Popular fabulists. Great fabulists of all times and peoples. Famous fabulists A. Sumarokov, I. Khemnitser, I. Dmitriev

Fable is the oldest genre of literature, dating back to Ancient Greece. It is based on a moral story that contains morality either in the text of the work itself or in a separate part of it. Traditionally, this genre has a small volume and is written in poetic form. As the main characters, famous fabulists most often choose animals that embody the vices of both an individual and society as a whole.

Development of the genre

The fable is believed to have originated in Ancient Greece. Its first authors are called Stesichorus and Hesiod. However, Aesop achieved the greatest fame, whose works were subsequently used by famous fabulists as the basis for creating works of this genre. Less popular were Demetrius of Phalerum (300 BC) and Babrius (2nd century AD).

From the Middle Ages until the 19th century, fables were written by Jean de La Fontaine, who lived in France in the 17th century, and the German poet Gellert. In the 18th and 19th centuries, this genre gained great popularity in Russian literature. The greatest fame here was achieved by A. Kantemir, V.K. Trediakovsky, A.P. Sumarokov, I.I. Dmitriev and, of course, I.A. Krylov.

Aesop - famous ancient Greek fabulist

This is a fairly well-known and yet mysterious person. Aesop is believed to have lived in the 6th century BC. e. in one of the cities of Thrace or Phrygia.

The main source of information about the fabulist is legends, since it is still not known for certain whether such a person actually existed. He is credited with creating small, fascinating stories in prose, from which a moral message flowed. They were mainly directed against the nobility, which required special, veiled content. The heroes were conventional animals who spoke in simple language. Hence the catchphrase “Aesopian language”, which is actively used in our time in the meaning of “allegory”.

Interest in the plots of Aesop's fables has always existed. His followers Phaedrus and Flavius ​​Avian transcribed the texts into Latin language. Many of the most famous fabulists of different times used them as a basis for creating their own works. Hence the rather familiar and similar plots in the texts different authors. Here is one example of Aesop's fable: the wolf saw the shepherds dining on a sheep, came up and said, turning to them: “And how much noise there would be if I did it.”

The works of Jean de La Fontaine

The history of modern fables begins with the work of a French fabulist who lived in 1621-1695.

His childhood was spent close to nature, as his father served in the forestry department. Lafontaine did not take the position handed down from his parent seriously and soon found himself in Paris, where he lived his entire life, achieving, by the way, great fame. The doors of almost all the capital's salons were open to him, with the exception of the royal palace: they did not like a free and frivolous poet who did not accept any obligations.

The poet’s main fame comes from 6 books under the single title “Aesop’s Fables, translated into verse by M. Lafontaine.” They were very good figurative language, various poetic forms and a special rhythm. The content organically intertwined the most interesting philosophical reflections and lyrical digressions. La Fontaine's heroes usually achieved success thanks to their dexterity and ability to take advantage of the situation.

The fable genre in Russian literature

Interest in the works of Aesop, and then La Fontaine, was observed in many countries, including Russia. Back in the 17th century, the fables of Stefanite and Ikhnilat were known. However, this genre achieved its greatest popularity only after the Peter the Great era, when truly famous fabulists appeared in literature. Russian imitative works of this genre are gradually being replaced by original ones.

The first here were A. Cantemir, who wrote 6 fables in the spirit of Aesop, and V. Trediakovsky, who was engaged in processing the works of the ancient Greek poet.

Famous fabulists A. Sumarokov, I. Khemnitser, I. Dmitriev

The next serious step was taken by A. Sumarokov: his creative heritage includes 334 fables, most of which are already independent works. These are small lively scenes written in free verse and somewhat rough language. According to the author, this was required by the low calm to which the fables belonged. The works themselves were very reminiscent of a naturalistic scene from everyday life, and the plot came from folklore, which also gave the works a folk character. Sumarokov himself often called them fables-parables, which already determines the author's intention.

In the second half of the 18th century, the collection “Fables and Tales of N.N.” was published. in verse,” a feature of whose works was a combination of features of classicism and sentimentalism. The name of the author, I. I. Khemnitser, became known to the general reader only two decades later, when the book was republished after the poet’s death. The main features of his fables are well expressed in the epigraph to the second collection: “In nature, in simplicity, he sought the truth...” For the poet, accuracy and logical expression of thought were more important, which limited him in his choice expressive means. Many noted that, unlike Sumarokov with his “peasant” conversation, Khemnitser’s language was more like noble speech, more smoothed and elegant.

