home Tools Images of animals in the fables of I. Krylov. Presentation on the theme "Images of animals in the fables of I.A. Krylov" "Pig under the oak"

Images of animals in the fables of I. Krylov. Presentation on the theme "Images of animals in the fables of I.A. Krylov" "Pig under the oak"

A fable is a short story that has an allegorical meaning. Usually one of the main types of allegory in a fable is an allegory, the embodiment of an abstract idea in a material image. As a rule, the main characters of the fable are conditional fabled animals. It is generally accepted that the images of animals are allegorical.

In the fables of I. A. Krylov, animals act more often than people. Animals are present in all types of fables by I. A. Krylov: philosophical (“Two doves”), social (“The wolf and the lamb”), historical (“The wolf in the kennel”), everyday (“Pig under the oak”). It is generally accepted that the fabulist has the image of each animal; this is an allegory of some character trait, for example, a monkey, a pig, an allegory of ignorance; donkey stupidity; cat; tricks; A rooster, a cuckoo of mediocrity, etc. The allegorical nature of animal images originates from Aesop's fables. Aesop wrote fables for the sake of establishing morality in society, and allegory helped him to ridicule some specific human trait, a bad inclination, it served as an illustration of morality. In the fables of I. A. Krylov, not only morality is important as the highest category of human behavior in society, in many ways he is a follower of La Fontaine, a picturesque fabulist. We read the fables of I. A. Krylov not because of morality, but because of the most interesting and witty story. Therefore, one can not agree that the image of any animal in the author is only an allegory of one human vice. In most cases, the image of an animal in I. A. Krylov includes a combination of some qualities and properties that make up a certain human character.

For example, the image of a fox is not made up of cunning and flattery alone, but of cunning, flattery, deceit at the same time. And in accordance with the endowed character, she behaves in each specific everyday situation. In the fable “The Peasant and the Fox,” the Fox at the end does what it behooves a fox, without contradicting his character:

The fox became more satisfying,
The fox became fatter
But things didn't get any better...
... Having chosen a darker night,
At the kumanka, she strangled all the chickens.

The donkey, one of the most frequently encountered heroes of the fables of I. A. Krylov, is also endowed with a human character. He is stupid, stupid, ignorant, stubborn. And he always acts in a fable like a donkey. The peasant instructed him to guard the garden, “the donkey, chasing birds from all the donkey’s legs‹…> raised such a gallop that he crushed and trampled everything in the garden.” Zeus made him taller. But still, the donkey remained a donkey:

Not even a year has passed
How did everyone know who the Donkey is:
My donkey stupidity entered the proverb,
And donkeys carry water.

From folk tales, proverbs in the mind of a Russian person, certain images of many animals are formed, for example, a fox, a wolf, a hare. I. A. Krylov uses this in his fables, this is the nationality of Krylov's fables. But, of course, not all the animals in his fables represent integral characters. For example, a bee is just a generalized allegory of industriousness.

Every animal in I. A. Krylov still personifies a representative of any social group. The lion is always the king; Wolf, Fox, Bear court nobles, officials; Lamb, Frog, Ant are "little" people standing at the very bottom of the social ladder: petty officials, peasants. Often the human character endowed with the beast in the fable of I. A. Krylov merges with its social characteristics, and then the reader faces real social types that exist in society. For example, in the fable "The Education of a Lion" behind the image of the old Lion we see a typical image of the Russian Tsar. Leo trusts to raise his Lion cub to a representative of another nation, a foreigner; he cannot teach his own son how to govern the state, because he does not know how to do it, he does not know what is really going on in his state. And as a result, the Lion cub grows up the same as his father, a stranger to his people, cut off from the national soil.

Often in the fables of I. A. Krylov, it is easy to detect specific historical figures behind the images of animals. The lion cub from the fable "The Education of the Lion" is Alexander I; The wolf from the fable "The Wolf in the Kennel" is Napoleon. We can say that the Wolf is not an allegory, but rather a metaphor related to Napoleon.

The artistic perfection and realism of the fables of I. A. Krylov lie in the breadth of generalization, in the typicality, in the accuracy of the selection of the fact that prompted the fabulist to create the fable.

