The story is a beautiful work of art. Scholars interpret the story in different ways. Some of them, with absolute obviousness, strive to characterize fairy tale fiction as independent of reality, while others wish to understand how the attitude of folk storytellers to the surrounding reality was refracted in the fantasy of fairy tales. Should we consider any fantastic story as a fairy tale in general, or should we single out other types of it in oral folk prose - non-fairy prose? How to understand fantastic fiction, without which none of the fairy tales can do? These are the problems that have long worried researchers.
The well-known fairy tale expert E. V. Pomerantseva gives a definition of a fairy tale, with which one should agree: “A folk tale (or a fairy tale, a tale, a fable) is an epic oral work of art, predominantly prosaic, magical, adventurous or everyday in nature with a setting for fiction. The last feature distinguishes a fairy tale from other genres of oral prose: tales, legends and bylichki, that is, from stories presented by the narrator to listeners as a narration of events that really took place, no matter how unlikely and fantastic they were ".
Probably the most common and most beloved fairy tale among the people is a fairy tale. It has its roots in ancient times.
All fairy tales have common features. First, they are similar in the generality of their construction. The simplest scheme of the predecessor of a fairy tale contained the following links as mandatory:
1) as a source - the existence of a ban; 2) violation of the prohibition by someone;
3) a consequence of the violation consistent with the nature of mythological representations;
4) narration about the practice of magic; 5) its positive result and the return of the hero to well-being.
Each of the later fairy tales gravitates towards the structure of these stories as its original narrative basis. Secondly, not a single fairy tale can do without a miraculous action: sometimes an evil and destructive, sometimes a good and favorable supernatural force intervenes in a person's life. Miraculous fiction is at the heart of this kind of tale.
Let's try to understand the origin of this fiction on the example of the Russian folk tale "The Frog Princess". From the very beginning, the tale takes the listener (reader) into a strange world, unlike the one that surrounds a person. The story is immediately captivating. The father forces his sons to take bows and shoot arrows at
different sides: where the arrow falls, there to take the bride! Nothing else but a free fiction, this episode can seem to the modern reader with views alien to the ideas of those times, when people attached importance to this kind of fortune-telling and firmly believed in fate, to which they entrusted themselves. But this belief was still preserved, and the ancient motif was retained in the fairy tale narrative.
The arrow of the eldest son fell on the boyar yard, the arrow shot by the middle son landed on the merchant's farmstead, and the arrow of the youngest son fell into the swamp and was picked up by a frog. The older brothers are cheerful and happy, and the younger brother cried: "How can I live with a frog?" The brothers got married: the eldest - on a hawthorn tree, the middle one - on a merchant's daughter, and the younger brother - on a frog. They married them according to the rite.
The younger brother did not receive any dowry for his wife: the frog lived in a dirty and swampy swamp. On the contrary, older brothers married profitably. The ancient motif of the destitute son has acquired a new meaning in this tale. In the artistic narrative, the life situation turned out to be changed. From a long tradition, only the memory remained that it was the younger brother who should have the hardest time.
Poetic imagination recreated a picture full of lively ironic meaning - a frog is kept on a platter during the wedding: how else would Ivan, the youngest son, stand nearby and lead the frog bride by the hand.
The hero's bitter thoughts about the power of fate, which gave him a goggle-eyed green and cold frog as his wife, are conveyed in a fairy tale with naive simplicity and psychological clarity: "How to live? To live is not to cross a field, not to cross a river!" The fairy tale seeks to capture the state of mind of the hero, it especially speaks about the experiences of a person.
The connection with the powerful forces of nature makes the hero of the fairy tale strong. He and his wife are helped by "mother-nannies", whom the father once assigned to the frog. The fairy tale almost forgot that it is the kinship with the natural world that makes the hero both powerful and strong. It speaks of the youngest son in the family as a person who remained true to the old ethical standards. He does not seek wealth and marries a simple marsh frog.
Let us consider in more detail the characters of the fairy tale in their correlation with the beliefs of people and mythical characters.
The title character, the frog, is a character widely represented in the myths and legends of many peoples. In various mytho-poetic systems, there are both positive (connection with fertility, productive power, rebirth) and negative (connection with the chthonic world, pestilence, disease, death) frog functions, determined primarily by its connection with water, in particular with rain. . In some cases, the frog, like a turtle, fish or any marine animal, holds the world on its back, in others it acts as a discoverer of some important cosmological elements. Among the Altaians, the frog discovers a mountain with a birch and stones, from which the first fire is extracted. Sometimes the water elements of chaos, the original silt (or mud) from which the world arose, are associated with the frog. In Burma and Indochina, the image of a frog is often associated with a spirit that swallows the Moon (therefore, the frog is considered the cause of the eclipse). In China, where frogs are also associated with the moon, they are called "heavenly chickens", as there is a belief that frogs fall with dew from the sky. The motif of the heavenly origin of frogs allows us to consider them as the turned children (or wife) of the Thunderer, expelled to the earth, into the water, into the lower world (compare with the Russian sign "before the first thunderstorm the frog does not croak" and the widespread ideas about the croaking of a frog to the rain, about their appearing with rain, etc.).