This series of fabulists is closed by I. Dmitriev, who was very friendly with Karamzin. This left an imprint on his work. Dmitriev's language is particularly light, smooth and good taste, and the animal characters express themselves witty and at the same time sweet. It is no coincidence that he was called a reformer in the field of poetic language and the founder of the salon fable.

In Russian literary criticism, the opinion has been preserved that these famous fabulists were able to reform the language of works of this genre and laid the foundations for the formation of the work of another famous poet.

Great I. A. Krylov

This poet, known to us since childhood, began with translations of his beloved La Fontaine in 1805, and then for another 6 years he tried his hand at different genres.

Krylov's recognition as a fabulist occurred in 1811, during which 18 fables were written, 15 of which were original. Bright and apt figurative language, attractive and often unexpected images, almost all of which have become household names, instant feedback on the most relevant social issues political events- these are the most significant features of I. Krylov’s fables. His works embodied the wisdom and originality of the people and laid the foundations of realism. The creative heritage of I. Krylov includes 340 fables, published in 9 collections. During the poet's lifetime, his books were translated into Italian, German, English, and French.

It so happened that the famous Russian fabulist I. A. Krylov played a leading role in the development of this genre throughout world literature. No one could say anything better or more than that.

Class: 4

Goals:

• generalization of knowledge about Russian fabulists, orientation in concepts:
  – fable
  – allegory
  – morality
  – catchphrase, etc.
• improve the ability to expressively and consciously read fables;
• ability to analyze, compare, generalize.

Equipment: portraits of fabulists, drawings and crafts for fables, envelopes with assignments.

During the classes

1. The topic of our lesson is “Fables and fabulists.” But he is unusual. Why? How do you think?

We prepared in advance, and we will show you what we were able to do on our own. We'll show you creative work. Let us summarize what features of fables we have learned and show how they can be read in different ways. We know that the first fables were written a long time ago. Why do we need to study fables in the 21st century? What is a fable? Let's check the explanatory dictionary.

2. We have prepared our defense abstracts (mini-projects). And the first group will tell the story of where the fable came from.

a) Mini-project “Aesop’s Fables”. At the end, the student presents a drawn portrait of Aesop and explains how he represents the fabulist.

The first who began to use the technique of allegory, and allegory is when animals are depicted, but people are meant, was Aesop. He lived in Ancient Greece about 3000 years ago. Aesop was a slave and could not openly laugh at people who had power, so he told stories that supposedly happened to animals. And although everyone understood that we're talking about about people, no one could accuse Aesop of making fun of the unsavory actions of a certain person. To this day, allegorical speech is called Aesopian language. By reading fables, we will learn to understand Aesopian language.

b) Reading the fable and explaining why you chose it.

Fox and grapes.

The hungry Fox snuck into the garden and saw a juicy bunch of grapes on a high branch. “This is exactly what I need!” - she exclaimed, ran and jumped once, twice, three times... but it was all useless - there was no way to get to the grapes. “Oh, I knew it, it’s still green!” – Lisa snorted in self-justification and hurried away.

c) Description of the drawings drawn by the students of the group.

d) Questions:

– What is special about the fable?
– Is there a moral in the fable? Which?
– Who are the heroes?

3. Creativity of I. I. Khemnitser. The second group represents.

a) Biography of I.I. Chemnitzer.

Ivan Ivanovich Khemnitser is a fabulist. He was born on January 4, 1745 in the Enotaevskaya fortress (now the city of Enotaevsk, Astrakhan province). His father came from Saxony, was an educated man and cared about raising his son.

As a writer, Chemnitzer became famous for his fables. There are only 91 of them. About a third of Chemnitzer’s fables are translated, the rest are original. He is the most prominent of I.A.’s predecessors. Krylov. Krylov often repeated Chemnitser’s plots and even individual expressions. Chemnitzer gave Krylov not only a completely ready-made form, but also intonation and partly even content, which the talented successor was able to give new strength and brightness. Fables by I.I. Chemnitzer’s images are inferior to Krylov’s in the brightness of his images; in them one can see more clever man, rather than an artist, they do not contain Krylov’s sly humor, they are even imbued with a certain elegance that does not quite suit this type of poetry. Like Krylov, Chemnitzer responded with his fables both to the topic of the day and raised more general questions. Fables by I.I. Chemnitser enjoyed great success among his contemporaries. In total there are 28 editions of his fables.

b) Dramatization of the fable “Dragonfly”.

Dragonfly.

