Essay on the fable “Frogs asking for the king. Question: Brief analysis of the fable of the frog asking the king

Fables by I.A. Krylova is a special satirical genre inherited from antiquity. In the era of classicism, fables belonged to “low” genres, so they sounded simple Speaking. The heroes of the fables could be either people from the people or animals reflecting certain character traits.

In the fable “Frogs Asking for a Tsar,” the heroes are Frogs, but this, of course, is an allegory. Allegory - allegory - one of characteristic features fables. By Frogs we mean people who ask the gods to give them a sovereign. Zeus gave them a 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 they did not care about the new ruler at all. Having asked Jupiter to give them another King, “truly for glory,” they received the Crane for their power. Now the other extreme awaited them: the Crane ate the guilty, “and at his trial no one was right.” 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 no longer makes concessions.

Final words Jupiter is the moral of the fable, a short 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 one was given to you - so this one is very dashing;

Live with him so that things don’t get worse for you!”

This is a lesson to 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 intelligence is not enough to understand the need for gradual development public relations. For this God punishes them. In the fable, the author uses colloquial and colloquial expressions: “cracked into the kingdom”, “all the Frogs’ legs fluttered in fright”, “there’s a croaking and groaning more than ever”, “swallowing them up 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 Many words and expressions are outdated (“Why didn’t you know how to live happily before?”). But the idea of ​​Krylov’s fable is not outdated, it is still significant, causing both sadness and laughter at the same time.

Purpose: To introduce students to I.A.’s fable. Krylov “Frogs asking for the Tsar.” Continue to develop the ability to understand the allegorical meaning of fables and their morals.

Equipment: books from Krylov, portraits of the fabulist, illustrations for fables.

Methodological techniques: lecture with elements of conversation, listening to audio tapes, analysis of fables listened to, expressive reading, text analysis, conversation on issues.

In the 1800s, I.A. Krylov 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 interference in the course of events; it can only lead to even greater evil.

Before the French Revolution, Krylov, like other educators, placed great hopes on reason, broad education and upbringing of the nobles, on the introduction of reasonable social concepts into their minds. Such mental enlightenment was capable, in his opinion, of transforming the entire society. If the majority of 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 then the French Revolution happened. Krylov, like others advanced people, was faced with the fact that the predictions of the enlighteners did not come true. It was necessary to reconsider previous positions, drawing lessons from history. The question arose before him: why did history “not listen” to the enlighteners, why did it deceive their hopes?

IN early XIX century, Krylov turned to the genre of fables associated with folk culture. In his fables he gave answers to topical issues life problems.

Krylov clarified the truth that history moves according to its own laws, and not according to the “logical”, “head” instructions of people, that attempts to impose certain “reasonable” requirements on history that do not take into account everything that preceded historical experience, are doomed to failure and lead to much worse consequences than those that result from natural movement.

In this regard, Krylov’s development of the famous and popular fable plot, “Frogs Asking for the Tsar” (1809), is very indicative. The general idea of ​​this fable, developed by Lafontaine, was also preserved by Krylov: the frogs themselves are to blame for their misfortunes, for the fact that, not being content with the rule of the people, they asked for a king.

2. Reading and analysis of the fable

– What doubt is expressed in this fable? (deep doubt in the contractual theory of the state, especially in the version that 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).

– But in Krylov’s development of this plot there is also something that belongs entirely to himself. What is the difference between Krylov’s fable? (a detailed, much more detailed description of the reign of the Crane than in La Fontaine. In La Fontaine, the Crane King acts with frogs exactly as the Crane does: catches, kills and swallows. All this description of the crane’s actions takes two lines from La Fontaine. In Krylov, the reign of the Crane is depicted in 12 lines:

This king is not a blockhead, he has a completely different disposition:
He does not like to pamper his people;
He eats the guilty: and at his trial
No one is right;
But he already has
Whether it's breakfast, lunch or dinner, there's punishment.
To the inhabitants of the swamps
The black year is coming.
Every day there is a great flaw in the Frogs.
From morning to evening their King walks around the kingdom
And everyone he meets,
He will immediately judge and swallow it.