The connection of the frog with the sky god is indirectly attested in Aesop's fable about the frogs begging the king for themselves from the Thunderer. The motif of frogs as transformed people, also known in Australian mythology, is not limited to their connection with the Thunderer; in the Philippine etiological myth, a man who fell into the water, whom his wife carried in a basket across the river, turns into a frog; the motif of turning into a frog for deception, the images of the so-called frog prince in German folklore and, finally, the images of the Frog Princess in Russian fairy tales, belong to the same circle of ideas.
Having completed a brief digression into the myths and beliefs of various peoples with the participation of a frog, let's move on to considering other characters. After Ivan violated a certain prohibition by throwing a frog skin into the oven and received punishment in the form of excommunication from his wife, he encounters a group of characters that are very typical for fairy tales, especially fairy tales - animals (the title character also belongs to them).
A childish, naive attitude to wildlife has become the basis of man's views on the living world: the beast is intelligent, speaks. Tales about animals took on the form of fiction from the ideas and concepts of primitive people, who attributed to animals the ability to think, speak and act intelligently. The ideas of people who attributed human thoughts and rational actions to the beast arose in the vital struggle for mastering the forces of nature.
The first animal that Ivan Tsarevich saw after meeting with the "old old man" who gave him a ball to show the way was a bear. In the mind of any person familiar with fairy tales, the bear is an animal of the highest rank. He is the strongest forest animal. When in fairy tales one animal replaces another, the bear is in the position of the strongest. Such is the tale about the tower, about the animals in the pit, and other tales. One must think that this position of the bear in the animal hierarchy is in its own way explained by the connection with those traditional mythological legends, in which the bear occupied the most important place as the owner of forest lands. Perhaps, over time, the bear began to be seen as the embodiment of the sovereign, the lord of the district.
In fairy tales, the huge power of the bear was constantly emphasized. He crushes everything that gets under his feet. Bear and in ancient times was considered a special creature, he had to beware. The pagan belief in the bear was so strong that in Ancient Rus' in one of the canonical questions they asked: "Is it possible to make a fur coat from a bear?" The answer was: "Yes, you can." Why is this question about the bear? Is it because this beast has long been considered an inviolable creature? But this, of course, was contrary to the spirit of the new Christian religion. So, nothing prevents us from recognizing the existence of a bear cult among the Slavs as more than probable. The idea of a patron close to the totem was associated with the bear. But even regardless of the solution of the issue, whether the ancestors of the Eastern Slavs had totemism or not, scientists have proven the fact that the Slavic peoples have mythical ideas about animals endowed with reason. It was a world they feared and did not want to quarrel with: a person observed all sorts of customs and magical rites. This also applies to other animals met by the main character. The drake, the scythe hare and the pike, whom Ivan Tsarevich took pity on and did not kill, later served him in good stead. In a fairy tale, the motive of gratitude of an animal, which becomes a true friend and helper of a person, is widespread. Animals take the side of the hero when he shows generosity, does not harm them. The later explanation of such a fabulous episode is natural: the beast repays good for good. Another explanation for this was given in antiquity. Almost all peoples had a custom to kill a totem bird, an animal. Considerations of the inviolability of the totem were combined with expedient measures to preserve the game at the time when it multiplied. Perhaps the tales of grateful animals reflect these ancient hunting customs.
Let's draw some conclusions. The appearance of fairy tales about animals proper was preceded by stories directly related to beliefs about animals. These stories did not yet have an allegorical meaning. The images of animals meant animals and no other. The existing totemic concepts and ideas obligated to endow animals with the features of mythical creatures, the animals were surrounded by reverence. Such stories directly reflected ritual-magical and mythical concepts and ideas. It was not yet art in the literal and precise sense of the word. Stories of a mythical nature were distinguished by a narrowly practical, vital purpose. It can be assumed that they were told with instructive purposes and taught how to relate to animals. With the help of observance of certain rules, people sought to subordinate the animal world to their influence. Such was the initial stage of the birth of fantastic fiction. Later, fairy tales about animals and fairy tales with their participation were based on it.
"How long, how short, the ball rolled to the forest. There is a hut on chicken legs, it turns around itself." Among the images that have arisen on the basis of ancient life, is the image of a woman-assistant, enchantress and sorceress. A rare fairy tale does without a story about a sinister old woman, Baba Yaga, who, however, turns out to be very caring and attentive to the hero. Let us recall what features and what role Yaga is endowed with. She lives in a dense forest, in a strange hut on chicken legs. According to the miraculous spell "Hut, hut, stand in the old way, as mother set: back to the forest, front to me" the hut turns to the hero and he enters this strange dwelling. Baba Yaga meets the daredevil with the same traditional grumbling and snorting.
V. Ya. Propp in his study of wrote a fairy tale that Yaga is uncomfortable with the smell of a living person. "The smell of the living is as disgusting and terrible to the dead as the smell of the dead is terrible and disgusting to the living." Baba Yaga is dead. She lies across her hut "from corner to corner, her nose has grown into the ceiling." Ieba is close to Yaga, she is in her like in a coffin. That Yaga is a dead man, her bone-footedness also says. Baba Yaga is blind: she does not see the hero, but smells him. In Yaga, apparently, people saw an ancestor in the female line, who lived beyond the line that separates the living people from the dead. The cult of ancestors along the female line was in close contact with totemism and the cult of nature. This explains the special power of the old woman over the living world of nature, and she herself has many traits from the animal. In some fairy tales, Yaga is replaced by a goat, a bear, a magpie. Yaga herself has the ability to turn into different birds and animals. The proximity of Yaga to the mythical images of the rulers of the natural world also explains the special character of her hut on chicken legs. The hut, reminiscent of a coffin in its tightness, is almost evidence of the late poetic development of the ancient custom of burying the dead on trees or on a platform (the so-called air burial).