All summer the dragonfly lived only
What she sang;
And when winter came,
So she had no bread in stock.
And asks the ant: “Have mercy, ant,
Do not let me fall into my extremes:
There is no bread or grain, and I don’t know what to do.
Can't you lend me anything?
So that I can at least somehow survive until summer?
And when summer comes, I really promise
You will have to pay everything twice.”
- “How about you all summer?”
Haven’t stocked up on anything?” – she’s antagonized by this.
- “So, it’s my fault; yeah, don't blame me

I wanted to stock up on everything
Yes, the whole summer sang.”
- “Sang? Fine! go now fistula.”
But this is only for teaching
The ant told her
And for food
Out of pity, he gave her bread.

c) Protection of drawings and crafts. Presentation of the proverb to the fable in the form of a drawing. (Business before pleasure).

d) Questions:

– Do we know the plot?
– Why did Chemnitzer repeat the theme of the fable?
– What vices are ridiculed?
– What morality?
– Did the ant feel sorry for the dragonfly?
- What more description or dialogue?

4. Creativity of I. Krylov. The third group represents.

And now the student will show us the fable “The Dragonfly and the Ant,” but she will also tell it on her own behalf. (Staging of I. Krylov’s fable “The Dragonfly and the Ant” by one student).

Questions: Why did Krylov use this plot, although he wrote this fable almost 50 years after Chemnitzer? Is morality visible? Tell her? How does is called?

(Popular expression -
“Did you sing everything? this business:
So come and dance!”).

Dragonfly and ant.

Jumping Dragonfly
The red summer sang;
I didn’t have time to look back,
How winter rolls into your eyes.
The pure field has died;
There are no more bright days,
Like under every leaf
Both the table and the house were ready.
Everything has passed: with the cold winter

Need, hunger comes;
The dragonfly no longer sings:
And who cares?
Sing on a hungry stomach!
Angry melancholy,
She crawls towards the Ant:
“Don’t leave me, dear godfather!
Let me gather my strength
And only until spring days
Feed and warm!” –
“Gossip, this is strange to me:
Did you work during the summer?”
Ant tells her.
“Was it before that, my dear?
In our soft ants
Songs, playfulness every hour,
So much so that my head was turned.”
“Oh, so you...” - “I am without a soul
I sang all summer.” –
“Did you sing everything? this business:
So come and dance!”

5. Creativity of A.E. Izmailova. Represents the fourth group.

a) Biography of A.E. Izmailova.

Alexander Efimovich Izmailov (1779–1831) – fabulist and journalist. He came from the nobility of the Vladimir province. He received his education in the Mountain Cadet Corps, after which in 1797 he entered the Ministry of Finance. All his life A.E. Izmailov spent almost all of his time in St. Petersburg, and only for a few years on military business he lived first in Tver and then in Arkhangelsk. Izmailov's talent manifested itself mainly in fables, the first edition of which was published in 1814. In addition to borrowed ones, Izmailov has a number of original fables with purely Russian humor and on special Russian themes. They reflected the peculiarity of his talent - some kind of good-natured rudeness, an inclination towards realism. The best fables Izmailova: “Kulik the Astronomer”, “Liar”, “Brawler Noblewoman”, “Passion for Poem”.

b) Reading by role of the fable “The Wolf and the Crane”.

The wolf somehow choked on a bone.
No wonder: I’m always in a hurry;
There was a bone in his throat.
Prozhora wheezed, his breathing became difficult,
Well, in a word, death came to him,
And he wanted to repent of his sins.
Luckily, the Crane passed by here.
The sufferer in front of him opened his mouth pitifully;
The crane lowered its very long nose into it
And he successfully removed the bone.
The wolf jumped up with joy, getting rid of trouble.
“What kind of work do I have to do?” -
The big-nosed doctor asked. "Oh, you ungrateful one! -
The wolf answered heartily. - How dare you ask?
Look how impudent he is!
Thank you for keeping your nose intact."

c) Protection of drawings.

d) Questions:

– What human shortcomings are condemned in the fable?
– Is it possible to make a wolf grateful?
– Are there such ungrateful people nowadays?

6. The works of L. N. Tolstoy. The fifth group represents.

a) Biography of L. N. Tolstoy.

Count Lev Nikolaevich Tolstoy (1828–1910) is one of the most widely known Russian writers and thinkers. In Yana Polyana he created a school for peasant children and wrote his own textbooks for schoolchildren. There were also fables in the Primer and reading books. For example, Tolstoy translated Aesop's fables to introduce them to his students. To make them feel the peculiarities of Aesopian language, he translated the fables word for word, calling his translations “literal.” The writer also created free retellings and adaptations of fables and moral stories.

b) Monologue “Two comrades.”

