Questions:

1. The place of fables in the work of Lafontaine, their correlation with others
genres of his work (didactic poem, comedy).

2. An idea of ​​the fable genre and its development.

3. The problems of Aesop and Phaedra in the fables of La Fontaine.

4. Fables about animals in the work of La Fontaine. Ways to create the image of a fable character. Conditionality levels

Main literature:

1. Vipper Yu.B . Creative fates and history. M., 1990.
2. KirnozeZ.I . Pages of French classics. M., 1992.
3. Classic fables. M., 1981.
4. Trykov V.P. . La Fontaine // Foreign Writers: Bibliographic Dictionary. At 2 p.m. / Ed. N.P. Michalskaya. Part 1. M., 1997.

Additional literature:

1.Encyclopedia literary heroes. Renaissance. Baroque. Classicism / Common. ed. AND ABOUT. Shaitanova. - M., 1998.

Match the fable and the parable. Which of the genres has an element
satire?

In which genre is satire impossible? Why?

For what purpose does the parable address vices and shortcomings?

Why does the fable refer to them?

Do you remember if there is a moral in the parable?

Does every fable have a moral?

The meaning of the parable is significant. Is there ambiguity
fable ending?

2. The parable often uses allegory, correlates with the riddle genre, offering to answer the questions: “What is it talking about?” and "What does it say?" But unlike a riddle, which always requires an unambiguous, specific answer, the parable is ambiguous, has many interpretations.

The absence of verbally fixed morality in the parable creates the possibility of multiple interpretations.

Parable allegories often become popular expressions and play the role of unformulated morality. To do this, refer to the book "Proverbs. Educational book of Alexander Knyazhitsky "(M., 1994).

For a deeper reflection on the features of the fable genre and its nature, refer to the additional materials for the task.

Ways to create an image in fables about animals.

3. Compare the wolf from the fable "The Wolf and the Crane" with the wolf from the fable "The Shepherd Wolf".

Read the fables "Wolf and Crane", "Wolf and Lamb", "Horse and Wolf". Think about the difference in approaches to creating an image of a wolf in each of them?

Compose dictionary entry for a literary guide
"The Wolf (based on the fables of Lafontaine)".

Write a review of the dictionary entry below.

What principles of creating an image are emphasized by the author of the article?

Indicate what other fables could be used for analysis.

Topics of reports and abstracts:

1. The genre of poetic short story in the work of La Fontaine.
2. Correlation between the genres of the fable and the poetic novel. Lafontaine and Boccaccio.
3. Fairy tales in verse by Lafontaine. Development of the plots of Apuleius and Petronius.
4. The story of one story. Comparative analysis of the fables of Lafontaine, Trediakovsky, Krylov.

Tests

1. The problems of the fables of which ancient artists developed in his work La Fontaine

a) Aesop and Phaedra

b) Aeschylus and Sophocles

c) Euripides and Aristaphan

d) Phaedra and Plautus

e) Catullus and Virgil

a) I. A. Krylov, I. I. Dmitriev, A. E. Izmailov, V. V. Zhukov, Apollo of Corinth, I. I. Khemnitser

b) I. A. Krylov, I. I. Dmitriev, A. E. Izmailov, V. A. Zhukovsky, Apollo of Corinth, I. I. Khemnitser

c) I. A. Krylov, I. I. Dmitriev, A. E. Izmailov, V. A. Zhukovsky, Apollon Grigoriev, I. I. Khemnitser

d) I. A. Krylov, I. I. Dmitriev, A. E. Izmailov, V. I. Dal

e) I. A. Krylov, G. R. Derzhavin, I. I. Dmitriev, A. E. Izmailov, V. I. Dal.

3. The beginning of the fable about the crow and the fox “Uncle Raven, sitting on a tree / Held cheese in his beak. / Uncle Fox, attracted by the smell, / Made such a speech with him ”belongs to

a) Lafontaine's fable "The Raven and the Fox" (interlinear translation)

b) Trediakovsky’s version (“The Raven and the Fox”)

c) Sumarokov's version ("The Crow and the Fox")

d) Kheraskov’s version (“The Crow and the Fox”)

e) Krylov's version ("The Crow and the Fox")

In the fable "The Wolf and the Lamb" La Fontaine develops the plot

c) Verdisotti

COURSE WORK TOPIC: "The development of the genre fables in world literature" Performed by: Scientific adviser: Table of contents. Introduction……………………………………………………………………..............3 Chapter I. Socially – historical background the emergence and development of fables 1. Social and social conditions for the appearance of fables, the time of their appearance………………………………………………………………………….5 2. ...

9508 Words | 39 Page

analysis of the fable of the donkey and the nightingale

 Analysis fables I.A. Krylova "Donkey and Nightingale" Fable The Donkey and the Nightingale was written no later than 1811. She appeared into the world 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 get acquainted with the fabulist. He called him to him and asked him to read two or three fables . Krylov artistically read several fables and between them one, borrowed from La Fontaine . The nobleman listened favorably fables and thoughtfully asked why...

737 Words | 3 Page

Images of animals in the fables of Krylov and Saltykov-Shchedrin

…………………………………………………………………… ….3 Chapter I. Fable and a fairy tale in the work of Russian writers……………………………………………………………………………………………………………………………………………………………………………………………………………………………………………………………………………………………………………………………………………………5 1.1. Characteristic fables and fairy tales as literary genres. Common and different……………………………………………………………………. ..8 2. Comparison of images of animal images in fables Krylov and fairy tales of Saltykov-Shchedrin ………………………………………………………..11 Chapter II. Creativity I.A. Krylov and M.E. Saltykov-Shchedrin….. 1. Creativity of I.A……………………………………………………………………………………………………………………………………………………………………………………………………………………………………………………………………………………………………………………………………………14 2. Krylova Analysis Krylov's fables "Quartet"

5955 Words | 24 Page

Lafontaine

Elementary education Lafontaine received in a rural school. At the age of nineteen, he was preparing to take the priesthood, but prayers and theology is of little interest to a talented young man; he devoted much more time to reading romance novels. Not wanting to become a priest Lafontaine abandoned a spiritual career and took up law. During this time he studied ancient culture, got acquainted with the leading philosophical and political theories of his era. According to their philosophical views Lafontaine was a deist...