Baba Yaga told Ivan Tsarevich that his wife was with Koshchei the Immortal, and also told how to deal with him. The image of Koshchei expresses the world of violence, misanthropy. Undoubtedly, Koschei is a representative of that social force that violated the ancient tribal orders of equality and took away from a woman her former social role. Koschey always appears in a fairy tale as a kidnapper of women, turning them into his slaves. In addition, he appears in fairy tales and the owner of untold wealth. Fairy tales depict Koshchei as a withered, bony old man with sunken burning eyes. According to fairy tales, he adds and subtracts a century to people, and he himself is immortal: his death is hidden in an egg, and the egg is in the nest, and the nest is on the oak, and the oak is on the island, and the island is in the boundless sea. In the egg, as it were, materialized beginning of life, this is the link that makes continuous reproduction possible. Only by crushing an egg can you put an end to life. The fairy tale did not put up with the unjust social system and ruined the immortal Koshchei. Resorting to imaginary means of reprisal against Koshchei, the storytellers ended the life of this creature in a completely understandable and naive way - the embryo was crushed. In this episode, we are faced with partial magic (it is based on the replacement of the whole by a part), characteristic of fairy tales (recall flint, flint, etc.). The death of Koshchei, it is said in this fairy tale, "at the end of the needle, that needle is in the egg, the egg is in the duck, the duck is in the hare, that hare sits in a stone chest, and the chest stands on a tall oak, and that Koschey the Immortal oak, like his own eye, protects." The hero overcomes all obstacles, picks up a needle, breaks the tip - and now "no matter how much Koschey fought, no matter how much he rushed about in all directions, but he had to die."
This concludes a far from comprehensive, but rather complete analysis of the Russian folk tale "The Frog Princess", which is a fairy tale - an example of national Russian art. A fairy tale has its deepest roots in the psyche, in the perception, culture and language of the people.
Used Books:
1. Anikin V.P. Russian folk tale. - M.: "Enlightenment", 1977.
2. Meletinsky E.M. The hero of a fairy tale. The origin of the image. M., 1958.
3. Myths of the peoples of the world. Encyclopedia. - M.: "Soviet Encyclopedia", 1988,
4. Pomerantseva E. V. Some features of the Russian post-reform fairy tale. -
M.: "Soviet ethnography", 1956, N4, p. 32-44.
5. Propp V. Ya. Historical roots of a fairy tale. M., 1946.
6. Russian folk tales. Collection. - M.: "Children's Literature", 1966, p. 3-12.
The story is a beautiful work of art. Scholars interpret the story in different ways. Some of them, with absolute obviousness, strive to characterize fairy tale fiction as independent of reality, while others want to understand how the fantasy of fairy tales was refracted
An analysis of the fable "The Frogs Asking for a Tsar" makes it possible to emphasize the negative perception of rulers and leaders in society. A work written over 200 years ago certain cases may be an example for some today.
From Aesop to Krylov
From the time of ancient literature the fable occupied a special place. She was able to notice such traits of a human character that were always considered vicious and caused negative feelings. The first to speak of human minuses in the language of a fable was the wisest ancient Greek poet-philosopher Aesop. The ability not to name specific person, resorting to allegory, pointed out the shortcomings that must be fought.
Lafontaine became his follower. "The Frogs Asking for a King" is a fable that belongs to his pen. Allegory allows the authors to make representatives of the animal world the main characters. To understand how this technique works, you need to analyze the fable "The Frogs Asking for the King."
So what is this piece about? A long time ago, the inhabitants of the swamps wanted to be led by a king. Jupiter heeded their request and sent a huge aspen block to their kingdom. The frogs were afraid of him, but then, having taken courage, they began to behave outrageously, despite high title his new master.
Churban did not interfere with anything, did not reproach his subjects for anything. But he did nothing for them. This caused discontent in the whole environment of the king. The frogs wanted a quick sovereign, and they again turned to Jupiter with such a request.
The serpent ascended the throne. Agile and beautiful, she severely punished disobedience. Even innocent frogs became her dinner. The survivors complained to the heavenly ruler. Jupiter was surprised, but refused the next request of the frogs, promising them to send a ruler even worse than the previous ones as king.
Zeus' warning
Not only Lafontaine wrote about dissatisfaction with those in power, Krylov also addresses this topic, “The Frogs Asking for the Tsar” - fable, which is also in his collection. Frogs mean people. At Krylov, as before, the aspen block, which was replaced by the Crane, becomes the first dumb ruler.
In order to contrast the process of government and more vividly describe the position of the frogs, the authors of the fables choose the snake and the crane as the second kings, because both of them love to feast on frogs. A quiet and calm king was given, he was underestimated, he didn’t want a quiet and calm life, it seemed too boring and uninteresting to the frogs. And the other one was even worse. It is not for nothing that they say: "They do not seek good from good." “Live with him so that it doesn’t get worse for you!” Zeus warns the frogs.