The images of animals in the fabulists are not just allegories of one human trait; many of them convey various features of a human character, representing a certain class type, and are a metaphor for a specific historical person. Krylov creates living, typical, realistic characters, generalizing and typing the very situation in which they act. This is the realism, innovation and durability of the fables of I. A. Krylov.

Essay text:

As the dictionary tells us, a fable is a short story that has an allegorical meaning. For the purpose of allegory, fabulists of different times used images of animals and even objects. For artistic (and sometimes censorial) reasons, people in fables are replaced by animals endowed with individual human traits: cowardice, courage, kindness, courage, and ҭ. e. Such allegorical images of animals, that is, animals that personify one particular trait of human character, were widely used in their fables by Aesop, Lafontaine, Lessing. Krylov inherited this tradition from his predecessors. But the skill of Krylov the fabulist, of course, does not consist in the complete and unchanging maintenance of this tradition. To understand Krylov's innovation, let us first turn to what he used from the experience of his predecessors.
Allegory came to literature from folklore: medieval morality, parables, fairy tales, especially from fairy tales about animals, where traditional fairy-tale animal characters acted, each of which was obviously endowed with a certain character trait. The classicists also used the technique of allegory (for example, in odes).
No one doubts that the fabled Ant is the personification of industriousness (Dragonfly and ant), the Pig of ignorance (Pig under the oak), the Lamb of meekness (like the lamb of God, the Wolf and the lamb). Krylov believed that it was possible to eradicate the vices of mankind by ridiculing them. In Krylov's fables, stupidity, greed, and ignorance are ridiculed in the face of animals. I am ridiculed starting from the beginning (by describing an initially absurd situation, as, for example, in the Quartet), then putting forward an absurd, from our point of view, counter-argument, and, finally, all this is supported by morality. The vices of mankind, the allegories of which are animals, are ridiculed by the author. But... A translator in prose is a slave, a translator in verse is a rival (Zhukovsky). And Krylov was just such a rival, because he often turned to images and plots borrowed from the great fabulists.
As a true rival of Aesop and Lafontaine, he is not limited to mere allegories. Krylov's images of animals play a more important role; they carry not only individual traits, but also whole characters. Krylov's fables have not only a domestic character, only a part of them can be called purely domestic. Krylov also has historical and social fables. For example, in the fable The Education of a Lion, the lion-father is not only the embodiment of strength and courage. He is also the king of animals, this creates a certain subtext in the fable: it refers to the upbringing of Alexander I by a foreign teacher La Harpe. The lion-father acts here not only as a formidable king, but at the same time as a caring, but narrow-minded father who entrusted the upbringing of his son to the bird, forgetting that the son will reign over the animals. In the image of the lion-father, a whole character is depicted, with all its advantages and disadvantages, and not just one trait of a human character.
This is what happens with other historical fables of Krylov, that is, with those fables that have real historical overtones. Here we can already talk not so much about allegory as about metaphor, for example, in the fables of the Wolf in the kennel and the Pike and the cat. In these two fables Napoleon is meant under the images of the wolf and the pike. Not a single, even the most detailed description of this man, given simply in words, will not allow us to guess the great commander in him: we can say for a long time that Napoleon was cunning, dexterous, smart, able to quickly and deftly adapt to the situation, but at the same time not he calculated his possibilities and ended up in a kennel instead of a sheepfold. Correlating the image of the wolf with the whole allegorical meaning of the fable, we immediately guess in it the great conqueror Napoleon. But at the same time, the image of the wolf is in no way narrowed down to the image of this particular person, it is so wide and comprehensive that the fable does not lose its value even outside the context of the era.
Krylov's images of animals can be compared with the images of animals in the fairy tales of Salkykov-Shchedrin, where sometimes, without knowing the historical background, it is difficult to guess the purpose of this image in the work. So, having found out that the images of animals sometimes carry the whole characters of specific people, we can reveal the following: a person is inseparable from his social position, and images of animals can also be classified as metaphors for certain social levels. For example, in the fable the Lion and the leopard, where the lion and the leopard are the upper strata of society, the fox and the cat are officials. This also includes the fable The Wolf and the Lamb. With the strong, the weak is always to blame, morality says. The image of a lamb is not only an allegory of weakness and defenselessness, but also a metaphor of a certain social level, reflecting the nature of petty officials. Sometimes Krylov ironically not only over social vices (the fable of Two dogs), but also over the very support of the social ladder by state institutions. An example is the Quartet fable, which parodies the state council, created in 1801, and its four departments, headed by the naughty monkey,
Donkey, Goat And clubfoot bear.
Indeed, what does such a quartet of state council expect in the future, if such different types are placed at its head. So, the images of various animals with different characters widely used by Krylov also point to the realistic basis of Krylov's fables. Krylov's naturalism, the connection of his fables with the folk basis give his fables a Russian national flavor. The images of animals (which are sometimes depicted in the illustrations in Russian national costumes) carry a satirical typization of the black Russian national character.
To create it, Krylov also uses the method of individualizing the speech of the character. The fabulist puts into the mouths of animals certain elements of colloquial speech of different classes of that time. For example, in the Dragonfly and the Ant fable, the ant says:
Gossip, this is strange to me ... So come on, dance.
It is worth paying attention to the rhyme of this fable. The image of a jumping dragonfly is created by a special jumping size of the trochee. Krylov also widely uses sound recording to create the sound image of an animal. For example, in the fable of the Snake, instrumentation for hissing sounds and s, in the fable The Sea of Beasts, the repetition of the sounds m, y, s.
So, we see how deeply Krylov's traditions of the allegorical fable are perceived and reworked, we see how at the same time Krylov enriched the Russian fable with new realistic images of animals. It was in the fable that Krylov developed the principles of realistic hypnization, without which the capacious satirical images of Salkykov-Shchedrin in his fairy-tale satires would have been impossible, and in Woe from Wit, Griboedov's aphorism was affected by the Russianness and accuracy of the great fabulist.