– What traits does Krylov give to the Crane? (Krylov’s Crane, under his own name, appears in the fable only once; then he is referred to everywhere as the Tsar and all his actions are depicted in a double plan: as a crane he eats frogs, as a king he judges his “people” and sentences everyone to execution).

Live with him so that things don’t get worse for you!)

– Why were the frogs punished? (the frogs were punished for their passion for change, for their unwillingness to reckon with the existing state of affairs, 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 in freedom to live.

Lafontaine has no last words. It is possible that Krylov had in mind V. Maikov, who, in his translation and adaptation of La Fontaine, gave a detailed criticism of democratic government. His frogs complain to Jupiter like this:

We live willfully; We have enough lies
We have
For every hour
They hate each other;
The powerful will offend the powerless;
And the strong consider the strong to be an enemy. 1

The “stupidity” of frogs, according to Krylov, is in theoretical nature their aspirations, in their conviction that they need to try another government.

The path of testing that the frogs go through is a refutation of Enlightenment optimism with its conviction that ultimately the rule of “pure reason” will be established on earth (Karamzin). 2

– What conclusion can we draw after reading Krylov’s fable? What does she teach us? (history moves according to its own laws, and not according to the “logical”, “head” instructions of people, that attempts to impose on history certain “reasonable” requirements that do not take into account all previous historical experience are doomed to failure and lead to much worse consequences than those which are a consequence of natural movement.

If it is impossible to predict the development of reality and make forecasts, then, one might ask, what is the role of reason? Krylov answers this way: it is equally dangerous to exaggerate the role of reason and to neglect it. Non-interference of the mind in practical activities leads to stagnation, inertia, and routine.

Make a quotation plan for the fable “Frogs Asking for the Tsar.”

· continue to develop the ability to understand the allegorical meaning of fables and their morality;

· generalize and systematize students’ knowledge about fables acquired in grades 5-7;

· deepen knowledge about the fable genre;

· stimulate cognitive interest and search and research activities of eighth-graders;

· develop the ability to work with information presented on the Internet;

· develop the ability to classify, summarize, systematize information;

· develop the creative abilities of students through reading fables by heart;

· form personal qualities: work quickly and smoothly;

· cultivate interest in literature and in particular in the genre of fables, in which human vices are ridiculed in a satirical form.

· develop a stable artistic taste; contribute to increasing 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 protecting student projects.

Educational technologies used: educational design (project of slides - presentations on the topic “Historical basis of the fables “Oboz” and “Frogs asking for the Tsar”)

Project type: information-research and meta-subject.

During the classes

I.Activation of basic knowledge and educational student actions.

1. Organizing time. Announcement of lesson goals, topics, writing an epigraph (slide No. 1). said: “His parables are a national treasure... Every fable of his has, moreover, a historical origin.”

2. introduction Ptutor: For the week of Russian language and literature, we have prepared several projects on the topic “Historical basis of the fables “Oboz” and “Frogs asking for the Tsar”), the materials of which can be used both in class and in extracurricular activities. Suvorov students Ilya Drobush and Egor 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 the historical basis of fables is, what historicism is in work of art, why Gogol called Krylov’s fables folk. What kind of person was he? What was he thinking about, why did he care about what he wrote about, who he communicated with, who he was friends with, how his life turned out, and why his works are alive and relevant today? Let's start by 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 tree, and a fox and grapes, and a quartet. The face of the fabulist with large features stands out, framed gray hair, with a serious and thoughtful expression. We see the open face, kind and insightful eyes of a 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 celebrated on November 21, 1944, Council People's Commissars 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 Tverskoe (Kalinin) Suvorovsky military school, within whose walls you are now studying, and opposite the school in the park in 1959, a monument to the fabulist Krylov was erected. How symbolic and correct everything is. The fabulist's life as a child was unusually poor. He did not have to study, but his mother drew up a plan for her son’s education and monitored 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 as a magistrate. Reinforced independent studies 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 become a copyist, 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 I learned Greek language. During his life, Krylov was a journalist, publisher, author of prose and dramatic works, however, he became better known as a fabulist. wrote more than 200 fables. In his works he depicted the life and morals of his contemporaries, their shortcomings. It was impossible to talk about this openly. Through the images of animals, the author ridiculed human vices. The precise, figurative, rich language of Krylov’s fables undoubtedly has Tver roots. A researcher of the fabulist’s work argued that the words: “chicken coop”, “will sue”, “and I, buddy, are gray”, “helicopter”... - are taken from the Tver dialect (slides No. 2-5).