The analysis of the fable “The Frogs Asking for a King” will help determine what the moral is in this fable. And it’s simple: you can’t change everything at once. It must be borne in mind that everything in nature has its development, but it happens gradually. If the frogs had been patient, they would have adapted to the block and even learned to derive great benefit from communicating with it. The essence of fable morality has not lost its relevance.
About rhyme, characters of heroes
A fable written by Ivan Andreevich Krylov ("The Frogs Asking for the Tsar"), in verse. The author has a very clear rhyme: sideways - prone, next to him - backwards, power - glory.
The main drawback that prevails in society and noted by the author is a painful passion for change, an unwillingness to accept the existing situation as it is, a desire to change one's former way of life without relying on the past and one's own experience. The frogs began to "dislike the rule of the people", "didn't like to live freely and freely."
The author's most vivid memorable phrases are: "cracked into the kingdom", "it seemed completely ignoble."
The main characters of the fable are frogs, they are in constant contact with Zeus and the changing kings. because of characteristic features character can be called:
- cowardly;
- obsequious to those who are much higher than them in status.
But as soon as they feel impunity, they immediately show their disdain for the king by turning their backs on him. Zeus is very attentive to all requests addressed to him.
- The king blockhead is sedate, silent, of great stature.
- A crane of a different disposition, does not like to pamper anyone and do indulgence to someone. It has two looks. This is a bird that eats frogs. A formidable king who punishes his subjects indiscriminately.
Nationality of the work
In the fable “The Frogs Asking for a King”, morality can be replaced by famous proverbs: "better a tit in the hands than a crane in the sky", "horses do not roam from the feed", "they do not seek good from good".
Krylov always likes to show through laughter and gentle banter what moments are worth thinking about. And there are a great many of them in the fable.
As you know, people take from famous works bright expressions that are actively used in their everyday speech, thereby making these expressions winged, aphoristic. These phrases decorate the speaker's vocabulary. Besides Speaking brings the work closer to the people. Here are some examples: “to help the grief”, “swallows like flies”, “not sticking your nose out”, “why - why”.
Krylov's views and their expression in fables
In any case, the phrase spoken by Zeus at the very end of the work makes an indelible impression. It sounds like this: "Live with him, so that it doesn't get worse for you!". Thus, the analysis of the fable "The Frogs Asking for the Tsar" allows us to say that this is a very sharp and acute topic in which the author tried to express his negative attitude towards the ruling imperial elite as much as possible. The fabulist believed that there are no good kings, and each subsequent ruler will only get worse. For my creative life Besen Ivan Andreevich Krylov wrote a lot: "The Frog Asking the Tsar", "Convoy" and others, in which, without fear of punishment, he boldly shows his attitude towards the Russian tsars.
Thus the moral of the fable can be applied to the present day. No matter how good the leader, the ruler - a person always expresses his dissatisfaction with his work and wants something new. And he may turn out to be a fake chump or a crane.
Continue to develop the ability to understand the allegorical meaning of fables and their morality;
generalize and systematize students' knowledge of fables obtained in grades 5-7;
deepen knowledge about the genre of the fable;
stimulate cognitive interest and search and research activities of eighth graders;
to form the ability to work with information presented on the Internet;
develop the ability to classify, generalize, systematize information;
· develop Creative skills learning by reading fables by heart;
form personal qualities: work quickly and smoothly;
educate interest in literature and in particular in the genre of fable, in which in a satirical form ridiculed human vices.
nurture resilient artistic taste; contribute to increasing the personal confidence and responsibility of each participant in project-based learning.
Lesson type : a lesson in the formation of new knowledge, skills and abilities with elements of generalization and systematization in the form of defending student projects.
Used educational technologies: educational design (project of slides - presentations on the topic "The historical basis of the fables" Convoy "and" Frogs asking for the Tsar ")
Project type: information-research and meta-subject.
During the classes
I.Activation basic knowledge and educational student activities.
1. Organizing time. Announcement of the objectives of the lesson, topics, epigraph recording (slide No. 1). said: "His parables are the property of the people ... Every fable of his has, moreover, a historical origin."
2. opening speech Ptutor: For the week of the Russian language and literature, we have prepared several projects on the topic "The historical basis of the fables" Convoy "and" Frogs asking for the Tsar ", the materials of which can be used both in the classroom and in extracurricular activities. Suvorovites Ilya Drobush and Yegor Shershnev worked on the creation of the projects, and today they are ready to present and defend their project.
Suvorovites Grigoriev A., Markov M., Sobolev M. presented their project in the form of illustrations for fables. Krylov's fables were illustrated by many artists. The lesson will use illustrations by G. Kupriyanov, A. Laptev, M. Alekseev, E. Rachev. Our "artists" also prepared drawings for the fables. Let's see how they saw the heroes of Krylov's fables. Artists present their drawings.
