Aesop's fable the crow and the fox full analysis. Aesop

Rang...

We …

We will...

AND…

We are working...

Let's listen...

Let's listen to an expressive reading of the work you worked with at home.

What is the genre of the work?

What is a fable?

Is there a moral in this fable?

Give the moral of the fable.

Look at the screen. Find a portrait of I.A. Krylov among the writers.

What do you know about this writer?

Who is pictured next to him?

What can you tell us about him?

Name the fables of Aesop and Krylov that you know.

Krylov and Aesop wrote many fables.

Guess who are the heroes of the fables we will read today?

1) Wears a gray vest,
But the wings are black.
Do you see twenty couples circling?
And they shout: - Carr, carr, carr.

2) The tail is fluffy,
Golden fur,
Lives in the forest.
He steals chickens from the village.

What genre do these works belong to?

Who are the heroes of the fable?

Can you imagine what might happen to them in the fable?

Today you will get acquainted with Aesop’s fable “The Raven and the Fox” and I.A. Krylov’s fable “The Crow and the Fox” and learn better about the habits of the heroes of these works.

(On the desk:

Aesop “The Raven and the Fox”, I.A. Krylov “The Crow and the Fox”

State the topic and objectives of the lesson.

Let's create an algorithm of actions for comparison.

By what criteria will you compare fables?

Recording on the slide:

Aesop	Krylov
Genre
Writing form
Heroes
Plot
Composition
Language

Read Aesop's fable.

Did you like the fable?

What genre of work is this fable similar to?

What is the difference?

What is morality?

Are there any words in the fable whose meanings are unclear?

What can you say about the language of the fable?

Name the heroes of the fable.

How is the raven shown in the fable?

Fox?

Name the plot of the fable.

Find in the text the words of the Fox in which she flatters the Raven.

Name the compositional parts of the fable.

Where is the moral hidden in the fable?

What does this fable teach us?

What human flaw is being ridiculed?

Fill in the 1st column of the table.

Let's check what you got.

Let's imagine: imagine the situation that you are young artists who are offered an unusual task - to portray themselves in the form of animals: a fox and a crow. This must be done using sign language.

Listen to I.A. Krylov’s fable.

(The teacher reads a fable).

Did you like the fable? How?

In what form is the fable written?

What can you say about the plot of the fable?

What is this story called?

Which fabulist do you think borrowed the plot?

Read the fable to yourself and find

words whose meaning you do not understand.

How do you understand the meaning of these words?

Where can I find out the lexical meaning of a word?

Work in pairs, find the meaning of the words:

“vile” - disgusting;
“captivated” - charmed;
“prophecy” - bringing news;
“perched” - climbed with difficulty

Name the main characters of the fable.

What kind of Crow do you imagine? Support your thoughts with words from the text.

What type of fox is represented in the fable?

Highlight the compositional parts of the fable.

Read the moral of the fable.

How do you understand the meaning of the word flattery?

In what words of the Fox is praise heard?

Is praise always pleasant?

Why does the Fox praise the Crow?

What is the meaning of morality?

What can you say about the language of the fable?

Write down synonyms for the popular expressions of the fable in RT p. 41 exercise 5.

Let's check.

Fill out the 2nd column of the table in groups.

Let's check what happened.

What criteria caused difficulties?

Compare the fables of Aesop and I.A. Krylov using the table data.

What are the similarities between the fables?

How are fables different?

In which fable is it easier to imagine the behavior of the characters?

I.A. Krylov used apt, precise words to convey the character of the characters.Let's look at the heroes of the fable as depicted by artists: Valentin Serov and G. Kupriyanov.

Did the artists manage to convey the characters' personalities?

How is Crow represented? Fox?

I.A. is rightfully considered the best fabulist. Krylov. It is not for nothing that in 1855 a bronze monument was erected to him in the Summer Garden of St. Petersburg, built with money collected throughout Russia. Such is people's love!

The heroes of I.A. Krylov’s fables were popular not only among artists, but also among sculptors. In different cities, sculptural compositions were installed for the heroes of many of I.A. Krylov’s fables.

A whole performance is being played out before us, in which the animal actors speak and act like people, but at the same time remain animals, maintaining their habits.

Read Krylov’s fable expressively, conveying in words the behavior and character of the characters.

Let's run the test.

Answer the questions:

1. Why do the Foxes praise the Raven and the Crow in fables?

2. Aesop and Krylov’s fables make fun of...

3. Select proverbs for the morals of the fables of Aesop and Krylov:

It is better to listen to the bitter truth than sweet flattery.

- Every coward talks about courage.

There is always a price to pay for stupidity.

4. Find your favorite catchphrase in Krylov’s fable and explain its meaning.

Check what you got.

If you have completed 1 task, then you have learned to understand the content of the fable and the character of the characters.