What new things have you learned about life in Tver?

What details about the monument surprised you?

3. Conversation on questions and quiz on fables: (slides No. 8 -14)

Illustrations for fables and quotes are presented by which Suvorov students should recognize the fable; this is mainly material for summarizing what was studied in grades 5 and 6; Along the way, there is a repetition of the concept of “morality” in the fable. Suvorovites write that morality is not only moral teaching, it is the highest category of human behavior in society. Krylov’s image of an animal includes a set 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 identify 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: “Whoever wants to learn Russian completely should get acquainted with Krylov.” A statement that said about Krylov’s fables like this: “His parables are the heritage of the people and constitute the book of wisdom of the people themselves.” Thanks to their accuracy and simplicity, many lines of Krylov’s fables entered colloquial speech and became proverbs and sayings. Here, for example: “And Vaska listens and eats.” "And nothing has changed". “Rather than consider working as a godmother, isn’t it better to turn to yourself, godfather?” In the 1800s, he reconsidered 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 interference in the course of events; it can only lead to even greater evil. Before the French Revolution, Krylov, like other educators, placed big hopes on reason, broad education and upbringing of the nobles, on the introduction of reasonable social concepts into their minds. Such mental enlightenment was capable, in his opinion, of transforming the entire society. If the majority of 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 it's done French revolution. Krylov, like other progressive people, was faced with the fact that the predictions of the enlighteners did not come true. It was necessary to reconsider previous positions, drawing lessons from history. The question arose before him: why did history “not listen” to the enlighteners, why did it deceive their hopes? At the beginning of the 19th century, Krylov turned to the genre of fables associated with folk culture. In his fables, he gave answers to pressing life problems. Krylov clarified the truth that history moves according to its own laws, and not according to the “logical”, “head” instructions of people, that attempts to impose certain “reasonable” requirements on history that do not take into account all previous historical experience are doomed to failure and lead to much worst consequences than those resulting from natural movement. If it is impossible to predict the development of reality and make forecasts, then, one might ask, what is the role of reason? Krylov answers this way: it is equally dangerous to exaggerate the role of reason and to neglect it. Non-interference of the mind in practical activities leads to stagnation, inertia, routine. In literary criticism there is the concept of “social type” (slide number 15), let’s open the “Literary Theory” folder in your laptop and enter the entry “social type”, “historical type”.

5. Suvorovites work on laptops. In the folder “Theory of Literature” they write down: social type is literary portrait historical figure or person social group certain historical era, which embodies individual or typical features character. Let's look at the portraits of Alexander I, Kutuzov, Napoleon. Let us remember the fable “The Wolf in the Kennel.” Leo is always the King; Wolf, Fox, Bear - court nobles, officials; Lamb, Ant, Frog are “small” 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 enemy’s strength, fell into a trap and died.

6.Project protection. Research type of project on the topic “Historical

the basis of the fable "Oboz". Historical situation of 1812 .

The invasion of Russia in 1812 by Napoleon's army largely changed the way of life of every Russian person. During the difficult days for Russia in 1812, Krylov did not give up his pen. Often the reason for writing a new fable was information gleaned from reports. One day, news came to the capital that Napoleon, soon after leaving Moscow, sent General Lauriston to Kutuzov’s headquarters with a proposal to begin peace negotiations. Kutuzov rejected them, and after some time defeated the French at Tarutino.