During the lesson we will try to understand what is the historical basis of fables, what is historicism in work of art why Gogol called Krylov's fables folk. What kind of person was he? What did he think about, why did he care about what he wrote about, with whom he communicated, made friends, how his life turned out, and why his works are alive and relevant today? Let's start with watching film clips about the monument in Tver. The sculptors depicted the fabulist standing in full height surrounded by characters from fables: here is a pig under an oak, and a fox and grapes, and a quartet. The face of the fabulist stands out with big features, framed by gray hair, with a serious and thoughtful expression. We see open face kind and insightful eyes wise man. Interesting fact, during the Great Patriotic War In connection with the centenary of the death of the great Russian poet and fabulist Ivan Andreevich Krylov, which is being executed on November 21, 1944, the Council of People's Commissars of the USSR decided:
1. Erect a monument to Krylov in Kalinin.
2. Establish 2 scholarships at KSU - 400 rubles each for students of the Faculty of Language and Literature.
The city of Kalinin (Tver) was in ruins, because in 1941 it was occupied by the Nazis, but in 1943 our Tver (Kalinin) Suvorov military school, within the walls of which you are now studying, and in front of the school in the park in 1959 they erected a monument to the fabulist Krylov. How symbolic and correct. The life of a fabulist in childhood was unusually poor. He did not have to study, but the mother drew up a plan for the education of her son, followed his studies. He loved to read and think about what he read. Krylov's childhood years were spent in Tver. The family, having arrived from the Orenburg province, settled in an apartment on Millionnaya Street. served in the magistrate. Reinforced self-study brought extraordinary results: when he became an adult, he was considered one of the most educated and enlightened people of his time. Life did not spoil him: from the age of 9, when his father died, he had to go to the scribes of papers, take care of his mother and brother. Persistent self-education and self-education have borne fruit. Subsequently, Krylov became one of the most educated people of his time: he spoke French, knew Russian and foreign literature. In old age, he learned Greek. During his life, Krylov was a journalist, publisher, author of prose and dramatic works, but became more famous as a fabulist. wrote over 200 fables. In his works, he depicted the life and customs of his contemporaries, their shortcomings. It was impossible to talk about it openly. Through the images of animals, the author ridiculed human vices. The well-aimed, figurative, juicy language of Krylov's fables undoubtedly has Tver roots. The researcher of the fabulist's work argued that the words: “chicken coop”, “sue”, “and I, buddy, gray-haired”, “helicopter” ... - are taken from the Tver dialect (slides No. 2-5).
What new did you learn about life in Tver?
What details about the monument surprised you?
3. Question Conversation and Fable Quiz: (slides #8-14)
Illustrations for fables and quotes are presented, according to which Suvorov students should recognize the fable, mainly this is material for generalizing what was studied in grades 5.6; along the way, there is a repetition of the concept of "morality" in the fable. Suvorovites write that morality is not only moralizing, it is the highest category of human behavior in society. The image of an animal in Krylov includes a combination of certain qualities and properties that constitute a certain human character.
II. Formation of new knowledge, skills and abilities based on the development of speech and the protection of student projects.
4. Teacher's word: In Russia, fables were also written,. However, we consider it the most beloved for children and adults in our country. Why do we love Krylov's fables so much? Krylov teaches people to recognize themselves, helps to detect shortcomings and suggests how to get rid of them. He teaches the wisdom of life. Reading his fables enriches us with knowledge of the Russian language. he said this about Krylov: "Who wants to study Russian completely, he must get acquainted with Krylov." The statement that said about Krylov's fables as follows: "His parables are the property of the people and constitute the book of wisdom of the people themselves." Due to their accuracy, simplicity, many lines of Krylov's fables entered colloquial speech, became proverbs and sayings. Here, for example: "And Vaska listens and eats." "And nothing has changed". “Than to consider gossips to work, it’s not better to turn around for yourself, godfather.” In the 1800s, he reconsiders his attitude both to the very course of history and to the conscious intervention of "theory" in the historical practice of mankind. Krylov completely rejects theoretical intervention in the course of events, it can only lead to even greater evil. Before the French Revolution, Krylov laid, like other enlighteners, great expectations on the mind broad education and education of the nobles, for the introduction into their minds of reasonable public concepts. Such intellectual enlightenment was capable, in his opinion, of transforming the whole society. If the majority of the nobles understand the benefits of reasonable behavior, do not oppress the serfs, take care of the social needs of the poor, put public duty above selfish, selfish desires, etc., then a state of justice and prosperity will arise. But here it is French revolution. Krylov, like others advanced people, faced with the fact that the predictions of the enlighteners did not come true. It was necessary to reconsider the previous positions, drawing lessons from history. The question arose before him: why did history "disobey" the enlighteners, why did it deceive their hopes? AT early XIX century, Krylov turned to the genre of fables associated with folk culture. In his fables, he gave answers to topical life problems. Krylov clarified the truth that history moves according to its own laws, and not according to the "logical", "head" prescriptions of people, that attempts to impose on history some "reasonable" requirements that do not take into account all the previous historical experience, are doomed to failure and lead to much worse consequences than those that are the result of natural movement. If it is impossible to foresee the development of reality and make forecasts, then, one asks, what is the role of reason? Krylov answers this way: both exaggeration of the role of reason and neglect of it are equally dangerous. Non-intervention of the mind in practical activities leads to stagnation, inertia, routine. In literature, there is a concept social type”(slide No. 15), let's open the “Literary Theory” folder in your laptop and enter a record of what “social type”, “historical type” is.
5. Work of Suvorovites on laptops. In the folder "Theory of Literature" they write: the social type is literary portrait historical figure or person social group certain historical era, which embodies individual or typical features character. Consider the portraits of Alexander I, Kutuzov, Napoleon. Recall the fable "The wolf in the kennel". The lion is always the King; Wolf, Fox, Bear - court nobles, officials; Lamb, Ant, Frog - "little" people standing at the very bottom of the social ladder. The wolf from the fable "The Wolf in the Kennel" is Napoleon. This is an allegory. Napoleon wanted to conquer Russia, invaded Russia, reached Moscow, but, not calculating the strength of the enemy, fell into a trap and died.