Two comrades were walking through the forest, and a bear jumped out at them. One ran, climbed a tree and hid, while the other stayed on the road. He had nothing to do - he fell to the ground and pretended to be dead. The bear came up to him and began to sniff: he stopped breathing. The bear sniffed his face, thought he was dead, and walked away. When the bear left, he climbed down from the tree and laughed: “Well,” he said, “did the bear speak into your ear?” “And he told me that - bad people those who run away from their comrades in danger.”

c) Protection of drawings.

d) Questions:

– Is there a moral in the fable?
– Who expressed it?
-What is the fable like?

7. We got acquainted with various fables, read them in different ways, and identified the features of the fable. And now we unite into two groups and work in groups.

Assignment in envelopes.(Select features of fables and explain one.)

The envelope contains features not only from fables. Groups post their answer options and compare. Discussion of the correct answers:

– contains an interesting short story;
– the hero often expresses the main idea;
– a lot of dialogues, few descriptions;
– written in prose or poetry;
– heroes – animals, plants, objects;
– there is morality;
- allegory is used.

8. Questions for discussion.

1. What is a fable?
2. What are the features of the fable?
3. Give catchphrases?
4. What are the qualities ridiculed in fables?
5. What are the qualities that are approved and encouraged?

Finish the sentence: “The most interesting task was...”

9. Summary. I wish you to apply these qualities in your life and eradicate vices.

10. Lesson assessment. Did you enjoy being researchers?

Finish the sentence:“The most interesting task was...”

Aesop
6th century BC

Life story
Aesop (Aesop) is considered the founder of the fable as a genre, as well as the creator of the artistic language of allegories - the Aesopian language, which has not lost its relevance from ancient times to the present day. In the darkest periods of history, when one could lose one’s head for speaking truthfully, humanity did not fall into muteness only because it had Aesopian language in its arsenal - it could express its thoughts, views, protests in stories from the lives of animals, birds, fish .
With the help of fables, Aesop taught humanity the basics of wisdom. “Using animals in the form in which they are still depicted on heraldic coats of arms, the ancients passed on from generation to generation great truth life... - wrote Gilbert Chesterton. - If a knight's lion is fierce and terrible, he is indeed fierce and terrible; If sacred ibis stands on one leg, he is doomed to stand like that forever.
In this language, structured like a huge animal alphabet, the most ancient philosophical truths are written. Just as a child learns the letter “A” from the word “stork”, the letter “B” from the word “bull”, the letter “B” from the word “wolf”, a person learns simple and great truths from simple and strong creatures- heroes of fables."
And this never-silent humanity, which owes so much to Aesop, still does not know for sure whether such a person really existed, or whether he is a collective person.
According to legend, Aesop was born in the 6th century BC. in Phrygia (Asia Minor), was a slave and then a freedman. For some time he lived at the court of the Lydian king Croesus in Sardis. Later, while in Delphi, he was accused of sacrilege by the priestly aristocracy and thrown from a cliff.
A whole book of funny stories about his life and adventures has been preserved. Despite the fact that Aesop, according to legend, was ugly and hunchbacked, and also foul-mouthed, he became a real hero of folk legends, telling about his courageous actions against the rich and nobility, about his disgrace of the false wisdom of the ruling elite.
The book “Outstanding Portraits of Antiquity” (1984) by the German archaeologist, historian and art critic Hermann Hafner presents a drawing on a drinking vessel made in the 5th century BC. in Athens (kept in the Vatican). It grotesquely depicts a hunchbacked counterpart with a fox, who, judging by her gestures, is telling him something. Scientists believe that the drawing depicts Aesop.
In the same book, Hafner claims that in Athens during the reign of Demetrius of Phalerum (317-307 BC), a statue of Aesop created by Lysippos was placed next to the group of “Seven Wise Men,” which indicates the high veneration of the fabulist and two centuries after his death. It is believed that under Demetrius of Phalerum a collection of Aesop's fables appeared, compiled by a person unknown to us. “In such a compiler, apparently, there was something great and humane,” as Chesterton rightly noted, “something from the human future and the human past...”
A collection of 426 fables in prose has been preserved under the name of Aesop. Among them there are many stories familiar to us. For example, “A hungry fox noticed hanging bunches of grapes on one vine. She wanted to get them, but couldn’t and left, saying to herself they were still green.” Or “The wolf once saw how the shepherds in the hut were eating a sheep. He came close and said, “What a fuss you would make if I did this!”
Fables from this collection of writers different eras given literary form. In the 1st century AD The Roman poet Phaedrus became famous for this, and in the 2nd century the Greek writer Vabrius became famous. In the Middle Ages, the fables of Aesop and Phaedrus were published in special collections and were very popular. Modern fabulists La Fontaine in France, Lessing in Germany, I.I. drew their plots from them. Khemnitser, A.E. Izmailov, I.A. Krylov in Russia.