We completed task 2 correctly - we learned to understand the theme of the fable.

We completed task 3, which means we learned to understand the moral of the fable.

If you completed task 4 correctly, you understood the language of the fable.

What task did you find difficult to complete?

Which fable did you find more interesting, vivid, and convincing? Why?

Aesop's fables differ from Krylov's fables. At I.A. Krylovawe note the artistic perfection of his work, which is expressed in the breadth of generalizations, in the clarity and precision of morality. Turning to an already well-known plot, the author reveals to us in the most picturesque details the behavior of animals, behind which the reader discovers vivid pictures of a truly national character. He is characterized by a cheerful slyness of mind and mockery. But we should not forget that the idea belongs to Aesop, and without him there would not have been such wonderful fables by Krylov.

Let's write down our homework: read I.A. Krylov's fable expressively; if you wish, you can draw an illustration for the fable; dramatize a fable.

1. How did you understand the moral of the fable?

Aesop's fable convinces us of the power of flattery and how dangerous it is.

2. How was Raven’s unreasonableness expressed?

The Raven's foolishness was expressed in the fact that he succumbed to the flattery of the cunning Fox and therefore lost his prey.

3. How did the Fox affect him?

The Fox began to praise the Raven, using flattery. She understood that the Raven would want to show off and at the same time would open its beak and drop its prey.

4. How do you understand the word flattery? Prove that it is relevant in assessing what the Fox said.

This is feigned approval, praise for selfish purposes. The Fox, of course, praised the virtues of the Raven for selfish purposes. Let us remember: she said that he was great and handsome, and could become the king of the birds if he had a voice. Our distant ancestors were also able to determine that these speeches were flattering. After all, Aesop created his fables back in the 6th-5th centuries BC. It doesn’t take much thought to decide that talking about the greatness and beauty of the Raven can only be done with the aim of flattering him: the Fox named those qualities that the Raven did not have.

Glossary:

moral of aesop's fable the raven and the fox
Moral of the fable The Raven and the Fox Aesop
Aesop the crow and the fox morality
moral fable the crow and the fox aesop
Aesop the raven and the fox morality

Other works on this topic:

1. Read all the fables about the Raven and the Fox and compare them. You can compare two of them - the ones you liked best. All these fables...
V.K. Trediakovsky. Raven and Fox. How do you explain that this fable is difficult to read? 1. How do you explain that this fable is difficult to read? Fable V....
J. de Lafontaine. The Raven and the Fox 1. What distinguishes Aesop's Raven from La Fontaine's Raven? The Raven in La Fontaine's fable is smarter than the Raven in Aesop's fable. He...
The Crow and the Fox In this fable, the moral precedes the story: How many times have they told the world that flattery is vile and harmful; but everything is not for the future, And in...
Who was Aesop? What human vices does Aesop ridicule in his fables? Laziness, envy, greed, lack of desire to think, cunning, stupidity, flattery. What is the wisdom of fables...
How many times have they told the world that flattery is vile and harmful; but everything is not for the future, And the flatterer will always find a corner in the heart. ___ There is a god somewhere for the crow...
1. Read what the Fox thought, and then what the Crow said. How do you see the difference? In this fable, the author first told about the plan that...
The fox (in Russian var. Fox, Fox) is a character in many of La Fontaine’s fables, an image borrowed from Aesop’s fables and animal epics. This is a cautious, cunning, flattering creature who...

Literary reading lesson. 3rd grade.

Lesson topic. The fable “The Crow and the Fox” by I. A. Krylov and “The Crow and the Fox” by Aesop.

Target:

Learn to define a fable as a genre of literature based on its characteristic features, to find morality in a work;

Tasks:

develop students’ oral speech, expressive reading and role-playing skills;

to cultivate moral qualities, the skill of collective creative activity, a responsible attitude to the results of one’s activities, and an interest in literature.

Universal learning activities:

Personal: interest in the content of accessible works of art, in the world of human feelings reflected in the artistic text.

Cognitive: summarize and classify educational material; formulate simple conclusions.

Regulatory: change the position of listener, reader, viewer depending on the learning task.

Communicative: participate in expressive role-playing readings and dramatizations; monitor the actions of other participants in the process of collective and pair activities and, if necessary, make adjustments to them.

Subject results:

Knowing the distinctive features of a fable

Ability to find morality and allegory in a fable;

Knowledge about the life and work of I. A. Krylov, Aesop;

During the classes

1.Org. moment

The bell has already rung

It's time for us to start our lesson

2. Updating knowledge

1) Crossword (presentation)

2) Work in pairs

1 . Choose the exact definition of fable

Brief story

A cautionary tale

A short allegorical story of an instructive nature

(allegorical – containing an expression containing a hidden meaning)

2 . Find the signs of the fable

Written in verse

Animal heroes

A large work

Written in prose

Heroes are people

Contains a moral

A small piece of work

3. Sort the words into two groups

Perseus, Prometheus, Aesop, Krylov.