6.Project protection. Research type of the project on the topic "Historical
the basis of the fable "Convoy". Historical situation in 1812 .
The invasion of Russia in 1812 by Napoleon's army in many ways changed the way of life of every Russian person. In the difficult days of 1812 for Russia, Krylov did not give up his pen. Often the reason for writing a new fable was information gleaned from relations. One day, news came to the capital that soon after leaving Moscow, Napoleon sent General Loriston to Kutuzov's headquarters with a proposal to start peace negotiations. Kutuzov rejected them, and some time later defeated the French at Tarutino.
Krylov was not slow to respond to this event with the fable "The Wolf in the Kennel". Kutuzov read this fable himself after the battle of Krasnoe.
Krylov's new fable soon followed. She appeared after the rescript of the king to Kutuzov, which expressed dissatisfaction with the slowness of the commander. The wisdom of Kutuzov was to the liking of the wise and never in a hurry Krylov. In the fable Convoy, the fabulist ridiculed impatience and justified the caution and prudence that come with years and experience. In the moral of the fable, there is a clear allusion to Alexander I, whose self-confidence in the war with the same French in 1805-1807 led to many failures. The fables of Ivan Andreevich were read even at meetings State Council. The success of Krylov's fables in the army was colossal. They were distributed in lists, printed in Kutuzov's camping printing house. The poet Batyushkov had a deep respect for the great fabulist and said: "... His fables will survive the centuries ...".
7. Expressive reading fables "Oboz" by heart (Suvorovite Suslov I.)
"Convoy", 1812
With the pots came the convoy,
And it is necessary to go down from a steep mountain.
Here, on the mountain, leaving others to wait,
The owner began to lightly roll the first cart.
The good horse on the sacrum almost carried him,
Not letting the cart roll;
And the horse on top, young,
Scolds the poor horse for every step:
“Ay, the vaunted horse, what a marvel!
Look: it is molded like a cancer;
Here I almost got caught on a stone; askew! crooked!
Bolder! Here is the push again.
And then to the left only to accept.
What a donkey! Good would be uphill
Or at night,
And then downhill, and during the day!
The relationship "href="/text/category/vzaimootnoshenie/" rel="bookmark"> Kutuzov's relationship with the "youth": Alexander I, Prince of Wurtenberg, Admiral Chichagov. In research work Vice-Sergeant Drobush I. picked up material about the battle of Austerlitz and the reasons for its defeat, and also deepened knowledge about the battle in 1812 on the Berezina River, in which Admiral Chichagov missed Napoleon. Krylov develops this theme in the fable "Pike and the Cat":
“Come on, do you know this, light, work? -
Vaska began to speak to Pike, -
Look, godfather, so as not to disgrace:
It is often said,
That the work of the master is afraid. -
And, complete, kumanek! Here's a surprise: mice!
We caught and ruff "-
"So in good hour let's go to! Come on, sit down.
Fed up, ate the cat
And he goes to visit the gossip:
And the Pike lies a little alive, with his mouth open,
And the rats ate her tail ... "
Write the output: justifies the cautious tactics of Kutuzov and the apparent slowness of his actions, which caused displeasure on the part of Alexander I, who demanded more decisive measures. Accuses Admiral Chichagov, who let Napoleon through the Berezina River. The composition of the fables is extremely compressed, dynamic. Krylov is a brilliant master of dialogue.
10. Representation of the metasubject project activities on the topic "The historical basis of the fable "The Frogs Asking for the King". The project is presented by vice-sergeant Egor Shershnev (slides No. 21 - 24). In moral and philosophical fables questions about the development of society are raised. Let's highlight the problem of relationships state power and the people, consider it on the example of the fable "The Frogs Asking for the King." In this regard, Krylov's development of the well-known and popular fable plot - "The Frogs Asking for the Tsar" (1809) is very indicative. General idea This fable, developed by La Fontaine, is also preserved by Krylov: the frogs themselves are to blame for their misfortunes, for the fact that, not content with the rule of the people, they asked for a king. Fables are special satirical genre inherited from antiquity. In the era of classicism, fables belonged to the "low" genres, so they sounded like simple colloquial speech. The heroes of fables could be either people from the people, or animals, reflecting certain character traits. In the fable "The Frogs Asking for the King" the Frogs become heroes, but this, of course, is an allegory. Allegory - allegory - one of the characteristic features fables. The Frogs are people who ask the gods to give them a sovereign. Zeus gave them the King, but it was an aspen block that did not react to anything. Having rested from fear, the Frogs became bold and daring, and then did not put the new lord in anything at all. Having asked Jupiter to give them another King, "truly for glory", they received the power of the Crane. Now another extreme awaited them: the Crane ate the guilty, "and there is no one right at his trial." Soon the Frogs repented of their desire and again prayed to Jupiter, "that even they cannot ... neither stick their nose out, nor croak safely." But now Jupiter does not make concessions. Final words Jupiter is the moral of the fable, a brief instructive statement that contains the main meaning of the fable:
“… Was a King given to you? - so he was too quiet:
You rebelled in your puddle
Another is given to you - so this one is very dashing;
Live with him so that it doesn’t get worse for you!