Jean Lafontaine

(French Jean de La Fontaine) - famous French fabulist; genus. in 1621 in Château-Thierry, died in 1695

His father served in the forestry department, and Lafontaine spent his childhood among forests and fields. At the age of twenty he entered the Oratorian brotherhood (Oratoire) to prepare for the clergy, but was more interested in philosophy and poetry.

In 1647, Jean La Fontaine's father transferred his position to him and convinced him to marry a 15-year-old girl. He took his new responsibilities, both official and family, very lightly, and soon left for Paris, where he lived his whole life among friends, admirers and admirers of his talent; he forgot about his family for years and only occasionally, at the insistence of friends, went to a short time to my homeland.

His correspondence with his wife, whom he made the confidant of his many romantic adventures, has been preserved. He paid so little attention to his children that, having met his adult son in the same house, he did not recognize him. In Paris, Lafontaine was a brilliant success; Fouquet gave him a large pension as payment for one poem a month; the entire aristocracy patronized him, and he knew how to remain independent and gracefully mocking, even amid the flattering panegyrics with which he showered his patrons.

The first poems that transformed Jean La Fontaine from a salon poet into a first-class poet were written by him in 1661 and were inspired by sympathy for sad fate his friend Fouquet. It was “Elegy to the Nymphs of Vaux” (Elégie aux nymphes de Vaux), in which he ardently interceded with Louis XIV on behalf of the disgraced dignitary. He lived in Paris, first with the Duchess of Bouillon, then, for more than 20 years, at the hotel Madame de Sablière; when the latter died and he left her house, he met his friend d'Hervart, who invited him to live with him. “That’s exactly where I was heading,” was the fabulist’s naive answer.

In 1659-65. Jean La Fontaine was an active member of the circle of “five friends” - Moliere, L., Boileau, Racine and Chappelle, and maintained friendly relations with everyone even after the break between other members of the circle. Among his friends were also Conde, La Rochefoucauld, Madame de Sevigny and others; only he did not have access to the court, since Louis XIV did not like a frivolous poet who did not recognize any responsibilities. This slowed down La Fontaine's election to the academy, of which he became a member only in 1684. Under the influence of Madame de Sablier La Fontaine, in last years life, became a believer, remaining, however, a frivolous and absent-minded poet, for whom only his poetry was serious. The significance of Jean La Fontaine for the history of literature lies in the fact that he created a new genre, borrowing from ancient authors only the external plot of fables. The creation of this new genre of semi-lyrical, semi-philosophical fables is due to individual character Lafontaine, who was looking for a free poetic form to reflect his artistic nature.

These searches were not immediately successful. His first work was La Gioconda (Joconde, 1666), a frivolous and witty imitation of Ariosto; This was followed by a whole series of “fairy tales”, extremely obscene. In 1668, the first six books of fables appeared, under the modest title: “Aesop’s Fables, translated into verse by M. La Fontaine” (Fables d’Esope, mises en vers par M. de La Fontaine); The 2nd edition, which already contained 11 books, was published in 1678, and the 3rd, with the inclusion of the 12th and last book, in 1694. The first two books are more didactic in nature; in the rest, Jean La Fontaine becomes more and more free, mixes moral teaching with the transfer of personal feelings and, instead of illustrating, for example, this or that ethical truth, conveys for the most part some kind of mood.

Jean La Fontaine is least of all a moralist and, in any case, his morality is not sublime; he teaches a sober outlook on life, the ability to use circumstances and people, and constantly depicts the triumph of the clever and cunning over the simple-minded and kind; There is absolutely no sentimentality in it - his heroes are those who know how to arrange their own destiny. But it is not in this crude, utilitarian morality that the meaning of Jean La Fontaine's fables lies. They are great for their artistic merit; the author created in them “a comedy in a hundred acts, transferring to the stage the whole world and all living beings in their mutual relations" He understood people and nature; reproducing the mores of society, he did not smash them like a preacher, but looked for the funny or touching in them. In contrast to his age, he saw animals not as mechanical creatures, but as a living world, with a rich and varied psychology. All nature lives in his fables. Under the guise of the animal kingdom, he, of course, draws the human kingdom, and draws subtly and accurately; but at the same time, his animal types are extremely self-possessed and artistic in themselves.