983 Words | 4 Page

European fable from Aesop to Krylov

Plan. 1. Introduction………………………………………………………………p.2 2. What is fable ?................................................. ................................ p.4 3. Aesop………………………… …………………………………………p.6 4. Jean de Lafontaine ……………………………………………………..p.8 5. I.A. Krylov…………………………………………………………..p.10 6. Conclusion………………………………………………… …………p.12 7. List of used literature…………………………………..p.13 1. Introduction. Fable It is one of the oldest literary genres in the world. Short, almost proverbial...

2973 Words | 12 Page

European Fable from Aesop to Krylov

European fable 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 jumping - to get a bunch of grapes. But she could not take it - and she said this: "He has not yet matured - I do not want to take sour." If anyone wants impotence ...

783 Words | 4 Page

fables

character. In the end fables contains a brief moralizing conclusion - the so-called morality. The characters are usually animals, plants, things. AT fable people's vices are ridiculed. Fable is one of the oldest literary genres. AT Ancient Greece Aesop was famous (VI-V centuries BC), who wrote fables in prose. In Rome - Phaedrus (1st century AD). In India, the Panchatantra collection of fables dates back to the 3rd century. The most prominent fabulist of modern times was the French poet J. Lafontaine (XVII century). AT...

2269 Words | 10 Page

Lomonosov M.V. fables

in his difficult childhood, Mikhail Lomonosov knew the keys to a child's heart, he could simply and easily get through to him. His works addressed to the little ones readers, are more reminiscent of rhyming parables or fables . In these verses of Lomonosov for children, an analogy is clearly observed with fables Aesop or Ivan Andreevich Krylov. They are also allegorical, metaphorical and also use animals as protagonists. However, Lomonosov's style is still heavy and clumsy, it is difficult to read it, but from this ...

630 Words | 3 Page

Classicism as outstanding in its social and artistic value direction

and the epic belonged to the "high genres", and had to develop especially important problems, resorting to ancient and historical plots, and display only lofty, heroic aspects of life. "High genres" were opposed by "low" ones: comedy, fable , satire and others, designed to reflect modern reality. Each genre had its own theme (selection of topics), and each work was built according to the rules developed for this. Mix in the work the techniques of various literary ...

5656 Words | 23 Page

foreign literature

requirements (Requirements of the State Educational Standards) Code of the discipline The content of the discipline Hours of DPP. F.13 Literature of the 17th century: classicism, baroque. Literature XVIII century: enlightenment, sentimentalism, pre-romanticism. Creativity of the largest foreign writers, analysis major works. Problems of poetics of foreign literature. Russian-foreign literary relations 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 ...

5323 Words | 22 Page

course communication

control the actions of the partner; use speech to regulate their actions; adequately use speech means to solve various communication tasks, build monologue to master the dialogical form of speech. As a result analysis PEP IEO, the results of the Federal State Educational Standard, the 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 ...

10073 Words | 41 Page

History of literature

Chapter 6. Baroque Literature. Preciosity, free-thinking poetry. Genetic novel o Chapter 7. Dramaturgy by Pierre Corneille o Chapter 8. The Tragedies of Jean Racine o Chapter 9. The Comedies of Molière o Chapter 10. The Works of Jean de La Fontaine o Chapter 11. The work of Nicolas Boileau o Chapter 12. Prose of classicism o Chapter 13. The dispute between the ancient and the new Section III. German literature o Chapter 14. general characteristics o Chapter 15. Poetry of Germany...

84867 Words | 340 Page

book illustration

illustrations _____________________________________________ 6 1.2 The history of the art of book illustration _____________________________ 13 Chapter II. Creative part.________________________________________________18 2.1 Famous illustrators________________________________18 2.2 Analysis creativity of Daniil Kharms ______________________________________________21 Chapter III. Technology of illustrations.______________________________26 3.1. Materials and means used to make illustrations._____26 3.2. Description of the execution algorithm...

6206 Words | 25 Page

Literature work program for grade 6.

literate analysis read a work of art, develop the need for reading, in a book. Understand what you read as deeply as possible this is what should be the aspiration of every disciple. This aspiration depends on the degree of aesthetic, historical, cultural, spiritual development of the student. Hence the need arises to activate the artistic and aesthetic needs of children, develop their literary taste and prepare them for independent aesthetic perception and analysis artistic...

5988 Words | 24 Page

Aesthetics of the eras of classicism and enlightenment

nature 4. approval of the idea of ​​statehood, the ideal hero 5. resolution of the conflict between personal feeling and public duty in favor of the latter. The hierarchy of genres is also characteristic, dividing them into higher (tragedy, epic) and lower (comedy, fable , satire). If we talk about aesthetic criteria, then in relation to the Renaissance - this has to be admitted - they reveal a certain impoverishment and loss of the former organicity. Renaissance classics sought balance at the pinnacle of the heroic...

3131 Words | 13 Page

talent and genius

giftedness - as a qualitatively peculiar 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 analysis shows that only inclinations can be innate, and abilities are the result of the development of inclinations. By definition, V.V. Klimenko: “The essence of talent is in the ability to act, it should not be sought out either in the special virtues of the brain, or in ...

1588 Words | 7 Page

SUGGESTED CIRCUMSTANCES

with their performance (film) "to expose, condemn cruelty", but in fact, it turned out, "for some reason they sang" it. Such an ideological "missing" begins with the first steps analysis works, with a "distorted" definition of the topic. As a rule, such "unintentional" mistakes occur with a fussy and artisanal attitude to effective analysis . There is also a completely conscious departure from the author's theme and idea, and then performances (films) appear, demonstrating the director's and actor's arbitrariness. So...

7312 Words | 30 Page

Contextually conditioned word as an example of linguoculturological research

incorrect statement next question: "Why is poetry needed if you can speak in simple prose?", because "prose is not simpler, but more difficult than poetry." For studying united ideological and artistic nature of verbal art Yu.M. Lotman proposes a structural analysis verse, which would overcome the disadvantage of trying to "throw bridges between the two independent systems". The 20th century gave Russia a poet, whose "fate and message" are distinguished by their scale, beyond doubt. Creativity ...

6696 Words | 27 Page

Literature of the Middle Ages

is the so-called animal epic - these are cycles of interconnected stories, often in the form of long epic poems, the characters of which are animals. Animals think and act like humans. Animal epic associated with the genre fables , but there are significant differences between them: fable uses images of animals to teach moral lessons to readers, 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 ...