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

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

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

The ant is the personification of industriousness, the pig is ignorance, the lamb is meekness. As a classicist, Krylov believed that it was possible to eradicate the vices of mankind through their ridicule. Greed, ignorance, stupidity are ridiculed in fables.

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

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

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

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

A fable is a short story that has an allegorical meaning. Usually, one of the main types of allegory in a fable is an allegory - the embodiment of an abstract idea in a material image. As a rule, the main characters of a fable are conditional fabled animals. It is generally accepted that the images of animals are allegorical.

In the fables of I. A. Krylov, animals act more often than people. Animals are present in all types of fables by I. A. Krylov: philosophical (“Two doves”), social (“The wolf and the lamb”), historical (“The wolf in the kennel”), everyday (“Pig under the oak”). It is generally accepted that the image of each animal in the fabulist is an allegory of some character trait, for example, a monkey, a pig is an allegory of ignorance; donkey - nonsense; cat - tricks; Rooster, cuckoo - mediocrity, etc. The allegorical nature of animal images originates from Aesop's fables. Aesop wrote fables for the sake of establishing morality in society, and allegory helped him to ridicule some specific human trait, a bad inclination, it served as an illustration of morality. In the fables of I. A. Krylov, not only morality is important as the highest category of human behavior in society, in many ways he is a follower of La Fontaine, a picturesque fabulist. We read the fables of I. A. Krylov not because of morality, but because of the most interesting and witty story. Therefore, one can not agree that the image of any animal in the author is only an allegory of one human vice. In most cases, the image of an animal in I. A. Krylov includes a combination of some qualities and properties that make up a certain human character.

The fox became more satisfying,

The fox became fatter

But things didn't get any better...

... Having chosen a darker night,

At the kumanka, she strangled all the chickens.

Not even a year has passed

How did everyone know who the Donkey is:

My donkey stupidity entered the proverb,

And donkeys carry water.

Every animal in I. A. Krylov still personifies a representative of any social group. The lion is always the king; Wolf, Fox, Bear - court nobles, officials; Lamb, Frog, Ant - "little" people standing at the very bottom of the social ladder: petty officials, peasants. Often the human character endowed with the beast in the fable of I. A. Krylov merges with its social characteristics, and then the reader faces real social types that exist in society. For example, in the fable "The Education of a Lion" behind the image of the old Lion we see a typical image of the Russian Tsar. Leo trusts to raise his Lion cub to a representative of another nation, a foreigner; he cannot teach his own son how to govern the state, because he does not know how to do it, he does not know what is really going on in his state. And as a result, the Lion cub grows up the same as his father, a stranger to his people, cut off from the national soil.