3. Setting the lesson goal

- Get to know a new fable and a new author.

4. Repetition of previously studied material.

Reading by roles.

Let's characterize the main characters of this fable.

What is the moral?

5. Introducing a new work. Aesop's fable "The Raven and the Fox"

Aesop - who is this?

Aesop -ancient Greek poet-. Supposedly lived around 600 BC. Aesop's original poems have not survived. The most ancient "Aesop's fables" have come down to us in later poetic adaptations.

In very ancient times there lived one man. He was a slave. His name was Aesop. They say that Aesop was very ugly: pot-bellied and hunchbacked, but the people around him did not notice this, because this slave was amazingly smart. Aesop invented short works. We will now get acquainted with one of them.

6. Primary perception.

Read Aesop's fable.

Did you like the fable?

What genre of work is this fable similar to? (fairy tale about living.)

What is the difference? (morality)

7. Analysis of the work

What is morality? (moral lesson)

In what form is the fable written? (in prose)

Are there any words in the fable whose meanings are unclear?

What can you say about the language of the fable? (in accessible language)

Name the heroes of the fable.

How is the raven shown in the fable? (stupid, gullible)

Fox? (cunning, smart)

Name the plot of the fable (she took the meat by deception)

Find in the text the words of the Fox in which she flatters the Raven.

What parts does a fable consist of? (introduction, main part, moral)

Where is the moral hidden in the fable? (in the words of the fox)

What does this fable teach us? ( There is no need to listen to false speeches, although they are pleasant to the ear, you need to make wise decisions. If the raven had simply fluttered up and flown away, he would have filled his belly, but because of his naivety and some stupidity he was left with an empty belly)

Why did it happen that the raven easily parted with its prey? What test did he fail? (tests of flattery, praise)

Read what the words “flatter” and “flatter” mean.

Who is flattering whom? Who does the fable condemn more: the stupid raven or the cunning fox? Prove your point using the moral of the fable.

What human flaw is being ridiculed? (stupidity)

8.Work with illustration.

Many artists tried to depict these fables with a brush and pencil, so that through the means of fine art we could perceive the events described in these fables even more clearly. These are artists such as D.K. Gavrilenko, S. Yarovoy, Valentin Serov and many others. I would like to draw your special attention to the work of Valentin Serov, it is in your textbook and on the screen.

Despite the fact that it was made with a simple pencil and is dim, look how the artist conveyed the images of the characters. Compare the size of the crow and fox figures. What can you say? Do their sizes correspond to reality? (The figure of the crow is much larger than the fox, it seems that the artist did the work sitting high on a spruce tree, next to the crow. A visual contrast is created - a large crow and a tiny fox)

Do you think it was possible from such a distance to see such details of appearance as “socks”, “feathers”, “eyes”?

What do these fables teach us?? (Do not believe the flattering words of others, do not always believe your ears, these words are not always sincere, do not be gullible, stupid)

Compare the fables of Aesop and I.A. Krylov using the table data.

What are the similarities between the fables?

How are fables different?

Working with a table (in pairs)

Ivan Andreevich Krylov

Writing form

Composition

In which fable is it easier to imagine the behavior of the characters?

I.A. Krylov used apt, precise words to convey the character of the characters.Let's look at the heroes of the fable as depicted by artists: Valentin Serov and G. Kupriyanov.

Did the artists manage to convey the characters' personalities?

How is Crow represented? Fox?

A whole performance is being played out before us, in which the animal actors speak and act like people, but at the same time remain animals, maintaining their habits.

Answer the questions:

1. Why do the Foxes praise the Raven and the Crow in fables?

2. Aesop and Krylov’s fables make fun of...

3. Select proverbs for the morals of the fables of Aesop and Krylov:

-It is better to listen to the bitter truth than sweet flattery.

-Every coward talks about courage.

-You always have to pay for stupidity.

4. Find your favorite catchphrase in Krylov’s fable and explain its meaning.

Check what you got.

If you completed 1 task, it means learned to understand the content of the fable and the character of the characters.

Completed task 2 correctly - learned to understand fable theme.

You have completed task 3, which means you have learned understand the moral of the fable.

Completed task 4 correctly, it means we understand the language of the fable.

What task did you find difficult to complete?

Which fable did you find more interesting, vivid, and convincing? Why?

Aesop's fables differ from Krylov's fables. At I.A. Krylova we note the artistic perfection of his work, which is expressed in the breadth of generalizations, in the clarity and precision of morality. Turning to an already well-known plot, the author reveals to us in the most picturesque details the behavior of animals, behind which the reader discovers vivid pictures of a truly national character. He is characterized by a cheerful slyness of mind and mockery. But we should not forget that the idea belongs to Aesop, and without him there would not have been such wonderful fables by Krylov.