The artistic significance of Jean La Fontaine's fables is also contributed by the beauty of La Fontaine's poetic introductions and digressions, his figurative language, free verse, special art of conveying movement and feelings with rhythm, and in general the amazing richness and variety of poetic form. A tribute to gallant literature was the prose work of Jean La Fontaine - the story “The Love of Psyche and Cupid” (Les amours de Psyché et de Cupidon), which is a reworking of Apuleius’ tale about Cupid and Psyche from his novel “The Golden Ass”.

Ivan Andreevich Krylov

Russian fabulist, writer, playwright.

Born in 1769 in Moscow. Young Krylov studied little and unsystematically. He was ten years old when his father, Andrei Prokhorovich, who was at that moment a minor official in Tver, died. Andrei Krylov “didn’t study science,” but he loved to read and instilled his love in his son. He himself taught the boy to read and write and left him a chest of books as an inheritance. Krylov received further education thanks to the patronage of the writer Nikolai Aleksandrovich Lvov, who read the poems of the young poet. In his youth, he lived a lot in Lvov’s house, studied with his children, and simply listened to the conversations of writers and artists who came to visit. The shortcomings of a fragmentary education affected later - for example, Krylov was always weak in spelling, but it is known that over the years he acquired quite solid knowledge and a broad outlook, learned to play the violin and speak Italian.

He was registered for service in the lower zemstvo court, although, obviously, this was a simple formality - he did not go to Krylov’s presence, or almost did not go, and did not receive any money. At the age of fourteen he ended up in St. Petersburg, where his mother went to ask for a pension. Then he transferred to serve in the St. Petersburg Treasury Chamber. However, he was not too interested in official matters. In the first place among Krylov’s hobbies were literary studies and visiting the theater. These passions did not change even after he lost his mother at the age of seventeen, and worries about caring for him fell on his shoulders. younger brother. In the 80s he wrote a lot for the theater. From his pen came the librettos of the comic operas “The Coffee Shop” and “The Mad Family”, the tragedies “Cleopatra” and “Philomela”, and the comedy “The Writer in the Hallway”. These works did not bring the young author either money or fame, but helped him get into the circle of St. Petersburg writers. He was patronized by the famous playwright Ya. B. Knyazhnin, but the proud young man, deciding that he was being mocked in the “master’s” house, broke up with his older friend. Krylov wrote the comedy “Pranksters”, in the main characters of which, Rhymestealer and Tarator, contemporaries easily recognized the Prince and his wife. “The Pranksters” is a more mature work than the previous plays, but the production of the comedy was prohibited, and Krylov’s relationship deteriorated not only with the Knyazhnin family, but also with the theater management, on which the fate of any dramatic work depended.

Since the late 80s, the main activity has been in the field of journalism. In 1789, he published the magazine “Mail of Spirits” for eight months. The satirical orientation, which appeared already in the early plays, was preserved here, but in a somewhat transformed form. Krylov created a caricature of his contemporary society, framing his story in the fantastic form of correspondence between gnomes and the wizard Malikulmulk. The publication was discontinued because the magazine had only eighty subscribers. Judging by the fact that “Spirit Mail” was republished in 1802, its appearance did not go unnoticed by the reading public.

In 1790 he retired, deciding to devote himself entirely to literary activity. He became the owner of a printing house and in January 1792, together with his friend, the writer Klushin, began publishing the magazine "Spectator", which was already enjoying greater popularity.

The greatest success of "The Spectator" was brought by the works of Krylov himself, "Kaib", an oriental story, a fairy tale of the Night, "A eulogy in memory of my grandfather", "A speech spoken by a rake in a meeting of fools", "Thoughts of a philosopher about fashion". The number of subscribers grew. In 1793, the magazine was renamed "St. Petersburg Mercury". By this time his publishers had focused primarily on constant ironic attacks on Karamzin and his followers. The publisher of Mercury was alien to the reformist work of Karamzin, which seemed to him artificial and overly subject to Western influences. Admiration for the West, the French language, French fashion was one of the favorite themes of the young Krylov’s work and the object of ridicule in many of his comedies. In addition, the Karamzinists repulsed him with their disdain for the strict classicist rules of versification, and he was outraged by the overly simple, in his opinion, “common” style of Karamzin. As always, he portrayed his literary opponents with poisonous causticism. Thus, in “A speech of praise to Ermolafide, delivered at a meeting of young writers,” Karamzin was mockingly depicted as a person talking nonsense, or “Yermolafia.” Perhaps it was precisely the sharp polemics with the Karamzinists that pushed readers away from the St. Petersburg Mercury.