29799 Words | 120 Page

Explanatory note to the work program in literature for the 5th grade.

improve the quality of reading; promote spiritual development and improvement of students; to activate the artistic and aesthetic needs of children; develop their literary taste; prepare them for independent aesthetic perception and analysis works of literature; stimulate the creative activity of children; to form the skill of expressive reading; bring up high moral feelings and qualities of the younger generation. These goals can be achieved by referring to artistic ...

7021 Words | 29 Page

1.2 Genre fables : from Aesop to Krylov Genre fables always occupied a significant place in the upbringing of the younger generation. Before how to start defining features fables , I consider it appropriate to first determine the historical origin given title. "Fable - a short, most often poetic, moralizing story. The heroes of fables can be not only people, but also animals, plants, objects endowed with certain human qualities. The fable narration is allegorical...

2700 Words | 11 Page

Life and Biography of Gustave Moreau

small canvases, painted, as a rule, on mythological and religious subjects. Between 1879 and 1883 he produced four times as many paintings as over the previous 18 years (the most profitable for him was a series of 64 watercolors, created by fables La Fontaine for Marseille rich man Anthony Roy - for each watercolor Moreau received from 1000 to 1500 francs). And the career of the artist went up the hill. In 1888 he was elected a member of the Academy of Fine Arts, and in 1892 the 66-year-old Moreau became the head of one...

3047 Words | 13 Page

"French Literature of the 17th Century"

TOPIC: "FRENCH LITERATURE OF THE XVII CENTURY". OUTLINE: * Introduction. * General characteristics * Dramaturgy by Pierre Corneille * Tragedies by Jean Racine * Molière's comedies * Creativity of Jean de La Fontaine * Creativity Nicolas Boileau * Conclusion. * Used Literature Introduction: In the middle of the 17th century, French culture is experiencing a high rise. A major cultural movement begins in France. It manifested itself especially fruitfully in art. Its premise was addition...

8945 Words | 36 Page

Fable

sayings. Explain the figurative meaning of some of them "Elephant and Pug"; "Swan, Pike and Cancer"; "Monkey and Glasses". Continue with examples on your own. Elephant and Moska - fable Krylov, which has become a classic of the genre. Characters fables , invested in them with witty Krylov's words, perfectly convey the relationship of people on display. Fable Elephant and Pug They drove the Elephant through the streets, Apparently, for show. It is known that Elephants are a curiosity with us, So crowds of onlookers followed the Elephant. Wherever you turn, towards ...

4181 Words | 17 Page

Baitursynov biography

turns into a weapon in the fight against politics monarchist Russia that oppressed the Kirghiz. Undertaking to translate fables Krylov, he primarily has in mind a great opportunity for fables to educate children and adults. He chooses for transfer from Krylov such fables which are understandable and correspond to the Kyrgyz spirit. If Belinsky said about Krylov: "Although he took the content of some of his fables from La Fontaine , but he cannot be called a translator, "his non-exclusively Russian nature processed everything into Russian ...

3353 Words | 14 Page

Issn_1997 2911_2013_11 2_30

Kritskaya Nadezhda Vadimovna JOHN GAY, ENGLISH LAFONTAIN The article deals with the content features of John Gay's fables. Turning to fable during the period of the national heyday of the genre, Gay enriches its allegorical and didactic essence with an actual understanding of natural philosophy, culture and social structure of his time. An attempt at social typification of characters, the introduction of parody elements into the text, allusions to folklore and literary materials, along with an understanding of "morality" as a tool...

2377 Words | 10 Page

Ancient literature

The US is in a clear minority." 2. Literature as a form of mass information activities antiquity. Occupies a special place in the humorous genre - Aesop, who invented a special allegorical language. We see him, as well as the plots of Aesop, in fables La Fontaine , Krylova. Political satire - literary genre popular for many centuries. The tradition has passed through all eras of European culture, until recently it was very popular in our country. Characteristic is the use of "Aesopian" language in totalitarian ...

1873 Words | 8 Page

18th century journalism

the peoples described. Knowledge of linguistics, folklore, personal observations allow the author to refute the dissenting opinions of foreign scientists and draw up own, original. The author of the Historical Journal anticipated the comparative historical method analysis in linguistics. The magazine also published the first descriptions of Isker - the former capital of Khan Kuchum, the Baraba steppe. The author of these materials, most likely, was the publisher himself - editor Dmitry Korniliev. He also wrote "About Chinese trees, pronouncing ...

8373 Words | 34 Page

"Lexico-stylistic analysis of a foreign publicistic text on the example of The Guardian and Le Figaro newspapers

State Autonomous Educational Institution of Higher Professional Education "National Research University" Higher School Economics Faculty: Media Communications FINAL QUALIFICATION WORK analysis 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 VKR Associate Professor of the Faculty of Philology, Ph.D. Plisetskaya Anna Dmitrievna Moscow, 2013 Contents I. Introduction...

21574 Words | 87 Page

coursework for children

Ι. The history of the formation of the genre fables in world and Russian literature 1.1. Fable as a literary genre: history of formation, genre features 4 1.2. Genre fables in the work of I. A. Krylov 10 ΙI. 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 fables by I. A. Krylov 28 Conclusion 38 Literature 40 Introduction “This morality fables such is…”, “Nightingale fables they don’t feed” - these expressions to us ...

8606 Words | 35 Page

Epicheskie proizvedenia-3

Introduction 3 Epic 4 Poem 4 Novel 8 Tale and story 14 Essay 15 Fable 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 organization of reading largely determines "the success of all work on literary ...

8451 Words | 34 Page

Lupan Believe in your child

built on French material: realities French history, European art, French literature and language. Therefore, when translating, arose the need to replace some of the examples given by the author - so, instead of fables La Fontaine fables I. A. Krylova; instead of poems by French poets, which, according to S. Lupan, should help children comprehend the meaning of certain “eternal” problems (love, death, etc.), in some cases other, more understandable ones are used ...

83221 Words | 333 Page

wings

is the author of more than 200 fables from 1809 to 1843, they were published in nine parts and reprinted in very large editions for those times. In 1842 year his works were published in German translation. Many expressions from Krylov's fables have become winged. fables I. A. Krylov set to music. Early years Father, Andrei Prokhorovich Krylov (1736-1778), knew how to read and write, but "did not study the sciences", served in a dragoon regiment, in 1772 he distinguished himself in the defense of the Yaitsky town from the Pugachevites, then he was chairman ...