The images of animals in the fabulist are not just allegories of one human trait; many of them convey various features of a human character, representing a certain class type, and are a metaphor for a specific historical person. Krylov creates living, typical, realistic characters, generalizing and typing the very situation in which they act. This is the realism, innovation and durability of the fables of I. A. Krylov.

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Shlyapnikova Elvira Grade 6

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

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MOU "Secondary school with. Preobrazhenka

Pugachevsky district

Saratov region"

research project

Frequency of animal images

In the fables of I.A. Krylov.

Completed by a 6th grade student

Shlyapnikova Elvira.

Supervisor

teacher of Russian language and literature

Kurkutova E.A.

2012 – 2013 academic year

Introduction. Page 3
Main part. Page 3 – 8
Conclusion. Page 9
Bibliography. Page 10

Introduction.

With fun, he corrected people.
Sweeping dust from them vices;
He glorified himself with fables,
And this glory is our reality.
And they will not forget this one.
While in Russian they say:
We have confirmed it for a long time,
Her and her grandchildren will harden.
Book. P. Vyazemsky

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

Research results.A fable, according to a dictionary definition, is "a short story that has an allegorical meaning." For the purpose of allegory, fabulists of different times used images of animals and even objects. For artistic, and sometimes for censorship reasons, people in the fable are replaced by animals endowed with individual human traits: cowardice, courage, kindness, courage, etc. Such images of animals, personifying any one trait of the human character, were widely used in their fables Aesop, Phaedrus, La Fontaine, Lessing. I.A. Krylov inherited this tradition from his predecessors. Allegory came to literature from folklore, parables, fairy tales, especially fairy tales about animals, where traditional characters acted, such as a fox, a bear, a hare, a wolf.It is generally accepted thatimageeach animal in the fabulist is an allegory of some human character trait, for example Monkey, Pig - an allegory of ignorance; Donkey - nonsense; Cat - tricks; Rooster, Cuckoo - mediocrity, etc. In fables for Krylov, not only morality is important as the highest category of human behavior in society, in many ways Krylov is a follower of La Fontaine, a picturesque fabulist. We read Krylov's fables not because of morality, but because of the most interesting and witty story told. Therefore, one can not agree that the image of any animal in Krylov is only an allegory of one human vice. In most cases, the image of an animal in Krylov includes a combination of certain qualities and properties that make up a certain human character.

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

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

"Shut up! I'm tired of listening

Leisure time for me to sort out your guilt, puppy!

It's your fault that I want to eat."

He said and dragged the Lamb into the dark forest.

In "The Wolf in the Kennel" I see not only the desire to save one's own skin, but also bitterness, impotence, cunning.

My Wolf is sitting, huddled in a corner with his back,

Clicking teeth and bristling wool,

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

In the fable "The Wolf and the Crane" - ingratitude for help, deceit, consciousness of one's strength and impunity.

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

For your work? Oh you ungrateful!

And it's nothing that you're your long nose

And with a stupid head from his throat he took the whole!

Come on, buddy, get out

Yes, beware: you do not come across to me ahead. »

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

And my gray knight

Caressed to the ears by a godmother,

Went home without dinner.

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

... the thought of the Wolf fell,

That Leo, of course, is not strong,

Kohl is so humble:

And he also extended his paw to the lamb.

An turned out badly with the Wolf:

He himself came to the Lion on a dish.

The lion tore him...

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

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

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

"Darling, how pretty!

Well, what a neck, what eyes!

What feathers! what a sock!

In the fable "The Fox and the Marmot" - the desire to justify oneself, to whitewash oneself, to present the victim for the truth.

Should I take bribes? yes, I'm pissed off!

That I should share in this sin?”

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

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

There are kind hearts and that…” With these words

All three poor little ones...

We got to the Fox, to the bottom.

What is gossip? - I ate them right away.

And did not finish the lesson.

In the fable "The Fox and the Grapes" - the ability to hide one's impotence behind insulting others.