At the end of 1793, the publication of the St. Petersburg Mercury ceased, and Krylov left St. Petersburg for several years. According to one of the writer’s biographers, “From 1795 to 1801, Krylov seemed to disappear from us.” Some fragmentary information suggests that he lived for some time in Moscow, where he played cards a lot and recklessly. Apparently, he wandered around the province, living on the estates of his friends. In 1797, Krylov went to the estate of Prince S. F. Golitsyn, where he apparently was his secretary and teacher of his children.

It was for a home performance at the Golitsyns in 1799-1800 that the play “Trumph or Podschipa” was written. In the evil caricature of a stupid, arrogant and evil warrior, Trump was easily discernible Paul I, which the author did not like primarily for his admiration for the Prussian army and King Frederick II. The irony was so caustic that the play was first published in Russia only in 1871. The significance of "Trump" is not only in its political overtones. What is more important is that the very form of “joke tragedy” parodied classical tragedy with its high style and in many ways meant the author’s rejection of those aesthetic ideas to which he had been faithful over the previous decades.

After the death of Paul I, Prince Golitsyn was appointed governor-general of Riga, and Krylov served as his secretary for two years. In 1803 he retired again and, apparently, again spent the next two years in continuous travel around Russia and card game. It was during these years, about which little is known, that the playwright and journalist began to write fables.

It is known that in 1805 Krylov in Moscow showed the famous poet and fabulist I.I. Dmitriev your translation of two fables Lafontaine: "The Oak and the Cane" and "The Picky Bride." Dmitriev highly appreciated the translation and was the first to note that the author had found his true calling. The poet himself did not immediately understand this. In 1806, he published only three fables, after which he returned to dramaturgy.

In 1807 he released three plays at once, which gained great popularity and were performed successfully on stage. These are “Fashion Shop”, “Lesson for Daughters” and “Ilya Bogatyr”. The first two plays were especially successful, each of which in its own way ridiculed the nobles’ predilection for the French language, fashions, morals, etc. and actually equated gallomania with stupidity, debauchery and extravagance. The plays were repeatedly staged, and “The Fashion Shop” was even performed at court.

Despite the long-awaited theatrical success, Krylov decided to take a different path. He stopped writing for the theater and every year he devoted more and more attention to working on fables.

In 1808, he published 17 fables, including the famous “The Elephant and the Pug.”

In 1809, the first collection was published, which immediately made its author truly famous. In total, before the end of his life, he wrote more than 200 fables, which were combined into nine books. He worked until last days- the writer’s friends and acquaintances received the last lifetime edition of the fables in 1844, along with notice of the death of their author.

At first, Krylov's work was dominated by translations or adaptations of La Fontaine's famous French fables ("The Dragonfly and the Ant", "The Wolf and the Lamb"), then gradually he began to find more and more independent plots, many of which were related to topical events Russian life. Thus, the fables “Quartet”, “Swan”, “Pike and Cancer”, “Wolf in the Kennel” became a reaction to various political events. More abstract plots formed the basis of "The Curious", "The Hermit and the Bear" and others. However, fables written “on the topic of the day” very soon also began to be perceived as more generalized works. The events that gave rise to their writing were quickly forgotten, and the fables themselves turned into favorite reading in all educated families.

Working in a new genre dramatically changed Krylov's literary reputation. If the first half of his life passed practically in obscurity, was full of material problems and deprivations, then in maturity he was surrounded by honors and universal respect. Editions of his books sold in huge circulations for that time. The writer, who at one time laughed at Karamzin for his predilection for overly popular expressions, now himself created works that were understandable to everyone, and became a truly popular writer.

Krylov became a classic during his lifetime. Already in 1835 V.G. Belinsky in his article “Literary Dreams” he found only four classics in Russian literature and put Krylov on a par with Derzhavin ,Pushkin And Griboyedov .

All critics paid attention to the national character of his language and his use of characters from Russian folklore. The writer remained hostile to Westernism throughout his life. It is no coincidence that he joined the literary society “Conversation of Lovers of Russian Literature,” which defended the ancient Russian style and did not recognize Karamzin’s language reform. This did not prevent Krylov from being loved by both supporters and opponents of the new light style. Thus, Pushkin, to whom the Karamzin direction in literature was much closer, comparing Lafontaine and Krylov, wrote: “Both of them will forever remain the favorites of their fellow citizens. Someone rightly said that simplicity is an innate property of the French people; on the contrary, distinguishing feature in our morals there is some kind of cheerful cunning of the mind, mockery and a picturesque way of expressing ourselves."