3046 Words | 13 Page

Talent and genius

specific form materialism of that time, namely its mechanical character. Conclusion. The main acquisition of natural science in the 17th-18th centuries. appeared experimental method and method analysis . Application of the method analysis , the use of the experiment led to the great discoveries of the natural sciences of that time. However, the method analysis gradually began to reveal its one-sidedness, limitations. The study of natural phenomena purely analytically, without the use of synthesis, has given rise to the habit of scientists to consider natural ...

2842 Words | 12 Page

antique art

comes to the swineherd Eumeus ("Odyssey"). Favorite in folk art and fable , a work containing teaching in an allegorical form. AT fables , where animals usually act, folk wisdom, common sense, dreams of justice are expressed. fables originated in the pre-Homeric era, and are reflected in the work of later writers. In the poem "Works and Days" by Hesiod, we see fable about the nightingale and the hawk. The lyric poet Archilochus expounds fable about the friendship of a fox with an eagle. In Greece, there were collections of fables, short ...

7376 Words | 30 Page

PLANNING 5 literature

work. Analysis planned poems. Compilation of the table "Genders and genres of literature." Independent work. Preparation of expressive reading poems by heart. Drawing up a plan for answering the question "What humorous elements does the author use in the poem?" Search for information about fabulists in reference books and Internet resources, selection and presentation of the information received. From the literature of the 19th century (42 hours) Genre fables in world literature (4 hours) 17 09.10. ext. Thu. Genre fables in the world...

11523 Words | 47 Page

French classicism

those who will make up the literary glory of their age and create its style begin to appear at the court. A collection of moral aphorisms comes out of print - "Maxims" - Duke La Rochefoucauld. He was forgiven for participating in the Fronde. Also forgiven and admitted to the court of Jean Lafontaine . He had not yet written his fables, but he had already become famous as a poet who sang about the beauty of another famous palace, rebuilt by the superintendent of finance, Nicola Fouquet, who is now serving a life sentence by order of the king. He was not forgiven: Fouquet encroached...

8686 Words | 35 Page

Lupan Sesil Pover v svoyo ditya

built on French material: the realities of French history, European art, French literature and language. Therefore, when translating, arose the need to replace some of the examples given by the author - so, instead of fables La Fontaine in the Russian edition are considered fables I. A. Krylova; instead of poems by French poets, which, according to S. Lupan, should help children comprehend the meaning of certain “eternal” problems (love, death, etc.), in some cases others are used that are more understandable to the child ...

81245 Words | 325 Page

Vfnfnfn

characterized by emotional activity, highly developed imagination, object perception, which characterizes "naive realism". The main goal of the study course in these classes - learn to read a work of art, use the elements analysis artistic text. Work on the works selected for these classes provides an opportunity to expand and deepen life experience schoolchildren, lays and forms their artistic taste and reading interests. Building a course in grades 5-6 ...

9117 Words | 37 Page

Literal and non-verbatim translation. French

original". This attitude to translation was later called the "theory of untranslatability", it did not cancel translation practice, because translators continued to perform an "impossible" task. But this was an obstacle in the way of the linguistic analysis translation. The situation changed by the middle of the twentieth century, when linguists began to systematically study translation activities. This was due to the fact that during this period the translation of political, commercial ...

6307 Words | 26 Page

fables

he had the strength, He knocked butter out of sour cream overnight And, pushing off, jumped out by dawn ... x x x To everyone who really spends perseverance, work and ardor, I jokingly dedicate fable this one! THE NEEDED DONKEY Dinner was given at Ox's. The barn was full of guests, And the table was full of grubs. It's time for the guests to sit around the table, ...

13547 Words | 55 Page

Krylov

two or three fables from La Fontaine and showed his translations to the poet I. I. Dmitriev, who at that time enjoyed the reputation of the largest fabulist. Dmitriev was completely delighted. “This is your family, you found it,” he said to Krylov. The magazines began to appear more and more fables Krylov. Collections of his fables began to appear in separate editions, the total circulation of which, even 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...

2677 Words | 11 Page

Zoom metaphor in common English slang

units expresses unique, national-specific meanings. National-cultural semantics is reflected in phraseological units, etymologically ascending to precedent texts, among which the priority belongs to Russian linguoculture fables I. A. Krylova - a jumping dragonfly, I didn’t even notice an elephant; as well as the works of N. V. Gogol - to take greyhound puppies, M. E. Saltykov-Shchedrin - a wise gudgeon, crucian idealist, eagle-philanthropist, in English - works of art such...

8093 Words | 33 Page

The problem of man in the philosophy and literature of modern times

classicism established a hierarchy of genres - "high" (tragedy, epic, ode; historical, mythological, religious picture, etc.) and "low" (comedy, satire, fable ; genre painting, etc.). In the literature of this period (the tragedies of P. Corneille, J. Racine, Voltaire, the comedies of Molière, the poem "Poetic Art" and the satires of N. Boileau, fables AND. La Fontaine , 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, tragedy...

5750 Words | 23 Page

Baroque and Classicism

legal values ​​and norms. The most important quality man relies on his mind. In the 17th century, the consciousness characteristic of the New Age was formed. personality. The individual becomes interesting in itself, turning into an object of observation and psychological analysis . According to the German philosopher Romano Guardini, a sense of human exclusivity is awakened. If in the Middle Ages man first of all remained God's creation, called to fulfill the external will, then in modern times the feeling of "I" awakens completely ...

4477 Words | 18 Page

Creativity of Balzac in the perception of Dostoevsky

it is said that no matter how flattery is, whether it is rude or subtle, but in the heart the flatterer will always find a corner, then Eugenia gradually got used to praise, as to due tribute." This comment is absolutely accurate: “Reminiscence from fables La Fontaine Dostoevsky translates with a quotation from fables Krylov "The Crow and the Fox". However, quotations and allusions to works of Russian literature appear in Dostoevsky's text not only where they merely replace the quotations and allusions to works used by Balzac himself...

The Mountain was tormented by childbirth;

The ground shook around.

The poor thing moaned

From noon to morning;

Dissipated, finally, and gave birth to ... a mouse.

But this is an old, everyone knows, fable;

But I'll tell a true story: one poet wrote

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

Blackened himself, baptized, maral;

Then, having called friends, I read before them ...

Charade.

This is the work of the famous French poet, writer and fabulist Jean de La Fontaine, a small in volume, but not in its meaning fable "Mountain in childbirth". A kind of mockery of 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, Lafontaine 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 usual light, elegant humor.