This is a lesson for people: they want to change their lives through outside intervention, not taking into account the fact that society should develop gradually, historically. Stupid Frogs come only from their ideas of power, but they are not smart enough to understand the need for gradual development. public relations. For this they are punished by God. In the fable, the author uses colloquial and colloquial expressions: “cracked into the kingdom”, “from all the Frogs’ legs in fright they rushed about”, “here, more than ever, both croaking and groaning”, “swallows them like flies”. Many words and expressions are outdated (“Why didn’t you know how to live happily before?”). But the idea of Krylov's fable has not become outdated, it is still significant, it causes both sadness and laughter at the same time.
What doubt is expressed in this fable?
Deep doubt in the contractual theory of the state, especially in its version, which was developed by Rousseau and put into practice by the Jacobins. It expresses doubt that it is possible to build history consciously, on the basis of preconceived, head theories. In Krylov, the reign of the Crane is depicted in 12 lines:
This king is not a blockhead, a completely different disposition:
He does not like to spoil his people;
He eats the guilty: and at his trial
No one is right;
But he has
What is breakfast, what is lunch, what is dinner, then reprisal.
On the inhabitants of the marshes
The black year is coming.
The Frogs have a big flaw every day.
From morning to evening their King walks around the kingdom
And anyone he meets
Immediately sue and - swallow.
- What features does Krylov give to the Crane?
The crane under its own name appears only once in the fable; further on, he is called the Tsar everywhere and all his actions are depicted in a double plan: like a crane he eats frogs, like a king he judges his “people” and sentences everyone to execution.
What were the frogs punished for?
The frogs were punished for their passion for change, for their unwillingness to reckon with the status quo, for their desire to change their way of life without regard to the past and their own experience:
And it seemed to them not at all noble
Without service and free to live.
The “stupidity” of frogs, according to Krylov, is in the theoretical nature of their aspirations, in their conviction that it is necessary to try another power.
What conclusion can we draw from reading Krylov's fable?
What does she teach us?
History moves according to its own laws, and not according to the "logical", "head" prescriptions of people that attempts to impose on history some "reasonable" requirements that do not take into account all previous historical experience are doomed to failure and lead to much worse consequences than those that are the result of natural movement. If it is impossible to foresee the development of reality and make forecasts, then, one asks, what is the role of reason? Krylov answers this way: both exaggeration of the role of reason and neglect of it are equally dangerous. Non-intervention of the mind in practical activities leads to stagnation, inertia, routine. Historical situation in 1825. Decembrist uprising - an attempted coup d'état that took place in St. Petersburg, the capital Russian Empire December 14, 1825. The uprising was organized by a group of like-minded nobles, many of them were guard officers. They tried to use the guards to prevent the accession to the throne of Nicholas I. The goal of the conspirators was the abolition of the autocracy and the abolition of serfdom. If it is impossible to predict the development of reality and make forecasts, then what is the role of reason? Krylov answers as follows: both exaggeration of the role of reason and neglect of it are equally dangerous.. The historian gave general characteristics internal policy of Nicholas I: “Nicholas set himself the task of not changing anything, not introducing anything new in the foundations, but only maintaining the existing order ... to do all this without any participation of society, even with the suppression of social independence, by government means alone ... ". A response to the events connected with the performance of the Decembrists and the tsarist policy after December 14, 1825, is the Razor fable (1828). The fabulist speaks out for the fact that there is nothing to be afraid of a sharp razor, you just need to be able to use it, while a dull one will tear off all the skin.
“I am ready to explain my story to you:
Isn't it true that many, although they are ashamed to admit,
With the mind of people - they are afraid,
And they tolerate fools more willingly?
III.Summing up the lesson, summarizing the topic.
Teacher's word. in allegorical form expressed his attitude not only to historical events but also to their specific participants. In his fables, contemporaries recognized Napoleon, Alexander I, Nicholas I. The fables are imbued with patriotic pathos, a sense of love for the Motherland and responsibility for its fate. Reading Krylov's fables, we learn to understand the true moral values, enjoy folk wisdom. Krylov expanded the possibilities of the fable genre, and brought the fable to perfection.
IV.Reflection. Theory of Literature. Check yourself!
What is a fable?
A fable is a short allegorical story with moralizing, often in poetic form.
What is a nationality?
Nationality is a reflection of the life of the people in literature.
What is historicism?
Historicism is a reflection of the characteristic features of reality in literature.
v.Self-study task:
1. Add an answer on the topic about historical basis fables "Wagon train", "Frogs asking for the Tsar". Additionally, for those who wish, in response, include the fables "Pike and Cat", "Razors".
3. Collect material for a project on a new topic.
Used materials
- , Egorova developments in literature. 8th grade. - M .: Vako, 2005. Lebedev of the Russian fable. - Vyshny Volochek: "Irida - pros", 2009. Literature. 8th grade. Textbook reader in two parts. Part 1. Authors-compilers, etc. - M .: Education, 2012. Virtual school of Cyril and Methodius. Literature lessons. 8th grade Big Encyclopedia Cyril and Methodius. 2004 version. Film "Krylov in Tver".