9. Connection with life.

Guys, have there been any cases in your life when you flattered someone for selfish purposes and played the role of a fox, or, on the contrary, you were deceived, succumbing to flattering words, and suffered from this, thus acting in the role of a stupid crow. Remember and tell us about it.

Immortal creations of Aesop and Krylov

Every year we love you more and more!

Why, after hundreds, thousands of years, do we read with pleasure the fables of Aesop and Krylov? (They are interesting, useful, and teach life lessons)

Why don't fables become obsolete? (Human vices, such as flattery, envy, laziness, stupidity, cunning, existed 4000 years ago and exist today.)

What life wisdom did you take from today’s lesson, from today’s fables?

(there is no need to be gullible, and flattery is ugly.)

10 . Reflection.

1. How did you understand the moral of the fable?

Aesop's fable convinces us of the power of flattery and how dangerous it is.

2. How was Raven’s unreasonableness expressed?

The Raven's foolishness was expressed in the fact that he succumbed to the flattery of the cunning Fox and therefore lost his prey.

3. How did the Fox affect him?

The Fox began to praise the Raven, using flattery. She understood that the Raven would want to show off and at the same time would open its beak and drop its prey.

4. How do you understand the word flattery? Prove that it is relevant in assessing what the Fox said.

Flattery is feigned approval, praise for selfish purposes. The Fox, of course, praised the virtues of the Raven for selfish purposes. Let us remember: she said that he was great and handsome, and could become the king of the birds if he had a voice. Our distant ancestors were also able to determine that these speeches were flattering.

After all, Aesop created his fables back in the 6th-5th centuries BC. It doesn’t take much thought to decide that talking about the greatness and beauty of the Raven can only be done with the aim of flattering him: the Fox named those qualities that the Raven did not have.