The modern reader knows Lafontaine mainly as a fabulist, but he wrote not only fables. Starting 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 was fully manifested in two genres - a fable and a short poetic novel. Lafontaine was, above all, a cheerful storyteller and wrote light, elegant, witty and somewhat frivolous stories, sometimes in the form of a fable, sometimes in a poetic novel.

“You have to be a connoisseur to appreciate the poet in Lafontaine, to understand how many opportunities he found in poetry and what riches he extracted from it. The bold metaphors of the expressions he created are usually overlooked, for they are so appropriate that it seems that nothing could be easier to apply them. None of our poets so fluently mastered the language, none, in particular, so easily subordinated French verse to all its forms. The monotony with which our versification is reproached disappears completely. , - so 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, La Fontaine became close to a circle of young writers who called themselves the "Knights of round table". The comedy "The Eunuch" was the first published work of La Fontaine (1654) and was a revised work of the same name by Terentius. Soon Lafontaine was introduced to the then influential Minister Fouquet, and taken under their wing (Fouquet was generally known for patronizing people of art - artists, writers). Patronage, namely a pension, a table and an apartment, had to be worked out, becoming for a while the "official" poet of Fouquet.

Lafontaine wrote poems for Fouquet on certain holidays, dedicated the poem Adonis (1658) to him, and also took up 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 Lafontaine wrote a poem in the form of a dream, it was called "Dream in Vaud". But soon Fouquet fell into disgrace, and Lafontaine never finished his work. The poet did not stand aside and sent intercessory verses to the king, trying to intercede for his patron, which, however, did not bring any benefit, and moreover, disfavor fell on Lafontaine himself (1662). This was due to the too independent tone of the poetic messages.

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

The "Tales" of the scandalous poet began to appear, starting in 1664, these were funny verse novels. The spirit of cheerful simplicity of human relations and sensuality reigned in them. Cheerful, light, playful, and sometimes simply obscene and frivolous, fairy tales made La Fontaine a famous writer. The plots of fairy tales were not original; Lafontaine borrowed them from the 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 old 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 Renaissance writers, were subordinated to high task: protecting the human right to freedom of relationships, love and happiness. The poet sympathizes with young lovers, he chuckles at the old jealous, braggart or dupe. But sometimes his humor turns into witty satire, so the readers see images of depraved monks, church ministers, negligent judges, greedy merchants. Some short stories are more like jokes, they are very short, just a few lines. The genre of the poetic novella became a favorite for Lafontaine, and he turned to it more than once in the future. In total, five volumes of fairy tales were published.

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

Greece has every right to the fable.

But let the ears of corn be squeezed in plenty on the field

There is something left for the collectors to share.

After all, the realm of fiction is a desert land, and in it

The writer makes discoveries every day ...

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

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

It is known that a fable is short story, most often of a poetic and satirical nature, by genre - allegorical, therefore, social and moral problems are hidden behind the narrative of fictional characters (usually these are different animals). It is precisely by their allegorical, 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. Likewise with La Fontaine: "I use animals to educate 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 Lafontaine. Images of individual animals were attached to certain social strata. Lafontaine followed the traditions of this literature. And for the whole period creative way he collected a decent menagerie, which, practically in faces, showed a picture of French society second half of XVII century.

Sick lion and fox

I fell ill in my lair,

From there Leo sends vassals

An edict of this kind serving as a pass:

That every beast is a breed

Should send ambassadors to him,

Which by virtue of these words

He intends to accept with honor;

And everyone can be sure

What is he with his retinue,

Thanks to that decree,

And from the teeth of the king of beasts

And got rid of the claws immediately.

The decree is executed, - and breeds

All representatives are a crowd.

The foxes are on guard at the gate

This is how they talk among themselves:

"Traces that we see in the dust here,

Without exception, everyone goes to the lair,

But there is not one going back;

And distrust, of course,

They inspire me. On the pass to the king

That's why I say thank you:

Let him save the fox race from our embassy.

His Majesty, of course, is not disingenuous,

He is kind, but in his lair

Incoming only we saw so far,

And didn't see anyone

Who would get out of there."

It is generally necessary to imagine at what time and in what place La Fontaine lived. Second half of the 12th century, courtyard Louis XIV. La Fontaine, who has experienced the disgrace of the king, writes a fable about the Lion and his court, which is a literal reference to the current monarch. Louis XIV- the sun king and the Lion - also a reigning person. But what audacity will not slip under the cover of a fable!

Lion and his yard

One day his Lion's Majesty

I thought to find out, lord:

What kind of animals is the monarch and ruler.

Vassalam of his kingdom

He sends circulars immediately, with an attachment

Seal own and a brief notice,

That a big reception is open at the court

Within a month; great feast in the beginning

Appointed in the palace, will take part in it

Clown of monkeys, the most 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

As in a place where bones are dumped.

The bear grimaced, pinching his nostril.

But this did not please the king,

Who sent him to see Pluto.

One of the Monkeys in an excessively flattering tone

Everything began to praise: the lair, the claws of the Lion,

And this spirit, which was odorous,

Than ambergris and flowers ... But stupid words

She was subjected to misfortune inevitably

(Leo - Caligula was akin).

Lisa was standing there. "What smells? Explain! —

Leo told her. Answer without hesitation!

But she apologized: her nose was blocked,

And, due to the loss of smell,

It is unthinkable to answer the question.

Keep this rule invariably:

Do not flatter rudely at court,

So as not to arouse distrust in the king;

Don't be frank.

But, as in Normandy, try to give an answer:

Neither yes nor no!

The subject of Lafontaine'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, Lafontaine showed the main human shortcomings and vices with the help of breathtaking images: laziness, greed, ambition, theft, talkativeness. And in contrast to them, virtues: love, wisdom, mutual assistance, etc.

Women and Secret

There is no secret for women's chatter,

There is no woman so that she does not spill secrets.

But, by the way, there are not enough men,

What is in this woman akin.

To test a wife, some husband, in bed

Lying with her, at night he suddenly exclaimed: “What is the matter with me ?!

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

What is it?! I gave birth to an egg!

"Egg?! Really?!"

"Well, yes, here it is, fresh; mind you, no gu-gu for people:

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

The wife, who has not seen such a case,

Like so many other things

She believed him and vowed to remain silent.

But these promises

Disappeared like a shadow of the night.