Internet resources:
1. http://*****, http://school-collection. *****, http://window. *****
3. Material for the implementation of design tasks. Access mode http://school-collection. *****/catalog/search/?text=%C1%E0%F1%ED%E8+%CA%F0%FB%EB%EE%E2%E0&context=current&interface=pupil&class%5B%5D=47&subject%5B% 5D=10
4. http://*****/communities. aspx? cat_no=2168&lib_no=21422&tmpl=lib&page=1
Just as figurative parallelism prepared the emergence of symbolism, image-symbols grew into allegorical images. An allegory, like a symbol, is also an allegorical image based on the similarity of the phenomena of life and can occupy a large, sometimes even central place in a literary work.
But in the symbol, the depicted phenomenon of life is perceived primarily in its direct, independent meaning, its allegorical meaning is clarified in the process of freely arising then emotional associations; allegory is a biased and deliberate means of allegory, in which the image of this or that phenomenon of life immediately reveals its official, figurative meaning.
Allegories began to appear in lyrical folk songs when, from the frequent repetition of certain images, originally symbolic, they became familiar to everyone and quite understandable in their allegorical meaning. A falcon leads a falcon or a peacock - a peacock - a groom - a bride, etc. The process of turning symbols into allegories took place even more clearly in epic creativity.
So, the images of ancient fairy tales, generalizing the morals of animals, first became symbols of the moral properties and relations of people, later, with the emergence of the genre, they acquired a traditional, generally accepted meaning in this allegorical sense, became allegories.
In the plots of fables, the fox is immediately perceived as a means of allegorical depiction of a cunning person, a lion or a wolf - bloodthirsty, cruel, a snake - insidious, a crow - stupid, a jackal - evil and vile, etc. Such fable allegories passed by tradition from one author to another - from Aesop to Phaedrus, then to Lafontaine, Khemnitser, Krylov. All these authors, except Aesop, wrote their fables in verse.
But also in oral folk art prose fables arose with original allegorical imagery. In Russian folklore, the “Tale of Yersh Ershovich, the son of Shchetinnikov” is especially famous. Saltykov-Shchedrin went in his fables from this tradition. Almost all of his "fairy tales" are prose fables with a pronounced allegorism of images. But he has fairy tales that combine symbolism and allegorism. So, in the fairy tale "Konyaga" Shchedrin created, in addition to the original symbolic image of a peasant horse, allegorical images of four "waste dances". These are also horses, but, unlike Konyaga, groomed in the master's stable.
When they begin to talk about Konyag, who lies silently, then from the speeches of each of them we immediately recognize in them not animals, but people, spokesmen different opinions about the life of the people, representatives of certain privileged strata of Russian society in the 70s. The satirical nature of the tale, of course, intensified, but its artistry suffered greatly.
Something similar happened in Gorky's "Song of the Petrel", where also, after the main symbolically, allegorical images of "groaning" loons and penguins appear, hiding their "fat body" in the cliffs.
Allegorical images are also found in lyric poetry. Such, for example, is the image of a cloud in Pushkin's poem "The Cloud" ("The last cloud of the scattered storm..."), symbolically, not as an independent image of nature, evoking various emotional parallels with human life, but allegorically, as an allegorical reasoning about quite definite circumstances - about the political dangers that until recently threatened the poet.
Introduction to literary criticism: Proc. for philology.. spec. high fur boots / G.N. Pospelov, P.A. Nikolaev, I.F. Volkov and others; Ed. G.N. Pospelov. - 3rd ed., Rev. and additional - M.: Higher. school, 1988. - 528s.
A Brief Analysis of the Fable of the Frog Asking for a King
Answers:
Fables I.A. Krylova is a special satirical genre inherited from antiquity. In the era of classicism, fables belonged to the "low" genres, so they sounded like simple colloquial speech. The heroes of fables could be either people from the people, or animals, reflecting certain character traits. In the fable "The Frogs Asking for a Tsar" the Frogs become heroes, but this, of course, is an allegory. Allegory - allegory - one of the characteristic features of the fable. The Frogs are people who ask the gods to give them a sovereign. Zeus gave them the King, but it was an aspen block that did not react to anything. Having rested from fear, the Frogs became bold and bold, and then did not put the new ruler in anything at all. Having asked Jupiter to give them another King, "truly for glory", they received the power of the Crane. Now another extreme awaited them: the Crane ate the guilty, "and there is no one right at his trial." Soon the Frogs repented of their desire and again prayed to Jupiter, "that even they cannot ... neither stick their nose out, nor croak safely." But now Jupiter does not make concessions. The final words of Jupiter are the moral of the fable, a brief instructive statement, which contains the main meaning of the fable: “... Was the King given to you? - so he was too quiet: You rebelled in your puddle, Another was given to you - so this one is very dashing; Live with him so that it doesn’t get worse for you! This is a lesson for people: they want to change their lives through outside intervention, not taking into account the fact that society should develop gradually, historically. Stupid Frogs proceed only from their ideas about power, but their mind is not enough to understand the need for a gradual development of social relations. For this they are punished by God. In the fable, the author uses colloquial and colloquial expressions: “cracked into the kingdom”, “from all the Frogs’ legs in fright they rushed about”, “here, more than ever, both croaking and groaning”, “swallows them like flies”. Many words and expressions are outdated (“Why didn’t you know how to live happily before?”). But the idea of Krylov's fable has not become outdated, it is still significant, it causes both sadness and laughter at the same time.