Krylov was not slow to respond to this event with the fable “The Wolf in the Kennel.” Kutuzov himself read this fable after the battle of Krasnoye.

A new fable by Krylov soon followed. It appeared after the tsar’s rescript to Kutuzov, which expressed dissatisfaction with the commander’s slowness. Kutuzov's wisdom was to the liking of the wise and never in a hurry Krylov. In the fable "Oboz", the fabulist ridiculed impatience and justified the caution and prudence that come with age and experience. The moral of the fable is a clear allusion to Alexander I, whose self-confidence in the war with the same French in 1805 - 1807 led to many failures. Ivan Andreevich's fables were read even at meetings of the State Council. The success of Krylov's fables in the army was colossal. They were distributed in lists and printed in Kutuzov's traveling printing house. The poet Batyushkov had deep respect for the great fabulist and said: “...His fables will survive centuries...”.

7. Expressive reading of the fable “Oboz” by heart (Suvorov soldier Suslov I.)

"Wagon train", 1812

A convoy walked with pots,
And you have to go down a steep mountain.
So, on the mountain, leaving others to wait,
The owner began to lightly move the first cart.
The good horse on his rump almost carried him,
Not letting the cart roll;
And the horse on top, young,
Scolds the poor horse for every step:
“Ah, vaunted horse, what a marvel!
Look: it molds like a cancer;
I almost got caught on a rock; askew! crooked!
Be brave! Here comes the push again.
And here I would just take it to the left.
What an ass! It would be nice to go uphill
Or at night, -
And even downhill, and during the day!

Relationship" href="/text/category/vzaimootnoshenie/" rel="bookmark">Kutuzov’s relationship with “youth”: Alexander I, Prince of Württenberg, Admiral Chichagov. research work Vice-Sergeant Drobush I. selected 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 “The Pike and the Cat”:

“Come on, do you know this light work? –

Vaska began to say to Pike, -

Be careful, godfather, so as not to disgrace yourself:

No wonder it is said,

That the master’s work is afraid.” –

And, that's it, kumanek! What a surprise: mice!

We also caught ruffs" -

“So let's go in good time! Let's go and sit down.

The cat got amused and full

And he goes to visit the gossip:

And Pike lies there, barely alive, with his mouth open,

And the rats ate her tail...”

Recording the output: justifies Kutuzov’s cautious tactics 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 cross the Berezina River. The composition of the fables is extremely compressed and dynamic. Krylov is a brilliant master of dialogue.

10. Presentation of meta-subject project activities on the topic “Historical basis of the fable “Frogs Asking for the Tsar.” The project is presented by Vice-Sergeant Egor Shershnev (slides No. 21 – 24). Moral and philosophical fables address questions about the development of society. Let's highlight the problem of relationships state power and the people, consider it using the example of the fable “Frogs Asking for the Tsar.” In this regard, Krylov’s development of the famous and popular fable plot, “Frogs Asking for the Tsar” (1809), is very indicative. The general idea of ​​this fable, developed by Lafontaine, was also preserved by Krylov: the frogs themselves are to blame for their misfortunes, for the fact that, not being content with the rule of the people, they asked for a king. Fables are a special satirical genre inherited from antiquity. In the era of classicism, fables belonged to “low” genres, so they sounded simple colloquial speech. The heroes of the fables could be either people from the people or animals reflecting certain character traits. In the fable “Frogs Asking for a Tsar,” the heroes are Frogs, but this, of course, is an allegory. Allegory - allegory - is one of the characteristic features of the fable. By Frogs we mean people who ask the gods to give them a sovereign. Zeus gave them a 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 they did not care about the new ruler at all. Having asked Jupiter to give them another King, “truly for glory,” they received the Crane for their power. Now the other extreme awaited them: the Crane ate the guilty, “and at his trial no one was right.” Soon the Frogs repented of their desire and again prayed to Jupiter, “that even they cannot... stick their nose out or croak safely.” But now Jupiter no longer makes concessions. The final words of Jupiter are the moral of the fable, a short 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 one was given to you - so this one is very dashing;

Live with him so that things don’t get worse for you!”