Naive wife, all the thrill of anticipation,

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

She went to a neighbor's house.

"Ah, - whispers, - gossip, listen to what

It happened...

Chur, not a word to anyone:

My husband laid an egg at night, that's what it looks like.

But, for God's sake, don't let me hurt you,

And then my husband ... "

"Well, why!

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

Go home, I won't betray you, believe me."

The mother's wife is just out the door,

The one, as on coals, itching, and at will

About the news in ten places she cracks,

And instead of one, three eggs appeared.

And the new godfather "four!" He speaks,

And whispers in your ear how it all happened.

But caution is ridiculous there,

Where the secret is already clear to everyone.

And as the number of eggs multiplied,

Thanks to rumor, among my gossips,

Then in the evening such eggs

More than a hundred turned out.

And in some of the 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 frightened of a thief who got into the house. “Fear is sometimes the most strong feeling and even disgust conquers", - the author ended his fable with such a conclusion. You can read about it in the fable "Husband, Wife and Thief"

Husband lived,

Passionately in love with his wife.

But, dealing with the Wife with sovereignty,

He was unhappy... Why?

Yes, because I'm indifferent

To him was his wife,

Always equal, always obedient,

Always cold as a stone!

The unfortunate Husband suffered - and this is so understandable:

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

Married then it's nice

When the union is sanctified by love.

His wife did not love him

And never caressed him with tenderness.

And then one night the offended spouse

She wept bitterly for her life, when suddenly

Their conversation

The thief interrupted suddenly.

The unfortunate Wife was so frightened of the Thief,

What with trepidation quickly clung

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

The special merit of Lafontaine in European literature there is a development of the genre of poetic fable. Prior to Lafontaine, classicist writers believed that the fable was 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 printed in 1694. Created over the years, the fables have reflected the changes in the poet's worldview, as well as his creative search.All books of fables are united by a holistic artistic intention: to ridicule the shortcomings modern society, to show the reader its different layers in a satirical image.

For the plots of his fables, Lafontaine used antique samples (for example, the fables of Aesop and Phaedrus), Indian sources, the traditions of the so-called animal epic, collections of apologists published in France as far back as the Middle Ages and up to the first half of the 17th century. But we can say that Lafontaine significantly pushed the usual boundaries of the fable genre.

Lafontaine's "Fables" are distinguished by their exceptional breadth in their coverage of French reality. All of France in the second half of the 17th century, starting from a 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 sweep of Lafontaine's poetic horizons prompted one of the critics to call him the "French Homer".

La Fontaine transformed the fable genre, overcoming the allegorical and dry morality that distinguished it, and developing the figurative, artistic principle in it to the maximum. Many of his contemporaries criticized him for these innovations. They are accustomed to seeing in a fable a kind of edifying parable. It seemed to them that Lafontaine's desire to poetically "decorate" the fable begs for its specific, purely didactic orientation. Yes, indeed, Lafontaine treated "morality" in a special way, 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 the fable should educate only by introducing the reader to the world. Lafontaine's refusal to edify was in clear contradiction with the instructive character of the fable, which had 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, greatly expanding its pictorial possibilities. The action of Lafontaine's fables develops, as a rule, from within. The driving forces of the plot of Lafontaine the fabulist turn out to be the inner qualities and motives characteristic of his heroes. Therefore, in the works of La Fontaine, the traditional moral lesson, formulated either in the opening verses of the fable or in its ending, most often turns out to be worse than the ideological content that objectively contains 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 story of Lafontaine the fabulist is by no means impersonal. It is permeated with the feelings and moods of the author himself, marked by his liveliest sympathy for the destitute and oppressed heroes, his hostile attitude towards negative characters. From the pages of fables, a charming and many-sided image of the narrator arises, combining innocence with cunning, a sharp mind and an inexhaustible sense of humor with responsiveness and sensitivity. In the fables of La Fontaine, the writer's lyrical talent was revealed with particular force. The lyrical qualities of Lafontaine's fables are especially evident in their endings. La Fontaine's endings are not rhymed common truths, but small lyric poems. Sometimes these are caustic epigrams, sometimes samples of a short joyful song chorus, sometimes sad elegies.

Lafontaine's fables give the impression of a live, oral story, a direct conversation between the author and the reader. This impression is exacerbated by Lafontaine's use of turns and intonations. colloquial speech, his widespread use to convey the internal appearance of the characters of the reception of improperly direct speech.

La Fontaine's fables are extremely diverse in subject matter: 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"), the latter give a picture of public morality, 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 more”, “Oak and Reeds”). The fables reflected the free-thinking of Lafontaine, his political free-thinking showed up.

La Fontaine's innovation in developing the fable genre lies, in part, in its democratization. Lafontaine introduces a new hero into the fable - a man from the people. The writer evaluates the events depicted by him from the point of view of a simple working person. The nationality and democratism of Lafontaine's fabled creativity are tangible in sharp criticism absolutist state.

Lafontaine not only deepened the content of the fable, adding to it a philosophical or political character, but also showed concern for the perfection of form. Under the pen of the French poet, the fable became light and refined. sharpness art form, new to this genre, was achieved using different artistic techniques: free composition, poetic form, introduction of author's digressions, wide use of dialogues, language characteristics, contrast. The structure of La Fontaine's fables is clear, simple and precise. As the French scientist of the 19th century noted. I. Ten, Lafontaine's fables resemble drama: they have an exposition, plot, climax and denouement, there are dialogic passages and a description of characters inherent in dramaturgy through their actions and language.

The language of fables is living, colloquial, folk. The poet uses turns and intonations characteristic of the colloquial 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 due to the movement of the author's thought, corresponds to its turns, subordinate to the content side of the work.

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

Democracy, vitality, national flavor of Lafontaine's fable captured L. Glebov, who imitated him, adding his own original colors. Researchers mention translations or rehashings of Lafontaine's works by I. Kotlyarevsky (they are lost).

Teacher Afonina N.V.

Lesson - research

Features of the fable genre. fables

I.A. Krylov.

The purpose of the lesson.

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

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

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

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

Raise interest in literature, in the work of fabulists; educate spiritual and moral character students.

Equipment.

Portrait of I.A. Krylov.

Illustrations for fables.

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

"Concise Dictionary literary terms"and" School poetic dictionary ".

Musical accompaniment.

lesson model.