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1. Read all the fables about the Raven and the Fox and compare them. You can compare two of them - the ones you liked best. All these fables are built on one plot: the flattering Fox (Fox) wants to get what the Raven (Crow) owns by deception, and she succeeds. And the fact that for Aesop and La Fontaine it is the Raven, and for […]...
V.K. Trediakovsky. Raven and Fox. How do you explain that this fable is difficult to read? 1. How do you explain that this fable is difficult to read? V.K. Trediakovsky’s fable is difficult to read because it was written in the 18th century. 2. Does this fable also talk about flattery? Read the Fox's words of praise. The fox, wanting to get hold of some cheese, “came up with this […]...
J. de Lafontaine. The Raven and the Fox 1. What distinguishes Aesop's Raven from La Fontaine's Raven? The Raven in La Fontaine's fable is smarter than the Raven in Aesop's fable. He was embarrassed by his failure and even swore “that he would not need another lesson.” 2. Which fable talks about flattery and flatterers? “Uncle [...]” speaks about flattery and flatterers.
An essay based on the works of Aesop and Ivan Krylov. The founder of the fable is considered to be the ancient slave artist Aesop. Indeed, the wisdom of his fables is so deep and inexhaustible that fabulists have been using it for many centuries. They create a new form for the fable, improve it, but do not consider it necessary to change its content, which is complete and therefore eternal. Let's look at three of Aesop's fables, [...]
How many times have they told the world that flattery is vile and harmful; but everything is not for the future, And the flatterer will always find a corner in the heart. ___ Somewhere God sent a piece of cheese to a crow; Crow perched on a spruce tree, she was just about ready to have breakfast, she was lost in thought, and she had the cheese in her mouth. To that misfortune, the Fox ran quickly; Suddenly the cheese spirit stopped the Fox: […]...
The Crow and the Fox In this fable, the moral precedes the story: How many times have they told the world that flattery is vile and harmful; but everything is not for the future, And the flatterer will always find a corner in the heart. Next, the author tells the story of the Crow, who somewhere got hold of a piece of cheese and perched with this cheese on a spruce tree to have a quiet breakfast there. The Fox “ran quickly” past, […]...
“Fish Dances” is a famous fable. This fable has reached us in two versions, since the first version was not passed by censorship. Although the second version is more finished, the first, “draft” version is of greater interest to us, for it is in the spirit of all of Krylov’s work and, naturally, “in the spirit” of progressive Russian literature. The first, “draft” option has an unfavorable outcome for the authorities. […]...
Ancient Greek semi-legendary fabulist. The name of Aesop appears in the works of the historian Herodotus (5th century BC), who reports that Aesop lived on the island of Samosia, was a slave with physical disabilities, eventually became free, and wrote fables. Aesop's collection contains 426 fables written in prose. His works are short, the moral is quite direct and laconic. For example, the moral of the fable “The Raven and the Fox” […]...
The Crow and the Fox How many times have they told the world that flattery is vile and harmful; but everything is not for the future, And the flatterer will always find a corner in the heart. Somewhere God sent a piece of cheese to a crow; Crow perched on a spruce tree, she was just about ready to have breakfast, she was lost in thought, and she had the cheese in her mouth. To that misfortune, the Fox ran quickly; Suddenly a cheese spirit […]...
When preparing to read this fable, the teacher needs to recall with the sixth graders all the information about the fable. He emphasizes that in fables one encounters a variety of characters. – What character does the image of the Fox represent in any fable? (Hypocrisy, deceit, cunning). – What character trait is most fully revealed in this work? (The first place is clearly taken by [...]
Goal: to teach expressive reading, ridicule vices: cunning and stupidity, cultivate the best human qualities. During the classes. I. Organizational moment. II. Checking homework. – Find and read the lines that talk about the Monkey’s stupidity. – Did Monkey understand that she saw herself in the mirror? – What did the Bear answer to Monkey’s words? – How did Monkey react to them? […]...
The 1830 fable “The Donkey” tells many interesting things about the Donkey. Let's consider its Contents. The peasant had a Donkey. He behaved so meekly that he could not praise him enough. That is, here our hero appears almost in his animal nature. He is not noble, does not hold rank, no Fox is promoting him anywhere - he is simply a Donkey in authenticity [...]
“Little Crow” dates back to 1811 with a “moral” that asserts a certain trivial truth: What thieves get away with, the thieves get beaten for. Apparently, the picture of general, endemic state theft gave birth to this fable. This is where the comparisons come from. The main thief is the thief on the throne, Eagle. It was he who snatched the lamb from the herd, which “lured” the Little Crow, inciting him to the feat. […]...
1. Read what the Fox thought, and then what the Crow said. How do you see the difference? In this fable, the author first spoke about the plan that the Fox had, and then conveyed her flattering speech addressed to the Crow. So we became convinced that the Fox thinks one thing and says another in order to achieve the goal that she has set for herself. To her […]...
Subjectively, Krylov does not see the possibility of any other government other than a monarchical one. Therefore, while denouncing, he at the same time instructs, gives a kind of “lesson to the kings,” which Pushkin sometimes did, although in a different way. One of these “lessons” is the fable “The Education of the Lion” (1811). Without retelling everything (the fable tells how the king of beasts Leo gave the Lion Cub to be trained by the Eagle, who [...]
How do you understand the moral of this fable, what does it teach? The fable condemns selfishness, the desire to use someone else’s work for one’s benefit and not respond with gratitude, greed, that is, those qualities that make a person a bad comrade. Draw portraits of Fedya and Senyusha. Describe the characters of each of the boys. Try to use qualities such as ingenuity, intelligence, dexterity, […]...
In the fable “The Motley Sheep,” Lev himself wanted to exterminate the sheep, but nevertheless Krylov carefully monitors how the system works, that is, what it represents. The fable begins like this. Leo disliked the motley sheep and wanted to simply transfer them, but this would have been unjust, because, notes Ivan Andreevich, He is in the forests for the wrong reasons […]...
The fable “The Siskin and the Hedgehog” (1814) is about poetry, its essence, its truth, about the glorification of the hero, about true heroism and true heroism, about the greats of this world, about the poet’s duties to life and to the truth. The fable is tricky. In it, Krylov refused to glorify Alexander the First. He did it subtly and intricately, but in such a way that everyone understood […]...
“The Bee and the Flies” is a fable from 1817. By this time, Krylov had already formed the image of the Bee. By the way, in 1827 he will write the fable “The Fly and the Bee,” where the character of the “hardworking” braggart of 1808 (“The Fly and the Roadies”) will be revealed in a slightly different light, but, generally speaking, in the same quality. In the fable “The Bee and the Flies” the poet considers [...]
“The Hunter” is a fable written in 1819. It is simple: Krylov took up arms against the eternal “I’ll still have time.” He says that the adviser here is not intelligence, but laziness. And his morality, set in advance (that is, verified and matured), sounds like a call and a strict order: ...If there is a matter, end it quickly, Or after complaining about yourself - not in case... And […]...
