine had to print them in Holland. And Lafontaine became a member of the French Academy much later than he could have - only in 1984 - after promising to come to his senses.

The scandalous poet's "Fairy Tales" began to be published starting in 1664; these were cheerful poetic short stories. The spirit of cheerful simplicity of human relationships and sensuality reigned in them. Funny, light, playful, and sometimes simply obscene and frivolous, the fairy tales made La Fontaine a famous writer. The plots of the fairy tales were not original; La Fontaine borrowed them from writers of antiquity and the Renaissance, while defending the right to creatively rework the plot in his own manner. The poet was close to the very spirit of the ancient short story, its true spiritual health, even if its plot was a scabrous (from the point of view of modern morality) adventure. Light plots, following the example of the Renaissance writers, were subordinated to a high task: protecting the human right to freedom of relationships, love and happiness. The poet sympathizes with young lovers, and laughs at the old jealous, braggart or simpleton. But sometimes his humor turns into witty satire, so the readers see images of depraved monks, church servants, careless judges, and greedy merchants. Some short stories are more like jokes; they are very short, literally a few lines. The genre of the poetic short story became La Fontaine's favorite, and he turned to it more than once in the future. In total, five volumes of fairy tales were published.

In the creation of art there is a right of precedence:

Greece has all the rights to the fable.

But let the fields of ears be harvested to their heart's content

There is something left for the collectors to share.

After all, the region of fiction is a deserted region, and in it

The writer makes discoveries every day...

(from the fable “The Miller, His Son and the Donkey”)

Fables, in which La Fontaine's mastery of the short poetic story, which he began to create in the 60s, especially manifested itself. It is clear that fables have been written since time immemorial, and their plots are in most cases similar, many of them originate from Aesop's fables. But those poets who chose this genre poetic creativity, brought something of their own, original and unique, to the fable plots. So it is with La Fontaine - in him one can find fables known to us from other sources about the raven and the fox, the dragonfly and the ant, the wolf and the lamb.

It is known that a fable is short story, most often of a poetic and satirical nature, the genre is allegorical, so social and moral problems are hidden behind the story about fictional characters (usually different animals). It is precisely because of their allegory and skillful “disguise” that fables have long served as a means of satire – social and political. After all, the characters were mostly animals, and all the hints were skillfully veiled. So it is with Lafontaine: "I use animals to raise people", he wrote in the dedication to the book.

The French Middle Ages and the Renaissance created a rich satirical literature about animals (“The Romance of Renard”, fables), which prepared the way for La Fontaine. Images of individual animals were attached to certain social strata. Lafontaine followed the traditions of this literature. And for the entire period creative path he collected a decent menagerie, which, practically in person, showed a picture of French society second half of the 17th century.

Sick lion and fox

I fell ill in my den,

From there Leo sends vassals

A decree of this kind that serves as a pass:

What is each animal breed

Must send envoys to him,

Which by virtue of these words

He intends to receive with honor;

And everyone can be sure

What is he and his retinue,

Thanks to that decree,

And from the teeth of the king of beasts

And immediately freed from the claws.

The decree was fulfilled, and breeds

All representatives are a crowd.

The foxes are on guard at the gate

This is how they reason among themselves:

“The footprints that we see in the dust here,

Without exception, everyone goes to the den,

But there is not one going back;

And mistrust, of course,

They inspire me. On the pass to the king

That's why I say thank you:

Let him deliver the fox race from our embassy.

His Majesty, of course, is not lying,

He is kind, but in his lair

So far we have only seen those entering,

And they didn’t see anyone

Who would come out of there?

It is generally necessary to imagine at what time and in what place Lafontaine lived. Second half of the 12th century, courtyard Louis XIV. La Fontaine, having experienced the king's disfavor, writes a fable about the Lion and his court, which is a literal reference to the current monarch. Louis XIV– the sun king and Leo are also a reigning person. But what insolence will not slip through under the cover of a fable!

Lion and his court

One day his Lion Majesty

I wanted to find out, my lord:

What kind of animals is he a monarch and ruler?