RP HF

Z1

SU TL IR V Z

VChR Z2 Zyul

SU - teacher's word; B - conclusions;

TL - theory of literature; Z - task;

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

RP - work in pairs;

HF - expressive reading;

VChR - expressive reading by roles;

During the classes.

teacher's word.

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

Here is how M.V. said in his poem about Krylov and his fables. Isakovsky:

Who has not heard his living word?

Who in life has not met his own?

Immortal creations Krylova

We love each year more and more.

He knew everything and saw the inquisitive mind of the singer,

Just wanting one thing the most,

To live a free and happy life

His people and his homeland.

Updating of basic knowledge.

Let's at the beginning of the lesson remember everything that we already know about this genre.

- Fable ? AT " Concise Dictionary literary terms ": FABLE - short story, most of all in verse, mainly of a satirical nature. The purpose of the fables is to ridicule human vices, the shortcomings of public life.

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

- Allegory? In the "Concise Dictionary of Literary Terms": ALLEGORY - the image of an abstract concept or phenomenon through a specific image. So, in fables, under the guise of animals, certain persons or social phenomena are allegorically depicted.

Satire? In the "Concise Dictionary of Literary Terms": SATIRE - a kind of comic, merciless ridicule of human vices, criticism of life phenomena.

Fable Features:

Animals often act in the 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.

The fable depicts a short event of an instructive nature.

Fables often ridicule the actions of heroes.

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

• The fable usually consists of

  • entry;

    descriptions of events;

    morals.

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

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

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

Features of the fables of I.A. Krylov.

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

Refer to the texts of the fables on your desks. Compare Krylov's fables with those of Aesop and Lafontaine, find folk motifs in Krylov's fables.

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

Fable Analysis Plan:(On the desk)

Define, How are fables different from each other? with the same plot, written by Aesop, La Fontaine and Krylov.

Specify what do they have in common.

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

( Students work in pairs on the texts of the fables, prepare to expressively read the fable. It is advisable to read Krylov's fable by roles or play it.)

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

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

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

The difference is 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, and the Fox never remembers the mind of the Crow, unlike the fables of Aesop and La Fontaine.

Krylov's vocabulary.

There are a lot of folk expressive words and expressions, appeals, sayings in the fable: everything is not for the future, perched up, close, cheat, dove, feathers, sock, light, breath stole into the goiter.

Moral of the fable.

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

The lightness of the verse.

The rhymed poetic form of Krylov's fable is perceived much easier than Aesop's prose and Lafontaine's free unrhymed verses.

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

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

We meet a friend of ours folk tales gossip Fox, cunning, but not always lucky.

Krylov's vocabulary.

There are a lot of folk sayings, proverbs, sayings here: gossip, eyes lit up like yachts, if at least the eye sees, but the tooth is numb, breaking through in vain, you will set the teeth on edge.

Moral of the fable.

Krylov's fable illustrates the proverb included in the text: "The eye sees, but the tooth is dumb." In Aesop, a powerless person blames circumstances. Lafontaine has a condemnation of complaints, idle lamentations.

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

In Krylov's fable, the problems of the Russian peasant are very recognizable: capitation, boyarism, dues - all social. troubles.

Vocabulary of Krylov's fable: deadwood, trudging along, shack, groaning and groaning, down, it is not far away from us, but behind our shoulders, dumbfounded, a bundle, sickening.

Moral of Krylov's fable.

Krylov in the fable accuses not only a person, but the injustice of life. This is not a moralizing, but a philosophical fable, like that of Aesop and La Fontaine.

4. Assignments for Krylov's fables.

1. "Heroes of Krylov's fables".

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

« The wolf and the lamb" Flattering friends

« Wolf in the kennel "Ungrateful man

« Dragonfly and Ant" Intractable Friends

"Elephant and Pug" Incommensurability

"Swan, cancer and pike" Frivolity and seriousness

"Pig under the oak" Insidious man

"Cuckoo and Rooster" Predator and Prey

1. "Make a test" (for experts on Krylov's work)

Exercise: make up 3 - 4 test questions according to the work of I.A. Krylov.

For example :

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

A) guardian;

B) Klodt;

B) Mukhina.

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

A) in Moscow;

B) in St. Petersburg;

B) in Kyiv.

How many fables did Krylov write?

A) 180

B) 205

C) 100

What animal is found in Krylov's fables only once?

A) hare

B) Monkey;

B) bear.

In what fable of Krylov did the Russian commander Kutuzov recognize himself?

A) "Wolf in the kennel";

B) "Siskin and dove";

C) Dragonfly and Ant.

What fable is this expression from?“-And you, friends, if you don’t sit down, everyone is not good at musicians”?

A) "Quartet";

B) "Dragonfly and ant"; C) "The cat and the cook."

"Idioms".

Question: 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, do not be ashamed”, “For joy in the goiter, the breath stopped”, “The strong are always to blame”, “Jumping Dragonfly red summer sang; did not have time to look back, as winter rolls into your eyes", "Have you been singing? This is the case: so go and dance!", "Ay, Pug! Know she is strong, if she barks at the Elephant", "And you friends, no matter how you sit down, everyone is not good for musicians”, “When there is no agreement among the comrades, their business will not work out”, “The Cuckoo praises the Rooster, because he praises the Cuckoo” and others.)

Fable quiz by I.A. Krylov.

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

(In Petersburg, in the Summer Garden.)

1. What does the word "quartet" mean?

(A piece of music for four instruments.)

1. What fables are these lines taken from?

A) Yes, only things are still there.

("Swan, Pike and Cancer.")

B)Don't leave me, dear friend!

Give me the strength to gather

And until spring only days

Feed and warm!

("Dragonfly and Ant.")

AT) And you, friends, don't sit down,

All musicians are no good.

("Quartet".)

G)Twirls his glasses this way and that:

That will press them to the topic,

Then he will string them on the tail,

Now he sniffs them, then he licks them;

Glasses don't work .

("The monkey and glasses.")

E) With the strong, the weak is always to blame:

That is why we hear a lot of examples in History,

But we don't write stories.

("The Wolf and the Lamb.")

E)That's what gives me the spirit,

That I'm completely without a fight,

I can get into big trouble.

("Elephant and Pug ».)

4. Each hero of the fable personifies certain qualities. What qualities are represented by the Wolf, Donkey, Lamb, Fox, Monkey?

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

“The Cuckoo praises the Rooster for praising the Cuckoo”, “When there is no agreement among the comrades, their business will not work out”, “... your stigma is down”, “On hind legs I go".