This is a lesson to 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 intelligence is not enough to understand the need for the gradual development of social relations. For this God punishes them. In the fable, the author uses colloquial and colloquial expressions: “cracked into the kingdom”, “from all over the Frogs’ legs fluttered in fear”, “there’s a croaking and groaning more than ever”, “swallowing them up 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 is not outdated, it is still significant, causing both sadness and laughter at the same time.

– What doubt is expressed in this fable?

There is deep doubt in the contractual theory of the state, especially in the version that 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. Krylov depicts the reign of the Crane in 12 lines:

This king is not a blockhead, he has a completely different disposition:
He does not like to pamper his people;
He eats the guilty: and at his trial
No one is right;
But he already has
Whether it's breakfast, lunch or dinner, there's punishment.
To the inhabitants of the swamps
The black year is coming.
Every day there is a great flaw in the Frogs.
From morning to evening their King walks around the kingdom
And everyone he meets,
He will immediately judge and swallow it.

– What traits does Krylov give to the Crane?

The crane appears under its own name only once in the fable; Further, he is referred to everywhere as the Tsar 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.

– Why were the frogs punished?

The frogs were punished for their passion for change, for their unwillingness to reckon with the existing state of affairs, 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 in freedom to live.

The “stupidity” of frogs, according to Krylov, lies in the theoretical nature of their aspirations, in their conviction that they need to try another government.

What conclusion can we draw after reading Krylov’s fable?

What does she teach us?

History moves according to its own laws, and not according to the “logical”, “head” instructions of people, that attempts to impose on history certain “reasonable” requirements that do not take into account all previous historical experience are doomed to failure and lead to much worse consequences than those are a consequence of natural movement. If it is impossible to predict the development of reality and make forecasts, then, one might ask, what is the role of reason? Krylov answers this way: it is equally dangerous to exaggerate the role of reason and to neglect it. Non-interference of the mind in practical activities leads to stagnation, inertia, and routine. Historical situation in 1825. The Decembrist uprising was an attempted coup d'etat 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 officers of the guard. They tried to use the guards units to prevent Nicholas I from ascending the throne. 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 this way: it is equally dangerous to exaggerate the role of reason and to neglect it. The historian gave this general characteristics domestic policy 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 from society, even with the suppression of social independence, using government means alone...”. A response to the events associated with the Decembrists' speech and tsarist policy after December 14, 1825, is the fable "The Razor" (1828). The fabulist argues that there is nothing to be afraid of a sharp razor, you just need to know how to use it, while a dull one will rip off all your skin.

“I’m ready to explain my story to you:

Aren't there many, although they are ashamed to admit,

With the minds of people - they are afraid,

And they tolerate fools more willingly”?

III.Summing up the lesson, summarizing the topic.

The 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 feeling of love for the Motherland and responsibility for its fate. Reading Krylov's fables, we learn to understand 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 a moral lesson, 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 characteristic features reality in literature.

V.Self-study assignment:

1. Add an answer on the topic about historical basis fables “Wagon Train”, “Frogs Asking for the Tsar”. Additionally, for those who wish to include the fables “Pike and Cat” and “Razors” in response.

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 Volochyok: “Irida - pros”, 2009. Literature. 8th grade. Textbook-reader in two parts. Part 1. Compilers and others - M.: Prosveshchenie, 2012. Virtual school of Cyril and Methodius. Literature lessons. 8th grade Great encyclopedia Cyril and Methodius. 2004 version. Film "Krylov in Tver".