Consider the fable “The Sea of Beasts” (1809). Krylov paints a picture of terrible devastation - death walks through the forests, it spares no one... But the poet is so expressive in describing the epidemic. One feels that Krylov threw all his strength into describing the pestilence - here the colors are condensed to the limit. Therefore, for the idea of the whole this picture is essential. The fiercest scourge of heaven, nature’s horror – [...]
The fable “The Wolf and the Lamb” is an early one. It was written in 1808 and was included in the first book published a year later - in 1809. More than one writer responded to the book. Among them is Zhukovsky. But he did not deign to analyze this, one of the most perfect (so beloved by the reader) works of the fabulist. The fable begins with a postulate expressed in extremely concise, [...]
The fable “Geese” is one of the central works of the entire work of the great fabulist. In it his anti-serfdom views found their ultimate expression. This is not a ridicule of boasting, not a satire on people who boast about the merits of their ancestors (as some scientists are inclined to think) - it expresses the very foundations of Krylov’s democratic ideology and also strikes at the very foundations of the ideology of the serf owners. After all, the principle of “primogeniture”, birthright, [...]
From Krylov’s experience, the Russian writer learned both how to write and how not to write. I learned to be true to life's truth. In the fable “The Writer and the Robber” the Writer is condemned to terrible torment - to burn forever in fiery Gehenna. The accusations against the writer were successful. They breathe anger and malice. It is quite obvious that Krylov knew what [...]
In the fable “Quartet,” Krylov boldly ridiculed the highest state body of tsarist Russia, the State Council, which was established in 1810 and included 4 departments. Its members could not immediately fit into the sections, but were transferred from one to another. The iambic meter used by the author perfectly conveys the content of the fable. The size of the verse, the brevity of the lines, the frequent repetition of the solid [...]
Krylov, with his amazing sense of reality, that is, sociality, always revealed, drawing a living picture of life, the social nature of this or that “universal” vice. For his time, we believe, he also revealed the social nature of lying as a social phenomenon, deducing the type of liar as a socially significant type. This is where Krylov begins his “Liar”. Returning from distant travels, a nobleman (possibly [...]
Let's turn to the fable of 1830. Its name is “Lion”. Just “Lev”, without the “and”. Leo, so to speak, in its purest form. And the truth of the fable is also given in its pure form: there is no explanation for the story, no moral. Just one picture taken from reality. The picture, however, is allegorical, but that makes it more truthful. So, when Leo became old and frail, he was tired of the tough […]...
Krylov would not be Krylov if he insisted that betrayal would definitely be punished. It's naive. Apparently, betrayal-hypocrisy has one important distraction of its own - servility, servility, generated by unlimited autocratic power. If work is not valued, if personal dignity is violated, then servility flourishes, looking, according to Dostoevsky, for someone to clean their boots. The writer observed this among Russian liberals. […]...
“Dog, Man, Cat and Falcon” is a fable written in 1816. Its heroes swore to each other eternal friendship, to share care and joy, to help each other, and, if necessary, to die for each other. The whole sham of friendship is there - a complete set of praise and utterance. There is nothing to add here. What actually happened? (Krylov always checks […]...
Krylov’s theme “Snake”, a “smart” snake, camouflaging, cunning, reveals the wisdom of the people and society as its undoubted asset: no matter how smart the Snake is, no matter how sophisticated it is in its metamorphoses, it could not deceive anyone even with a nightingale’s voice. Neither with your mind, nor with your arrogance. Just think what it came to: after all, she wanted to babysit the Peasant’s children. As a nanny, [...]
The true glorification of Kutuzov, his national genius as a military man and diplomat, was given by Krylov in the fable “The Wolf in the Kennel.” This work of the poet is a miracle of the art of words. Here allegory triumphs both as an allegory, that is, poetics of a wide range of action, and as (for all its conventionality) the maximum approximation to reality, in the sense of this particular case. Here they won their victory and [...]
Krylov traced the truth he discovered on the small and large, on the particular and the general, on the main state institutions and small fry of government. In particular, he wrote about the “council” under the king. And in “Divers”, and in “Fish Dances”, and in “Motley Sheep”, and in “Wolves and Sheep” for a number of years, Krylov evilly mocks this “institution”, [...]
And Krylov is still great today because in his works he created and developed a coherent philosophy of free labor, a philosophy of creativity and creation, revealed the social significance and nature of labor, elevating this topic to the rank of national-patriotic dignity and showing its world-historical significance. His 1811 fable “Leaves and Roots” is at the junction of two themes. A successfully found allegory [...]
Since childhood we have known Krylov's fables. Clear, easy, wise poems sink into the soul. The moral teaching - and it is necessarily present in the fable - is gradually absorbed, and the power of its influence is enormous. Fables teach to be honest, to love the Fatherland, to work for the good of people, to help the weak, not to lie, not to envy. They warn against bad deeds and suggest good ones. Fable animals […]...
National identity of I. A. Krylov’s creativity (Based on the fables “The Crow and the Fox”, “Quartet”, “Swan, Cancer and Pike”) National identity of I. A. Krylov’s creativity (Based on the fables “The Crow and the Fox”, “Quartet”, “Swan, Cancer and Pike”) 1. The power of cunning and flattery in the fable “The Crow and the Fox”. 2. Ridicule of pompous mediocrity in the fable “Quartet”. 3. Fable “Swan, Cancer and Pike” […]...
1. How did you understand the name of the fable? Why is Fox included in its name? How did you understand the word scheming? What intrigues are we talking about in the fable? Reference. Coznodey - one who plots intrigues. The fable tells the story of the death of the animal king Leo. The Fox “cries out with delight” about his merits. “Climbing to the pulpit,” she lists the virtues that were supposedly inherent in Leo. […]...
More than once the poet spoke about the cruel lack of freedom of genuine art in a feudal society, anticipating the further development of this theme in Pushkin, Gogol, Herzen, Ostrovsky. Krylov’s “Nightingales” (1824) “target” much that was known to the poet, and much of what would be revealed only in the coming decades - his generalization was so real and insightful. By the way, it’s very simple and [...]
“Oboz”, as you know, is a speech in defense of Kutuzov’s strategy and tactics in waging war. The tactics, among other things, are humane. The field marshal took care of the soldiers, the Russian people. He did not let thousands of them be dispersed and wasted. I didn’t use the old, “pre-suicide” method of strategy - the more victims, the more glory. A great victory with minimal losses. Victory (meaning […]...
Speaking about vice, which in other times becomes a national disaster, Krylov names drunkenness almost first of all. He will tell about this in the fable (is it a fable?) “Two Men” (1824), known to everyone from an early age. It talks about Thaddeus and Yegor, who, having gotten drunk, got into trouble: one burned down his yard and “[...]
Probably everyone in their childhood read Krylov’s fable “The Elephant and the Pug”. And not many in those distant years were able to discern a clearly expressed meaning in it. Most often, this is due to our young age, when we studied this work at school, and only thanks to our Parents or Literature teachers did we understand all the irony and satire of this work. After all, just think about [...]