5. Prove that you have a fable?

I. Demyanov "Natasha and the Collar"

Natasha scolded her collar:

• I'm so tired because of you

I'm at the trough all day

Washed you five times.

How are you not too lazy to get dirty?

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

Even blacker!

At least conscience on a patch!

• I agree, - said Collar;

You are tired, poor thing, at the trough,

But you should be angry with yourself

And in vain you make a reproach to me.

And yet, I pity you

I want to say in a friendly way:

You better wash your neck clean

Then you won't wash like that often!

A. Izmailov "Ladder".

Once there was a ladder against the wall.

Although the steps are all equal,

But the upper step was proud of the lower ones.

A man walked by, looked up the stairs,

Grabbed, turned over -

And the upper step was already at the bottom.

So a different person stands on a height.

Proud, and you look: just fly off.

Students draw conclusions.

Final word from the teacher.

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

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

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

Here is what one of his acquaintances wrote about Krylov:

“Mr. Krylov is tall, full of face and body; his gait is careless; his simple and open appeal inspires confidence in him ... In society, he notices more than he speaks; but when he is lured, his conversation can be very entertaining ... Under his fat appearance lies a subtle and quick mind, a discriminating taste, a philanthropic and well-meaning heart, and all these qualities of an excellent friend.

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

Message from the past...

« long life I lived a long time. I have seen many people, and what people! I will not hide, everything in my life was, different ways I went to myself and to my field. I can honestly say one thing, without being deceitful: no matter how fate turned to me, whether face or side, I valued more in this life the opportunity to express what I wanted to express. This was not always possible, and there were times when fate beat his pen mercilessly, but he did not give up!

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

So you are also reading ... Glad, I will not hide, it's nice for the old man. It turns out that Krylov really was worth something in this life, not everything, as others saw it, was a jester ... "

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

I would very much like that if we all were like the heroes of Krylov's fables, then only positive ones.

Summary of the lesson.

Homework:

1. Rep. theoretical aspects of the fable genre.

2. Jun. artists to draw an illustration for Krylov's fables.

Yun. scholars to make a crossword puzzle or test.

Literature:

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

M. "Russian Word", 1996.

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

Appendix to the lesson

Fable texts

Aesop

Fox and grapes

The hungry fox saw a vine with hanging bunches and wanted to get to them, but could not; and, walking away, she said to herself: “They are still green!” So it is with people: others cannot succeed because they have no strength, but they blame circumstances for this.

I. A. Krylov,Russian fabulist

Fox and grapes

Hungry godmother Fox climbed into the garden;

In it, the bunches of grapes were reddened.

The gossip's eyes and teeth caught fire,

And the brushes are juicy, like yachts are burning;

Only trouble is, they hang high:

Whence and how she will not go to them,

Although the eye sees, but the tooth is numb.

Breaking through the whole hour in vain,

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

Looks like he's good

Yes, green - no ripe berries:

You will immediately set the teeth on edge."

Jean de La Fontaine French fabulist

Fox and grapes

The Gascon fox, or maybe the Norman fox

(They say different things)

Dying of hunger, suddenly saw over the gazebo

Grapes, so visibly ripe,

In ruddy skin!

Our friend would be glad to eat them,

Yes, I couldn't reach him.

And he said: "He is green -

Let every rabble feed on them!”

Well, isn't that better than idly complaining?

I.A. Krylov, Russian fabulist.

Peasant and Death

Typing deadwood sometimes cold, winter,

An old man, withered all over from need and toil,

Dragged slowly to his smoky shack,

Cracking and groaning under a heavy load of firewood.

Carried, he carried them and got tired,

Has stopped,

On the ground from his shoulders he lowered the firewood down,

I sat on them and thought to myself:

“Where am I poor, my God!

I need everything; besides the wife and children,

And there is a capitation, boyarism, dues ...

And did he stand out when in the world

Although I have one happy day?

In such despondency, singing to your rock,

He calls Death: she is not tanning,

And behind your shoulders.

Appeared in an instant

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

Seeing her ferocious posture,

The poor man could hardly say, dumbfounded:

"I called you, though not in anger,

so that you help me lift my bundle.

From this fable

We can see

That as it happens, life is not sickening,

And dying is even worse.

Aesop,ancient Greek fabulist.

old man and death

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

Jean de La Fontaine French fabulist

Death and the distressed

Every day the unfortunate called

Death to your aid:

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

Hurry, put an end to my bitter share!

Death believed and really came for him -

She knocked on the door, stepped in, showed herself.

He shouts: "What do I see!" Get her away, get away!

How ugly she is! How

The sight of her inspires fear and horror!

Death, don't come near! Death, go away!"

An intelligent person was a Maecenas.

He once said: "Let me be powerless,

Cripple, armless, legless, but alive, -

And that's enough, but I'm already overjoyed."

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

Aesop

Raven and fox

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

A fable is appropriate against a foolish person.

Jean de La Fontaine, French fabulist.

Raven and fox

Uncle Raven, sitting on a tree,

He held cheese in his beak.

Uncle fox, attracted by the scent,

I spoke to him like this:

"Good afternoon, noble raven!

What a look you have! What a beauty!

As bright as your feathers -

Then you are the Phoenix of our oak forests!

Raven didn't think it was enough.

He opened his beak and dropped the cheese.

The fox picked him up and said: “Sir,

Remember: every flatterer

It feeds on those who listen to it -

Here's a lesson for you, and a lesson is worth the cheese."

And the embarrassed raven swore (but too late!)

He doesn't need another lesson.

I.A. Krylov, Russian fabulist

A Crow and a fox

How many times have they told the world

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

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

Somewhere a god sent a piece of cheese to a crow;

On the spruce Crow perched.

I was quite ready to have breakfast,

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

To that misfortune, the Fox ran close;

Suddenly, the cheese spirit stopped Lisa:

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

The cheat approaches the tree on tiptoe;

He wags his tail, do not take his eyes off the Crow

And he says so sweetly, breathing a little:

"Darling, how pretty!

Well, what a neck, what eyes!

To tell, so right, fairy tales!

What feathers! What a sock!

Sing, little one, don't be ashamed! What if, sister,

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

After all, you would be our king bird!

Veshunin's head was spinning with praise,

From joy in the goiter breath stole, -

And to Lisitsy's friendly words

The crow croaked at the top of its throat:

The cheese fell out - there was such a cheat with it.