In parallel with popular recognition, there was also official recognition. From 1810, Krylov was first an assistant librarian and then a librarian at the Imperial Public Library in St. Petersburg. At the same time, he received a repeatedly increased pension “in honor of his excellent talents in Russian literature.” Was elected a member Russian Academy, was awarded a gold medal for literary merit and received many other awards and honors.

One of characteristic features Krylov's popularity includes numerous semi-legendary stories about his laziness, sloppiness, gluttony, and wit.

Already celebrating the fiftieth anniversary creative activity fabulist in 1838 turned into a truly national celebration. Over the past almost two centuries, there has not been a single generation in Russia that was not brought up on Krylov’s fables.

Ivan Andreevich Krylov died in 1844 in St. Petersburg.

Many people are interested in what kind of Russian fabulists there are. Through this story, I will try to illuminate this issue in as much detail and detail as possible. So, the structure of my story is as follows:

• fable in Russian literature as a genre;
• famous Russian fabulists;
• the most famous Russian fabulist.

Fable in Russian literature as a genre

Interest in Aesop's and La Fontaine's works was imbued in many countries. Russia is no exception. Back in the seventeenth century, Stefanite and Ikhnilat works were read here. But the fable achieved great fame only after the Peter the Great era ended; it was during this period that literature found its first famous fabulist. Over time, Russian imitative works of this genre were replaced by original ones. The first here was Cantemir, who wrote six fables in the Aesopian style, as well as V. Trediakovsky, who revised the works of ancient Greek poets.

Famous Russian fabulists

The next serious step was Sumarokov’s debut: his creative heritage amounts to three hundred and thirty-four independent works. They were small live scenes that were written in free verse. According to the author, the fables belonged to low calm and were similar to naturalistic scenes from everyday life. The construction of the plot was folklore, which gave the fables a folk flavor. These were fables-parables, as the author himself defined them.

I. I. Khemnitser combined the features of the classical style and sentimentalism. His speech in his works was smooth and elegant, in contrast to Sumarokov’s language.

I. Dmitriev was friends with Nikolai Karamzin and took his creative example from him. His speech was especially light, smooth and pleasant to the ear. He portrayed animal heroes with a sharp mind. Dmitriev is a reformer in the field of poetic speech, as well as the founder of salon fables.

The most famous Russian fabulist

The most famous Russian fabulist is, undoubtedly, Krylov. While writing his works, he used bright and accurate figurative language, attractive and often unexpected images. His fables contained the main features of realism.

A fable is a poetic or prose genre of a short literary work.

Characteristics of the fable

The fable contains an instructive thought (moral), uses the technique of allegory and applies a large number of dialogues. Basically, the main characters are intelligent animals with the morals, traits and vices of people (stubbornness, greed, cunning). The purpose of writing a fable is to teach people to eradicate their shortcomings. Also, the heroes of this genre can be people, plants, objects.

The following Russian fabulists are known:

• Ivan Ivanovich Khemnitser;
• Ivan Andreevich Krylov;
• Alexander Efimovich Izmailov;
• Ivan Ivanovich Dmitriev;
• Lev Nikolaevich Tolstoy.

Information about fabulists

I. I. Khemnitser is a Russian poet, translator and fabulist of the 18th century. In total, the poet wrote 91 fables; this number includes works of his own composition, as well as his translations of fables by La Fontaine and Gellert. Chemnitzer's fables lack the satirical character characteristic of this genre; they are more characterized by a melancholic mood. Examples of his works: “Dragonfly”, “Happy Husband”.

I. A. Krylov is a poet and fabulist at the turn of the 18th and 19th centuries. The plot of his fable “The Dragonfly and the Ant” was largely copied from the plot of his predecessor Chemnitzer’s fable “The Dragonfly”, but this work was supplemented with humor and satirical turns. Krylov's fables are known for their numerous catchphrases(for example, “Even though the eye sees, the tooth is numb” - the fable “The Fox and the Grapes”).

A. E. Izmailov - official, journalist, teacher and fabulist of the first half of the 19th century. His fables are characterized by realism, and also related to satire. An example of his fable is “The Wolf and the Crane,” in which, using the technique of allegory, human ingratitude is condemned.

I. I. Dmitriev - poet, satirist and prose writer of the 18th-19th centuries. Translated fables and fairy tales from French into Russian (example: “Oak and cane”). Some of his poems were subsequently set to music.

L.N. Tolstoy is the most famous Russian writer and thinker of the 19th century. Tolstoy did not write his own fables, but he was engaged in literal translations of the fables of Aesop, the ancient Greek poet and fabulist who lived before our era. Examples of fables: “The Wolf and the Lamb”, “The Cat and the Mice”.