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Krylov's fable teaches us that in this harsh world we need to be more attentive to the people around us, so as not to lose what we have been striving for for so long. in Aesop's fables the meaning is the same, only presented to the readers a little differently. general moral: do not give in to affection and deception!

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Ilya Ilyich Oblomov remained in the memory of readers as a completely apathetic type of hero. He solves the eternal question “to be or not to be” with the answer: “Not now.” This character is often drawn by Goncharov in an ironic way and brings a kind smile to the reader. But sometimes Ilya Ilyich appears as an almost tragic figure, complex and contradictory. Inconsistency becomes the main sign of the hero’s national identity. He is Russian, and that says it all.

Oblomov’s character is the result of the influence of all the life around him. There is one episode in the novel that perfectly proves this statement - the chapter “Oblomov’s Dream”.

The dream genre is often used by authors to reveal the inner world of a character. But Goncharov uses it not only for this; the main thing for the writer is to show the origins of the hero’s character. In this chapter, the author gives a detailed description of Oblomov’s childhood. Goncharov shows that Oblomov’s laziness is an acquired quality, not an innate one.

The chapter “Oblomov’s Dream” also carries an additional symbolic load in the novel. It denotes the hero’s usual state: “So he never thought of the reason; the tongue and lips instantly froze mid-sentence and remained as they were, half-open. Instead of a word, another sigh was heard, and after that the even snoring of a serenely sleeping man began to be heard.”

According to the composition, “Oblomov’s Dream” is an inserted episode, that is, an extra-plot element. Although this chapter has a certain completeness and independence, it does not affect the development of the plot. It is intended only to more clearly outline the character of the main character.

Oblomov’s entire estate bears the stamp of laziness and contentment. All people, from the master to the last serf, are similar to each other. Interesting and indicative in this sense is the episode with a letter that was once brought by a man who was traveling to the city on business. The lady scolds him for bringing the letter, because there might be some unpleasant news there. The man makes excuses: “I didn’t take that either. What, they say, do we need a letter for? We don’t need it. They supposedly didn’t tell us to take letters - I don’t dare: screw you with the letter! Yes, the soldier went to swear painfully: he wanted to complain to the authorities; I took it." And it’s always like this - everything that gets out of the usual way of life, from the “eat and sleep” mode, frightened the Oblomovites. “Caring for food was the first and main concern of life in Oblomovka.”

Oblomov sees himself in a dream as a seven-year-old boy. He is playful and playful, he is curious about everything that happens around him, he wants to learn more about the world. But the vigilant supervision of his mother and nanny prevents him from fulfilling his desires: “Nanny! Don't you see that the child ran out into the sun? Take him into the cold; if it gets on his head, he will hurt, feel nauseous, and won’t eat. He’ll go into your ravine like that!”

And only during the daytime sleep gave Ilyusha freedom. Everyone fell asleep, even his nanny. And then the independent life of the little master began.

Then Ilya Ilyich sees himself as a boy of twelve or thirteen. And now it’s more difficult for him to resist, his mind has almost understood that this is exactly the way his parents live, and he should live. He does not want to study, because, firstly, he has to leave his home to his neighbor Stolz, and secondly, he does not understand why he needs to study. The main thing his mother ensured was that the child was cheerful, fat and healthy. Everything else was considered secondary.