Vassal of his kingdom

He sends circulars immediately, with the attachment

Own seal and short notice,

That a big reception is open at the court

Within a month; first a magnificent holiday

Appointed at the palace, will take part in it

A clown of monkeys, a famous prankster.

So his subjects, gathered in a crowd,

He invites himself to visit the magnificent Louvre.

But what a Louvre! There was a smell there

Like in the place where bones are dumped.

The bear winced, pinching his nostril.

But this did not please the king,

Who sent him to see Pluto.

One of the Monkeys in an overly flattering tone

She began to praise everything: the den, the Lion’s claws,

And this spirit, which was fragrant,

What ambergris and flowers... But stupid words

She was subjected to inevitable misfortune

(Leo was akin to Caligula).

The fox was standing here. "What smells? Explain! —

Lev told her. “Answer without hesitation!”

But she apologized: her nose was blocked,

And, due to the loss of smell,

It is impossible to answer the question.

Always adhere to this rule:

Do not flatter rudely at court,

So as not to arouse mistrust in the king;

Don't be explicit.

But, as in Normandy, try to answer:

Neither yes nor no!

The subject of La Fontaine's fable (as well as others) was not only the vices of society, but also ordinary human vices. And then in fables it was impossible to do without the heroes that people became. In his fables, La Fontaine showed the main human shortcomings and vices with the help of exciting images: laziness, greed, ambition, theft, talkativeness. And in contrast to them are virtues: love, wisdom, mutual assistance, etc.

Women and Secret

There is nothing hidden for women's chatter,

There is no woman who won't blab out secrets.

But, however, there are quite a few men,

What does this have to do with a woman?

To test a wife, some husband, in bed

Lying with her, at night he suddenly exclaimed: “What’s wrong with me?!

I'm going to tear myself apart now... Oh, oh, oh...

What is this?! I gave birth to an egg!"

"An egg?! Really?!"

“Well, yes, here it is, fresh; mind you, people don’t give a damn:

Perhaps I can still pass for a chicken..."

The wife, who had never seen such a case,

Like so many other things

She believed him and swore to remain silent.

But these promises

Disappeared like a night shadow.

Naive wife, all the thrill of anticipation,

I got out of bed as soon as the day broke...

She went to her neighbor's house.

“Oh,” he whispers, “gossip, listen to what

It happened...

Nevermind, not a word to anyone:

My husband laid an egg at night that looks like this.

But, for God's sake, don't let me be offended,

Because my husband..."

"Well, why!

Hey, that one. - You don’t know me, do you?

Go home, I won’t betray you, believe me.”

The mother hen's wife is just out the door,

The one, as if on coals, is numb, and in freedom

She's talking about the news in ten places,

And instead of one, three eggs appeared.

And the new godmother is “four!” speaks,

And whispers in your ear how it all happened.

But caution there is ridiculous,

Where the secret is already clear to everyone.

And since the number of eggs kept increasing,

Thanks to word of mouth, among my gossips,

Then in the evening there will be such eggs

It turned out to be more than a hundred.

And in some fables Lafontaine also acted as a subtle psychologist. He accurately noticed the psychology of a woman who did not feel any passion for her husband until... she was afraid of a thief who had broken into the house. “Fear is sometimes the strongest feeling and even defeats disgust”, - the author ended his fable with this conclusion. You can read about this in the fable "Husband, Wife and Thief"

There lived a husband

Passionately in love with his wife.

But, treating his wife with authority,

He was unhappy... Why?

Yes because I'm indifferent

His wife was with him,

Always even, always obedient,

Always stone cold!

The unfortunate Husband suffered - and this is so understandable:

After all, he was a Husband - forced to live with his Wife.

Then it’s nice for married people

When the union is sanctified by love.

His wife did not burn with love for him

And she never caressed him with tenderness.

And then one night the offended husband

She cried bitterly for her life, when suddenly

Their conversation

The Thief suddenly interrupted.

The Unhappy Wife was so scared of the Thief,

That she quickly pressed herself with trepidation