Internet resources:

1. http://*****, http://school-collection. *****, http://window. *****

3. Material for completing project 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

Brief Analysis fables of frogs asking for the king

Answers:

Fables by I.A. Krylova is a special satirical genre inherited from antiquity. In the era of classicism, fables belonged to “low” genres, so they sounded simple colloquial speech. The heroes of the fables could be either people from the people or animals reflecting certain character traits. In the fable “Frogs Asking for a Tsar,” the heroes are Frogs, but this, of course, is an allegory. Allegory - allegory - is one of the characteristic features of the fable. By Frogs we mean people who ask the gods to give them a sovereign. Zeus gave them a 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 they did not care about the new ruler at all. Having asked Jupiter to give them another King, “truly for glory,” they received the Crane for their power. Now the other extreme awaited them: the Crane ate the guilty, “and at his trial no one was right.” Soon the Frogs repented of their desire and again prayed to Jupiter, “that even they cannot... stick their nose out or croak safely.” But now Jupiter no longer makes concessions. The final words of Jupiter are the moral of the fable, a short 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 was given to you - so this one is very dashing; Live with him so that things don’t get worse for you!” This is a lesson to 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 intelligence is not enough to understand the need for the gradual development of social relations. For this God punishes them. In the fable, the author uses colloquial and colloquial expressions: “cracked into the kingdom”, “from all over the Frogs’ legs fluttered in fear”, “there’s a croaking and groaning more than ever”, “swallowing them up 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 is not outdated, it is still significant, it causes both sadness and laughter at the same time

Just as figurative parallelism prepared the emergence of symbolism, symbolic images developed into allegorical images. An allegory, like a symbol, is also an allegorical image based on the similarity of life phenomena and can occupy a large, sometimes even central place in a verbal 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 emotional associations; an allegory is a biased and deliberate means of allegory, in which the image of one or another phenomenon of life immediately reveals its auxiliary, figurative meaning.

Allegories began to appear in lyrical folk songs, when, from the frequent repetition of certain images, initially symbolic, they became familiar to everyone long ago and quite understandable in their allegorical meaning. A falcon leads a falcon or a peacock - a peahen - a groom - a bride, etc. The process of transforming symbols into allegories occurred even more clearly in epic creativity.

Thus, the images of ancient fairy tales, generalizing the morals of animals, first became symbols of the moral properties and relationships of people, and later, with the emergence of the genre, they acquired a traditional, generally accepted meaning in this allegorical sense and became allegories.

In the plots of fables, the fox is immediately perceived as a means of allegorically depicting a cunning person, a lion or wolf - bloodthirsty, cruel, a snake - insidious, a raven - stupid, a jackal - evil and vile, etc. Such fable allegories were passed on by tradition from one author to another - from Aesop to Phaedrus, then to La Fontaine, Chemnitzer, Krylov. All these authors, except Aesop, wrote their fables in verse.

But still verbally folk art prosaic fables with original allegorical imagery arose. In Russian folklore, the “Tale of Ruff Ershovich, the son of Shchetinnikov” is especially famous. Saltykov-Shchedrin followed this tradition in his fables. Almost all of his “fairy tales” are prosaic fables with pronounced allegorism of images. But he has fairy tales that combine symbolism and allegorism. Thus, in the fairy tale “The Horse,” Shchedrin created, in addition to the original symbolic image of a peasant horse, allegorical images of four “idle dancers.” These are also horses, but, unlike Konyaga, they were 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, expressors of different opinions about the life of the people, representatives of certain privileged strata of Russian society of the 70s. At the same time, the satirical nature of the tale, of course, increased, but its artistry suffered greatly.

Something similar happened in Gorky’s “Song of the Petrel”, where also, following the main symbolically, allegorical images of “moaning” loons and penguins appear, hiding their “fat bodies” in the cliffs.

Allegorical images are also found in lyric poetry. Such, for example, is the image of a cloud in Pushkin’s poem “Cloud” (“The last cloud of a scattered storm...”), which, especially in connection with his other poem “Premonition” (“Again clouds above me...”), is not perceived symbolically, not as an independent image of nature, exciting various emotional parallels with human life, but allegorically, as an allegorical reasoning about very specific circumstances - about the political dangers that recently threatened the poet.

Introduction to literary criticism: Textbook. for philol.. special. un-tov / G.N. Pospelov, P.A. Nikolaev, I.F. Volkov and others; Ed. G.N. Pospelov. - 3rd ed., rev. and additional - M.: Higher. school, 1988. - 528 p.