She went with annoyance and said: “Well!

Looks like he's good

Yes, green - no ripe berries:

You will immediately set the teeth on edge."

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

“From where, smart, are you wandering, head?” ...

“But you didn’t dare to touch the Lion, of course?”

But sometimes, as in the fable "The Fox" - a slip, a hope for a chance, a desire not to give up anything even to save one's own skin.

Pinch of hair Fox do not regret -

She'd have a tail.

Also in many fables, the Fox acts as an adviser: “Worldly Gathering”, “Pike”, “Motley Sheep”, but her advice is always not without benefit to herself.

The conclusion is this: the image of the Fox bears the features of a person who knows how to adapt to the situation, finds his own benefit everywhere, ready for flattery and servility.

But the image of the Lion, the king of animals, is only in third place in terms of frequency. This, in my opinion, is due to the fact that he is the bearer of a certain set of qualities inherent in his position: he is the ruler of the forest, a tyrant and a judge, designed to keep his subjects in fear, who knows how to benefit from almost any situation: "Lion and Bars" , "Peace of animals", "Lion on the hunt", "Lion and Wolf", "Lion and Fox". At the same time, he does not avoid the fate of all rulers in case of loss of strength: everyone can laugh at him, kick him, as in the fable "The Fox and the Donkey":

“All the former fear disappeared for him,

And he paid off old debts!

Whoever walked past Leo, everyone took revenge on him

In your own way:

Who is with a tooth, who is with horns ... "

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

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

"My Orestes!" - "My Pilad!" Away with quarrels, envy, anger!

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

Here are new friends rushing to her:

Where did the advice and harmony go?

My Orestes squabble with Pylades, -

Only shreds fly up.

In the fable, “Passers-by and Dogs” are empty talk, instead of deeds, engaging in empty talk and condemnation.

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

"That's what gives me and spirit,

What am I, without a fight at all

I can get into big bullies ... "

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

"What are you serving? That's great! -

Juju answered with a sneer, -

I walk on my hind legs."

In the fable "The Dog and the Horse" - the desire to show oneself more significant than it really is.

“And can you be equal in anything with me?

Neither day nor night I know peace:

During the day, the herd under my supervision in the meadow,

And at night I guard the house,

“Of course,” the Horse answered, “

Your truthful speech:

However, whenever I plow,

Then there would be nothing for you to guard here.

Proximity to man makes the Dog an empty creature that has adopted the worst features of its patron.

Next to the Dog stands the Donkey, the brightest features of which are stupidity, peremptory judgments, boasting, high conceit. In each fable, these features are emphasized especially: "Parnassus", "Donkey and Nightingale", "Donkey", "Donkey and Peasant".

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

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

Although the service is dear to us in need,

But not everyone knows how to take it:

God forbid to contact the fool!

A helpful fool is more dangerous than an enemy.

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

"What of all the animals to me only one

No one will blame

So that I touch a dead person.

What gets the answer:

“So it would be better if you ate the dead

And left the living alone.

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

Conclusion.

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

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The frequency of images of animals in the fables of I.A. Krylov was performed by a student of the 6th grade of the municipal educational institution "Secondary School of the village of Preobrazhenka" Shlyapnikova Elvira, leader Kurkutova E.A. research project

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

A fable is a poetic or prose literary work of a moralizing, satirical nature by Aesop La Fontaine Lessing

What are the most common animals? Wolf - 14 fables Fox - 12 fables Lion - 10 fables Donkey, Dog, Sheep - 7 fables Monkey, Cat, Bear, Snake - 5 fables

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

The fox is cunning, the ability to find weak traits, flattery, the desire to profit at someone else's expense, the desire to justify, whitewash oneself, present to the victim for the truth reasoning about compassion, mercy, pity, but only as long as it is beneficial the ability to hide one's impotence behind insulting others skill sneer, hope for a chance, desire not to give up anything even for the sake of saving one's own skin

lion ruler tyrant judge

dog empty talk adaptation to the situation the desire to be more significant

donkey stupidity peremptory judgments boasting high conceit

bear

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

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Images of animals in the fables of I. Krylov. Presentation on the theme "Images of animals in the fables of I.A. Krylov" "Pig under the oak"

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