Ilyusha is no longer with a nanny, and Zakhar, who still dresses Oblomov, reminds him that he needs to wash. Oblomovka stifled the last shoots of curiosity and playfulness in the hero: “If Ilya Ilyich wants something, he only has to blink - three or four servants rush to fulfill his desire... Sometimes, like a playful boy, he just wants to rush in and redo everything himself, and then suddenly the father and mother, and three aunts, shouted in five voices: “Why?” This is how all his good endeavors ended.

The intonation with which the author talks about the “blessed corner of the earth” - Oblomovka is interesting. He seems to take the place of the hero himself, breathes his memories, completely merges with him: “And why is it, this wild and grandiose? The sea, for example? It only brings sadness to a person... Mountains and abysses were not created for human amusement either. They are formidable and scary."

Even the language in which this chapter is written creates a feeling of ancient, rural life. In every line one can hear folk talk, a mournful song, and in general everything that happens is like a fairy tale, even the huts: “Not everyone will be able to enter the hut to Onesimus; unless the visitor asks her to stand with her back to the forest and her front to him. The porch hung over the ravine.” In Oblomovka, everything is alive, spiritual: “The sky there, on the contrary, presses closer to the earth, but not in order to throw an arrow more powerfully, but perhaps only to hug it tighter, with love”; “The sun shines brightly and hotly there... and then it doesn’t suddenly move away from there, as if reluctantly, as if it were turning back to look once or twice more at its favorite place”; “The river runs merrily, frolicking and playing.”

And Oblomov continues to see his sweet dreams, transferring them into real life.

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From time immemorial, the social and family life of the Dagestan peoples has been based on respect and veneration for elders. Old people were the custodians of the knowledge, skills and experience developed by previous generations. Therefore, it is quite natural, F. Tornau noted, “the highlanders in the hostel place summers above rank.” A young man of any origin is obliged to stand in front of every old man without asking his name, to give up his seat, not to sit down without his permission, to remain silent in front of him, and to answer his questions meekly and respectfully. Every service rendered to the gray haired man is given honor to the young man. The social role of the older generation in Dagestan has always been great. According to custom, not a single significant event in the villages took place without the participation of akscals - the most honorable and respected people. They were considered the guardians of folk traditions, customs, morals, and rituals. Not a single dispute was resolved without their participation. Their authority and word were indisputable. The Dagestan jamaat is a complex socio-political structure with communal traditions, and it survived thanks to the efforts of the older generation. Among them were many brilliant speakers who had an ethnic and moral influence on minds. Young people constantly experienced the benevolent influence of the elder in the family. For them he was a mentor and educator. In turn, the old people were met with mutual respect and deference. Showing kindness and attention to elders was instilled in Dagestan from infancy. Obedience to parents and respect for elders is the law of the mountains. Here are some generally accepted norms of respect for elders that exist among the Dagestan population: when a father, girlfriend or an elderly stranger enters the room, the younger one stands up and gives way; when there are several elderly and young people in the room, the elderly sit in order of seniority, and the young stand or sit separately. It also happens: when the elder is sitting, the younger stands until he receives an invitation to sit;
at the table, the elder begins to eat first; when meeting an elder on the street, everyone respectfully greets him; any elder has the right to reprimand the younger if he behaves unworthily and can give him any assignment. And he will not be offended or disobey; when an elder appears, fights, smoking, gambling, etc. stop. The issue of instilling respect for elders is still relevant today. The family, the school, and the public should all be involved in this. We need to start from childhood, relying on folk customs, traditions, and universal human values. There are many more examples in Dagestan customs that cultivate personality in people. So, if the father - the head of the family - left somewhere, then respect extended to the son. His father instructed him: “You are the eldest, you are responsible for the family.” This shows the desire of the parents to see in their heir a worthy successor of the family. By doing this, the father raises his son with trust and makes him aware of himself and his duty to the family. With great tact and courtesy in Dagestan, the procedure for accompanying elders on the road is observed. On the road, the eldest walks on the right, the youngest on the left. If there are three going, the eldest is in the middle. When a whole company is on the road, the younger ones seem to protect the older ones. One part of them is located in front, another behind, the rest on the sides. Politeness and courtesy are needed by all people. According to ancient custom, no matter how much someone is in a hurry, the highlander will give way to the elder. This was done even if the person walking was far away and it was necessary to wait for his arrival. They took into account that the one they were waiting for was walking along a mountain road (or path), overcoming difficult ascents and descents. The person who approached usually, after thanking them for their attention, made way for them and only after that continued on their way.

Aesop's fable the crow and the fox full analysis. Aesop

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